Released in 2012 by the European blues retrospective label Blues Boulevard (250315), Mississippi Saxophone: The Great Blues Harmonica Players is an extensive 2-CD anthology honoring the lineage, evolution, and virtuosity of the blues harp—affectionately nicknamed the "Mississippi Saxophone." Spanning early acoustic roots, seminal Chicago electric harp innovators, 1960s blues-rock revivalists, and modern harp masters, this 40-track compilation tracks the instrument's transformation. Disc 1 showcases foundational architects like Sonny Boy Williamson I & II, Little Walter, Big Walter Horton, Sonny Terry, Junior Wells, and Slim Harpo, alongside crossover icons like Paul Butterfield and Canned Heat's Alan "Blind Owl" Wilson. Disc 2 highlights powerhouse sidemen and modern torchbearers, including James Cotton, Jerry Portnoy, Billy Boy Arnold, John Mayall, Charlie Musselwhite, Kim Wilson, and Giles Robson.

Sun Records 65th Anniversary: Born From The Blues is a premier commemorative anthology released in 2017 through a partnership between Sun Records and Curb Records. Specifically curated to honor the 65-year legacy of Sam Phillips' vision, this 30-track compilation digs deep into the marrow of the label's structural foundations: the blues. While mainstream history closely links Sun with the birth of rockabilly, this collection demonstrates how the gritty rhythms of the Mississippi Delta and the electric charge of Memphis streets directly fueled that cultural explosion. The tracklist sets historical blueprints side-by-side, pairing rare and definitive blues cuts from innovators like B.B. King, Howlin' Wolf, Little Milton, and James Cotton with the world-shaking roots-rock translations of Elvis Presley, Johnny Cash, Carl Perkins, and Jerry Lee Lewis. From distorted harmonica stomps to raw studio jams, it is a brilliant testament to the music that forever changed the global landscape.

Sun Records: The Blues Years 1950-1958 is a monumental, definitive 8-CD box set issued by Charly Records in 1996. It serves as the holy grail archive of the historical raw blues recordings captured by legendary producer Sam Phillips at 706 Union Avenue in Memphis, Tennessee. While Sun Records eventually achieved global fame as the birthplace of rockabilly and rock & roll, its architectural foundation was built entirely on the electrifying, primitive power of Black southern music. Spanning over nine hours, this collection compiles the primal sounds that laid down the exact blueprint for modern rock. It features early landmarks like Jackie Brenston’s iconic "Rocket 88" (widely cited as the first rock & roll record), the fierce, unbridled howling of a young Howlin' Wolf before his move to Chicago, and early foundational tracks from B.B. King, Little Milton, Rosco Gordon, and James Cotton. Brimming with blistering harmonica blowouts, heavy boogie-woogie piano, and distorted electric guitar workouts from legends like Pat Hare, this box set is an essential, grit-infused historical document of American musical history.

Recorded at The New Penelope Cafe in Montreal, Canada, September 28, 1967.
Insatiable showman, blues singer, and ace harp man kept his high-energy act alive for over a half century.
At his high-energy, 1970s peak as a bandleader, James Cotton was a bouncing, sweaty, whirling dervish of a bluesman, roaring his vocals and all but sucking the reeds right out of his defenseless little harmonicas with his prodigious lung power. Due to throat problems during his latter years, Cotton's vocals were no longer what they used to be, but he remained a masterful instrumentalist for decades. Cotton had some gargantuan shoes to fill when he stepped into Little Walter's slot as Muddy Waters' harp ace in 1954, but for the next dozen years, the young Mississippian filled the integral role beside Chicago's blues king with power and precision…

Blues harp maestro James Cotton was 77 at the time of this album's release. He can barely sing anymore, and the years of playing and touring have left his voice a hoarse croak, but make no mistake, he can still play the harp, and his stunning, overdriven blasts on the instrument are as powerful and as immediate as ever. He's the living embodiment of the Chicago blues, and one of the genre's last surviving founders of it, having mentored with the great Sonny Boy Williamson, and he recorded, played, and toured with Howlin' Wolf and Muddy Waters, cutting his first sides at the age of 19 for Chess Records. He's done this a long time, and as this delightful, joyous, stomping, and vibrant set shows, he doesn't need to sing to command the stage…

The years have ravaged James Cotton's once booming voice but his powerful harp playing hasn't lost a step, as one spin of Giant will confirm. His return to the Alligator label that released two Cotton albums in the mid-'80s and another with him as one fourth of 1990's classic Harp Attack! harmonica quartet is a chugging contemporary blues set that allows "Mr. Superharp" plenty of room to blow. Since guitarist Slam Allen handles the vocals, Cotton can play during the singing, something that eludes all other harmonica playing/lead vocalist frontmen. Allen is a competent if not terribly distinctive singer, but he delivers the tunes with adequate enthusiasm. The set is a mix of covers, including three relatively obscure ones from Cotton's ex-employer Muddy Waters and originals that don't expand the blues genre but sit comfortably within its parameters…

Collection of The James Cotton Band - 100% Cotton (1974) and The James Cotton Band - Live & On The Move (1976).
100% Cotton (1974). The ebullient, roly-poly Chicago harp wizard was at his zenith in 1974, when this cooking album was issued on Buddah. Matt "Guitar" Murphy matched Cotton note for zealous note back then, leading to fireworks aplenty on the non-stop "Boogie Thing," a driving "How Long Can a Fool Go Wrong," and the fastest "Rocket 88" you'll ever take a spin in.
Live And On The Move (1976). Originally released on two vinyl platters in 1976 by Buddah, this set was digitally unleashed anew by the British Sequel label…

This is the best contemporary James Cotton album gracing the shelves, thanks to its ingenious formatting: half the set places Cotton in a traditional setting beside guitarist Magic Slim, pianist Pinetop Perkins, and a solid rhythm section; the other half pairs him with a contemporary combo featuring guitarist Michael Coleman's swift licks and a three-piece horn section. Both combinations click on all burners. High Compression includes the scorching theme song "Superharp."

Four Chicago harmonica greats, one eminently solid album. Teamed with Junior Wells, Billy Branch, and Carey Bell, Cotton sings Willie Love's Delta classic "Little Car Blues" and Charles Brown's "Black Night." Wells trades harp solos and vocals, standing front and center on a fine rendition of Sonny Boy II's "Keep Your Hands Out of My Pockets" and the tailor-made "Somebody Changed the Lock" and "Broke and Hungry," obviously relishing the camaraderie between himself and his fellow harmonica giants. Meanwhile, Branch's showcases are the apt original "New Kid on the Block" and a deft cover of Little Walter's "Who."

Muddy Waters had his second coming 30 years ago, when longtime friend and disciple Johnny Winter and his Blue Sky label returned him–after a series of listless recordings aimed at the rock audience–to the raw, powerful authenticity of his timeless Chess material with a series of powerful albums. Beginning with 1977's acclaimed Hard Again, a subsequent tour produced Muddy "Mississippi" Waters Live, recorded onstage in Detroit, New York, and Philadelphia with Muddy's band, Winter, and harmonica player/vocalist James Cotton. Enough live material remained for Legacy to release an expanded version with an entire second disc of unissued concert material. It seems even that wasn't the end. This collection returns again to those remarkable concerts, featuring Muddy on five tracks, among them a rousing "I Can't Be Satisfied," "Trouble No More," "Caldonia," and the closing "Got My Mojo Workin'." Winter and Cotton are no less powerful, Cotton redoing Jackie Brenston's hit "Rocket '88'" and Winter ripping up John Lee Hooker's "I Done Got Over It" and "Mama Talk to Your Daughter."

After a string of mediocre albums throughout most of the 1970s, Muddy Waters hooked up with Johnny Winter for 1977's Hard Again, a startling comeback and a gritty demonstration of the master's powers. Fronting a band that includes such luminaries as James Cotton and "Pine Top" Perkins, Waters is not only at the top of his game, but is having the time of his life while he's at it. The bits of studio chatter that close "Mannish Boy" and open "Bus Driver" show him to be relaxed and obviously excited about the proceedings. Part of this has to be because the record sounds so good. Winter has gone for an extremely bare production style, clearly aiming to capture Waters in conversation with a band in what sounds like a single studio room. This means that sometimes the songs threaten to explode in chaos as two or three musicians begin soloing simultaneously. Such messiness is actually perfect in keeping with the raw nature of this music; you simply couldn't have it any other way.

James is called a young man on this CD, but he'd already played with Muddy Waters for a time. Recorded in 1967, it showcases his vocals and harp well. The recording, done at Montreal's Penelope Cafe, is a pretty accurate depiction of James Cotton's raw power and force. The sound quality is OK for the time and really captures the feel of a live performance. Cotton has long been one of the greatest of the Chicago blues harp stylists, and his energy, enthusiasm and sincere love for the blues jumps right out at you from start to finish. The idea of a blues musician doing a recording in a static and heavily controlled atmosphere like a studio seems odd; amplified electric Chicago blues really should be both played AND heard in a loud, raucous, dark, smoky bar-type environment. You can smell the smoke and feel the beer being spilled on you while listening to this CD.

James Cotton's third solo release on Telarc, Baby, Don't You Tear My Clothes picks up where 35th Anniversary Jam of the James Cotton Blues Band left off. The strongest of these 13 tracks find Cotton and associates digging back to the '30s for inspiration: Doc & Merle Watson assist on Leroy Carr's "How Long Blues," "Stealin' Stealin'" with Dave Alvin, "Key to the Highway" featuring Odetta, and a bluesy take on the Jimmie Rodgers country standard "Muleskinner Blues." This is mainly a mid-tempo, laid-back session with plenty of Cotton's harp virtuosity, which shines brightest on the instrumentals "Coach's Better Days," "Blues for Jacklyn," and "Friends." Also making contributions to the album are Peter Rowan, C.J. Chenier, Rory Block, Jim Lauderdale, and Marcia Ball…

The music featured here is actually all right, but the set suffers due to its odd patchwork assembly. Five of the tracks come from a 1963 acoustic session recorded at an apartment on the South Side, featuring Elvin Bishop on guitar, Cotton on vocals and harmonica, Paul Butterfield on harmonica, and Billy Boy Arnold on harmonica (hence the title 3 Harp Boogie). The other four selections are taken from his 1967 Verve album James Cotton Blues Band.