The Mississippi saxophone
…or the harmonica, as it’s better known. We take a look at one of the sounds that shaped rock’n’roll.
‘The blues had a baby and they named it rock‘n’roll,’ sang Muddy Waters. And he was right, of course. Once he and Howlin’ Wolf started plugging into amps in the clubs of Chicago in the 1950s, the blues became supercharged; a tougher, urban sound that prioritised electric guitar and lascivious lyrics.
And central to Chicago blues was the harmonica. Marion ‘Little Walter’ Jacobs pioneered a new amplified approach, radically transforming it into a powerful lead instrument. Subsequently, the blues became increasingly intertwined with rock’n’roll, with The Yardbirds backing then-unknown harp player Sonny Boy Williamson on a UK tour and releasing the 1963 album Sonny Boy Williamson And The Yardbirds. Not that the notoriously surly Williamson was impressed, observing: “These young English boys wanna play the blues so bad; and they play it – so bad.”
As black music began to cross over and reach wider audiences of young, white rock fans, the harmonica was pushed further into the mainstream – nobody being more responsible for that than Paul Butterfield. The Paul Butterfield Blues Band, released in 1965, showcased the singer’s virtuosic ability on the instrument. But while clearly influenced by the Chicago masters, this was resolutely rock music. Suddenly the blues harp, as it became known, was appearing on some of the biggest hits of the time, such as wailing over The Doors’ classic Roadhouse Blues, or its mystical presence on Canned Heat’s On the Road Again?
The harmonica’s prominence peaked during the 70s, with a number of the rock musicians keen to embrace its earthy authenticity. Robert Plant does his best Sonny Boy impression on Bring It On Home and blows a raucous solo on Nobody’s Fault But Mine, though the instrument is at its most effective on When The Levee Breaks. Keith Richards maintains that Mick Jagger is one of the best exponents of the blues harp, and his playing has enriched some of the Stones’ finest moments. Midnight Rambler wouldn’t sound so sweet without a little lubrication from Mick’s harp, and his solo on Gimme Shelter makes the track sound even more menacing.
Of the many high-profile rock‘n’rollers who play the harmonica, Steven Tyler is arguably the most accomplished. From One Way Street on Aerosmith’s debut to huge hits such as Pink and Cryin’, Tyler has always pulled a tasteful bluesy line from the ‘Mississippi saxophone’.
As the decades rolled on, the instrument seemed to fall out of favour, although Spike or Mike Monroe might whip it out on occasion. It may have had its day in the sun as far as modern rock is concerned, but the sound of the humble harmonica is still blowing in the wind. Patrick Wells