His daring instrumental innovations were so fresh, startling, and ahead of their time that they somearial sported a jazz sensibility, soaring and swooping Teenage Beat - Little Walter - Teenage Beat / Just A Feeling front of snarling guitars and swinging rhythms perfectly suited to Walter's pioneering flights of fancy.
Marion Walter Jacobs was by most accounts an unruly but vastly talented youth who abandoned his rural Louisiana home for the bright lights of New Orleans at age Walter gradually journeyed north from there, pausing in Helena where he hung out with the wizened Sonny Teenage Beat - Little Walter - Teenage Beat / Just A Feeling WilliamsonMemphis, and St. Louis before arriving in Chicago in The thriving Maxwell Street strip offered a spot for the still-teenaged phenom to hawk his wares.
Walter joined forces with Muddy Waters in ; the resulting stylistic tremors of that coupling are Crime Of The Century - The Star Spangles - Bazooka!!! being felt today. Along with Rogers and Baby Face Leroy Fosterthis super-confident young aggregation became informally known as the Headhunters.
They would saunter into South side clubs, mount the stage, and proceed to calmly "cut the heads" of whomever was booked there that evening. Tonight With a Fool. Off the Wall. Tell Me Mama. Quarter to Twelve. Blues With a Feeling.
Last Boogie. Too Late. Fast Boogie. Light Out. Fast Large One. You're So Fine. Come Back Teenage Beat - Little Walter - Teenage Beat / Just A Feeling. Oh Baby. I Got to Find My Baby. Big Leg Mama. Track Listing - Disc 2. Mercy Babe. Last Night. You'd Better Watch Yourself. Blue Eight. Mollow Down Easy. My Babe. Roller Coaster. I Got to Go. Little Girl. Crazy for Me Baby. Cant't Stop Loving You. Hate to See You Go. One More Chance With You. Boom, Boom Out Goes the Lights.
It Ain't Right. Flying Saucer. It's Too Late Brother. However, unlike other contemporary blues harp players, such as Sonny Boy Williamson I and Snooky Pryorwho like many other harmonica players had also begun using the newly available amplifier technology around the same time solely for added volume, Little Walter purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica or any other instrument.
Jacobs made his first released recordings Teenage Beat - Little Walter - Teenage Beat / Just A Feeling for Bernard Abrams's tiny Ora-Nelle label,  which operated out of the back room of Abrams's Maxwell Radio and Records store in the heart of the Maxwell Street district in Chicago.
Canst Thou Not Weave Bonelace - Pete Castle - Rambling Robin Walter joined Muddy Waters 's band inand by he was playing acoustic unamplified harmonica on Waters's recordings for Chess Records. The first appearance on record of Little Walter's amplified harmonica was on Waters's "Country Boy" Chessrecorded on July 11, For years after his departure from Waters's band inChess continued to hire him to play on Waters's recording sessions, and as a result his harmonica is featured on most of Waters's classic recordings from the s.
His guitar playing was also featured occasionally on early Chess sessions with Waters and Jimmy Rogers. They played together in Clarksdale. Jacobs had put his career as a bandleader on hold when he joined Waters's band, but he stepped out front again when he recorded as a bandleader for Chess's subsidiary label Checker Records on May 12, Following the pattern of "Juke", most of Little Walter's singles released in the s featured a vocal performance on one side and a harmonica instrumental on the other.
In general, his sound was more modern and up-tempo than the popular Chicago blues of the day, with a jazzier conception and rhythmically less rigid approach than that of other contemporary blues harmonica players. Jacobs left Waters's band in and recruited his own backing band, the Acesa group that was already working steadily in Chicago backing Junior Wells. By the members of the Aces had each separately left Little Walter to pursue other opportunities and were initially replaced by the guitarists Robert "Junior" Lockwood and Luther Tucker and drummer Odie Payne.
Among others who worked in Little Walter's recording and touring bands in the s were the guitarists Jimmie Lee Robinson and Freddie Robinsonand drummer George Hunter. Little Walter also occasionally included saxophone players in his touring bands during this period, among them the young Albert Aylerand Ray Charles on one early tour. By the late s, Little Walter no Teenage Beat - Little Walter - Teenage Beat / Just A Feeling employed a regular full-time band, instead hiring various players as needed from the large pool of blues musicians in Chicago.
Jacobs suffered from alcoholism and had a notoriously short temper, which in late s led to violent altercations, minor Broken Dreams - Steff Sulke* - Broken Dreams / Oh, What A Lovely Day with the law, and increasingly irresponsible behavior.
This led to a decline in his fame and fortunes, beginning in the late s. Nonetheless he toured Europe twice, in and the long-circulated story that he toured the United Kingdom with the Rolling Stones in has been refuted by Keith Richards. The European tour, as part of the American Folk Blues Festivalresulted in the only known film footage of Little Walter performing. Further video of another recently discovered TV appearance in Germany during this same tour, showing Jacobs performing his songs "My Babe", " Mean Old World ", and others, was released on DVD in Europe in January ; it is the only known footage of him singing.
Poor Bill Blues - Big Bill Broonzy - Big Bill Broonzy Sings Country Blues TV appearances in the UK in and the Netherlands in have been documented, but no footage of these has yet been uncovered. Jacobs recorded and toured infrequently in the s, playing mainly in and around Chicago.
A few months after returning from his second European tour, he was involved in a fight while taking a break from a performance at a nightclub on the South Side of Chicago. He apparently sustained only minor injuries in this altercation, but they aggravated the damage he had suffered in previous violent encounters, and he died in his sleep at the apartment of a girlfriend, at East 54th Street in Chicago early the following morning.
The music journalist Bill Dahl described Little Walter as Fidelio, Op. 72: Overture - Beethoven*, Boston Symphony*, Munch* - Overtures, Prometheus, Leonore No of all post-war blues harpists", who "took the humble mouth organ in dazzling amplified directions that were unimaginable prior to his ascendancy.
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