William Clarke

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William Clarke (March 21, 1951 - November 3, 1996) was an American blues harmonica player. He was chiefly associated with the Chicago blues style of amplified harmonica, but also incorporated elements of soul jazz and swing into his playing.

Born in Inglewood, California, United States, Clarke played guitar and drums as a youngster and learned the blues through The Rolling Stones records. He began playing harmonica in 1967 and played locally in Los Angeles, while he held a day job as a machinist. He soon struck up an association with George &Harmonica& Smith; the pair began playing regularly together in 1977, lasting until Smith died in 1983.

Clarke began releasing albums in 1978 on small local record labels. From 1985 to 1988, Rick Holmstrom toured and played with Clarke. In 1987, Clarke was nominated for a W.C. Handy Award for his record Tip of the Top, and after sending a demo tape to Alligator Records, he secured a national recording contract. His debut for Alligator, Blowin' Like Hell, arrived in 1990, and he followed the release with international touring. &Must Be Jelly&, a song from the album, won the Handy Award for Blues Song of the Year.

Clarke was touring in March 1996 when he collapsed on stage at a date in Indianapolis. He was diagnosed with congestive heart failure, and as a result lost weight and cut back on alcohol and drugs. These measures were not sufficient to keep him healthy; he collapsed again in November, at a concert in Fresno, and died of a bleeding ulcer, at the age of 45, the following day.

(wiki)

by Steve Huey

The heir apparent to Chicagos legacy of amplified blues harmonica, William Clarke was the first original new voice on his instrument to come along in quite some time; he became a sensation in blues circles during the late 80s and early 90s, stopped short by an untimely death in 1996. A pupil and devotee of George Harmonica Smith, Clarke was a technical virtuoso and master of both the diatonic harp and the more difficult chromatic harp (the signature instrument of both Smith and Little Walter). Where many new harmonica players had become content to cop licks from the Chicago masters, Clarke developed his own style and vocabulary, building on everything he learned from Smith and moving beyond it. His four 90s albums for Alligator earned wide critical acclaim and remain his signature showcases.

Clarke was born March 29, 1951, in the South Central L.A. suburb of Inglewood; his parents had moved there from Kentucky and lived a blue-collar life. Clarke dabbled in guitar and drums as a youth, and grew up listening to rock & roll, but eventually found his way to the blues by way of the Rolling Stones early albums. He took up the harmonica in 1967, and soon found his way onto the Los Angeles blues scene while working a day job as a machinist. Clarkes early style was influenced by Big Walter Horton, Junior Wells, James Cotton, and Sonny Boy Williamson II, but he soon began to incorporate the influence of 60s soul-jazz, mimicking the lines of the genres top sax and organ players. He was a regular in South Central L.A.s blues clubs, often hopping from one venue to another in order to keep playing all night. In this manner, he met quite a few West Coast blues luminaries, including — among others — T-Bone Walker, Pee Wee Crayton, Lowell Fulson, Big Mama Thornton, and George Harmonica Smith, who ultimately became his teacher and mentor.

Smith and Clarke first began to perform and record together in 1977, and kept up their relationship until Smiths death in 1983. In the meantime, Clarke guested on sessions by West Coast artists like Smokey Wilson and Shakey Jake Harris, and released several of his own LPs, all recorded for small labels. The first was 1978s Hittin Heavy, which was followed by 1980s Blues From Los Angeles; both were released on tiny local labels. 1983s Cant You Hear Me Calling was more of a proper debut, though Clarke still hadnt quite hit his stride yet. That would start to happen with 1987s Tip of the Top, a tribute to Smith that was issued by Satch and earned a W.C. Handy Award nomination. Clarke finally quit his job as a machinist that year, and followed Tip of the Top with a live album, Rockin the Boat, in 1988. By this time, his reputation was beginning to spread beyond Los Angeles, despite the fact that none of his albums had yet achieved full national distribution.

Clarke subsequently sent a demo tape to Alligator Records, and was immediately offered a contract. His label debut was the galvanizing Blowin Like Hell, which earned rave reviews upon its release in 1990 and established him as a new, fully formed voice on amplified harmonica. Clarke hit the road hard, touring America and Europe over the next year; he also won the 1991 Handy Award for Blues Song of the Year, thanks to Must Be Jelly. His follow-up, 1992s Serious Intentions, was equally blistering in its intensity. 1994s Groove Time added a horn section, bringing some of the jazz and swing undercurrents in Clarkes music forward. He pursued that direction even further on 1996s The Hard Way, his jazziest and most ambitious outing yet, which earned strong reviews once again.

Unfortunately, Clarkes health was deteriorating; always a large man, hard living on the road was taking its toll on his body. He collapsed on-stage in Indianapolis in March 1996 and was diagnosed with congestive heart failure. Despite losing weight and living clean and sober from then on, the damage had been done; Clarke resumed his heavy touring schedule a few months later and seemed to have recovered, until he collapsed on-stage again in Fresno. He was admitted to the hospital with a bleeding ulcer and died the next day, November 2, 1996, when surgical attempts to save his life failed. He was only 45 and in the prime of his career. Posthumously, Clarke won three Handy Awards stemming from The Hard Way: Album of the Year, Song of the Year (Fishing Blues), and Instrumentalist of the Year for harmonica. In 1999, Alligator released a best-of compilation titled Deluxe Edition.

William Clarke

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