Paul Barry – Blowin’ Like Hell: The William Clarke Story
Palmetto Publishing
150 pages Soft cover
Anyone who was fortunate enough to see a live performance by William Clarke can attest that he did indeed blow the harmonica like a true force of nature. He took command of the stage, which could barely contain his large frame and the swinging sounds that he pulled from his instrument. With stellar musicians in his band, and plenty of captivating original songs, Clarke was climbing the ladder to stardom until fate intervened.
Author Paul Barry is a blues harmonica player from Minnesota with several albums to his credit. More importantly, he was a good friend of Clarke’s, even moving to California so he could learn all he could from his friend about playing the harmonica, especially the chromatic harp, which Clarke had mastered after getting coaching from harp legend George “Harmonica” Smith. The friends had spent time putting together a book on how to play blues harp that never was completed. A few years ago Barry was tempted to finish that book, but then changed course in favor of a biography that would remind the world of Clarke’s outstanding legacy.
Tracing a life that started in a California trailer park, Barry utilizes a variety of sources to paint a portrait of a musician who tried drums and guitar before falling under the spell of the harmonica. Clarke got his love of music from his mother, who loved to dance to big band jazz records. He quickly fell under the spell of the blues music he heard on radio stations from the Los Angeles area, with Junior Wells and Big Walter Horton making indelible impressions. He learned what he could from records, reaching the point where he knew that he needed to hear the music live to continue to improve.
That meant venturing into the “ghetto” blues clubs in South Central Los Angeles, where at the age of 18, Clarke started earning $2 a night for playing live with artists like Iron Board Sam. He wasn’t old enough to be in the clubs, but his physical size and beard made him seem much older, allowing easy entrance to the venues. He joined other musicians like Rod Piazza and Doug MacLeod, who were also deep into the music and pursuing their own path to greater knowledge.
There were three musicians that further shaped Clarke’s musical direction. Guitarist Smokey Wilson and Shakey Jake Harris were great role models along with Smith, educating the young musician not only on how to play the music, but also stressing the importance of entertaining the audience, a lesson Clarke took to heart. Wilson and Harris ran clubs that Clarke would frequent. Smith was a master of the chromatic harmonica, and under his tutelage, Clarke became the torch-bearer for the full-throttle style as exemplified on his instrumental “Chromatic Jump,” a highlight of his live shows.
Married to his high school sweetheart, Jeanette Pulcini, and with children to raise, Clarke toiled as a journeyman machinist by day, playing clubs by night. It all became too much, so in 1987 he made a commitment to play music full time. It was rough at first, as he struggled with a few low playing gigs as other less talented artists seemed to be hitting it big. But Clarke stayed true to his vision, writing creative original songs and putting together killer bands that brought plenty of life to his music. Backed by guitarists like Junior Watson, Alex Schultz, Zach Zunis, and Rick Holmstrom, Clarke’s music rarely fell short of being razor-sharp.
Free to tour, Clarke hit the road. He quickly established a growing fan base while dealing with the usual issues of long drives, broken vehicles, and low pay. Shy by nature, he had turned to alcohol for some liquid courage. Over time, the demon rum began to affect his performances, and more importantly, his health. The effects were often hidden from his fans as Clarke continued to give all he had on stage.
After a number of albums on small labels and several self-released titles, Clarke realized a dream when his concerted efforts resulted in a contract with Alligator Records. It was an unusual arrangement as owner Bruce Iglauer agreed to let Clarke be the first artist on the label to record and mix his own releases. With the label’s backing, Clarke eventually put out four dynamic albums to overwhelming critical acclaim internationally. His thought process and playing were geared toward the sound of horn players and jazz organists. Thanks to his outstanding technical skills, Clarke was able to create similar sounds on the harmonica
But the years of late nights, hard living, and too much alcohol had taken it’s toil. Fighting a leg infection mixed with a blood thinner, Clarke developed a bleeding ulcer. His body couldn’t take it any more. He passed away at the age of 45 in November, 1996, robbing the blues world of one of its brightest stars.
Barry lays out the saga in chronological fashion, mixing in comments and reminisces from many musicians who played with Clark, as well as memories from Jeanette and their two children. Also included are 28 pages of photos covering the span of Clarke’s life, many with detailed notes. Another section has testimonials from harmonica aces Jason Ricci, Dennis Gruenling, Ronnie Shellist, and Adam Gussow, and the author on Clarke’s lasting impact and influence. A two page discography accounts for all the recordings Clarke appeared on, including numerous posthumous releases on the Watch Dog label, which Jeanette uses to make sure the world does not forget about William Clarke.
Those readers who are familiar with Clarke will certainly enjoy learning more about his life. And if his music has not found it’s way onto your playlist, grab a copy of this fine book, buy some of Clarke’s music in your favorite format, and be prepared to be dazzled by killer tunes like “Hittin’ Heavy” and “Pawnshop Bound”. A debt of gratitude to Paul Barry for helping Jeanette fulfill her promise to continue to shine a light on William Clarke’s legacy.
