Saunders Terrell, better known as Sonny Terry (October 24, 1911 – March 11, 1986), was an American Piedmont blues and folk musician whose vibrant harmonica style and infectious energy left an indelible mark on the blues world. Renowned for his “whoopin’” technique, which blended vocal hollers, train whistles, and animal imitations with masterful harmonica playing, Terry became one of the most celebrated acoustic blues artists of his time. His decades-long partnership with guitarist Brownie McGhee brought Piedmont blues to global audiences, bridging folk and pop music while influencing generations of musicians.
Born in Greensboro, Georgia, Sonny Terry was the son of Ruben Terrell, a farmer and part-time harmonica player who performed reels and jigs at local gatherings. Terry’s musical roots took hold early; by age six, he was singing at church tent revivals, and his father taught him the basics of harmonica. Tragedy struck young Terry when two separate accidents—one at age 11 and another at 16—left him blind, dashing hopes of farm work and pushing him toward music as a livelihood.
Relocating to Shelby, North Carolina, Terry immersed himself in the Piedmont blues scene, a regional style characterized by intricate fingerpicking and a lighter, more melodic approach than Delta blues. He played on street corners, at fish fries, and in traveling medicine shows, honing a unique harmonica style inspired by DeFord Bailey’s Grand Ole Opry broadcasts. Terry’s “whoopin’” technique—marked by high-pitched vocal yawps, falsetto cries, and vivid sound effects—transformed the harmonica into an extension of his voice, mimicking trains, hounds, and barnyard animals with uncanny precision.
In 1934, Terry met Piedmont blues guitarist Blind Boy Fuller in Wadesboro, North Carolina. The two became fast collaborators, with Terry’s harmonica complementing Fuller’s intricate guitar work. Under the guidance of manager J.B. Long, they recorded for Vocalion Records from 1937 to 1940, often joined by washboard player Bull City Red. After Fuller died in 1941, Terry’s career took a pivotal turn when he began a lifelong musical partnership with guitarist Brownie McGhee, whom he had met in 1939.
Terry’s big break came in 1938 when producer John Hammond invited him to perform at the groundbreaking From Spirituals to Swing concert at Carnegie Hall, a showcase of African American music. Originally intended for Fuller (who was incarcerated), Terry stole the show with solo harmonica pieces like “Fox Chase” and “Mountain Blues,” backed by Bull City Red. That same year, he recorded for the Library of Congress, and by 1940, he cut his first commercial sides, including “Train Whistle Blues” for Columbia’s classical series.
The duo of Sonny Terry and Brownie McGhee became one of the most enduring acts in blues history. After moving to New York City during the Great Migration, they recorded prolifically for labels like Folkways, Bluesville, and Prestige, producing classics such as At Sugar Hill, Just a Closer Walk with Thee, and Midnight Special. Their chemistry—Terry’s exuberant harmonica and vocals paired with McGhee’s steady guitar and smooth singing—captivated audiences. In the 1940s, they experimented with a jump blues combo, fronting bands like “Brownie McGhee and His Jook House Rockers” or “Sonny Terry and His Buckshot Five,” featuring honking saxophones and rolling pianos.
Despite their roots in “pure” folk blues, Terry and McGhee adapted to diverse settings. They performed with folk icons like Woody Guthrie and Pete Seeger, joined the Almanac Singers, and became fixtures of the 1950s and 1960s folk revival. Their tours spanned the U.S., Europe, New Zealand, and Australia, introducing Piedmont blues to white and international audiences. They also ventured into theater and film, with Terry appearing in the original 1947 Broadway cast of Finian’s Rainbow and both starring in Cat on a Hot Tin Roof (1955–57). Their onscreen roles included the 1979 comedy The Jerk with Steve Martin and Terry’s appearance in Steven Spielberg’s 1985 film The Color Purple.
Terry’s harmonica virtuosity set him apart. Using a “cross-note” technique—playing in a key different from the harmonica’s tuning—he created a raw, emotive sound. His ability to weave vocal moans, train whistles, and fox hunt calls into performances made songs like “Old Jabo” and “Lost John” unforgettable, showcasing his breath control and passion. Collaborations with artists like Lightnin’ Hopkins, Johnny Winter, and Ry Cooder (on “Walkin’ Away Blues” and “Crossroad Blues” for the 1986 film Crossroads) highlighted his versatility, spanning folk, electric blues, and even classical contexts.
Terry’s influence extended beyond music. He and McGhee were among the first blues artists to bridge folk and pop, paving the way for the 1960s blues revival. Their 1982 National Heritage Fellowship from the National Endowment for the Arts—the first ever bestowed—recognized their contributions to American folk traditions. Terry also authored The Harp Styles of Sonny Terry (1975), an instructional manual preserving his techniques for future generations.
By the late 1970s, tensions from relentless touring strained Terry and McGhee’s relationship, leading to a split around 1980. Terry continued performing, recording Whoopin’ (1984) with Johnny Winter and Willie Dixon, and contributing to The Color Purple soundtrack. His output slowed as health declined, but his legacy endured. Terry died of natural causes on March 11, 1986, in Mineola, New York, just days before Crossroads hit theaters. That same year, he was inducted into the Blues Hall of Fame, cementing his status as a titan of acoustic blues.
Sonny Terry’s exuberant style and innovative harmonica work made him a cornerstone of Piedmont blues. His ability to transcend racial and genre boundaries—performing for diverse audiences and collaborating across musical styles—helped popularize blues worldwide. His influence resonates in the work of modern harmonica players and blues artists, and his recordings remain timeless. As Alan Lomax wrote in The Land Where the Blues Began, Terry was “that greatest of harp blowers,” a musician whose passion and artistry continue to inspire.