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And I will also add :
I've know bits of Muddy's interview since 1969 - in Grossman's Delta Blues Guitar, the original which I still have, published before he hired someone who could write music properly - and I happend to make my own transcription of all four interviews from scratch, from the Chess/MCA reissue, before Robert Gordon's book came out (for the purpose of what I think was the first French translation, in 2001).
So I encourage anyone discovering these to refer to the actual transcriptions, this being a carbon copy of an old, faulty one which was already on the Web ten years ago ("thinkin' a bumpin' on my car", no way! )
And, possibly, hearing them : the job I did, from scratchy and damaged reissues, forced me to listen very closely, even to extra-linguistical details like intonation, hesitations... and sometimes, the time it takes for Muddy to provide the expected reply is more revealing than his actual words.
Of course, there were leading questions (his father John never made a mistery of this) and Muddy was supposed to drop some names and words - like "breakdown" in interview No 2, which John Work did not succeed in reminding him so that Alan took his place by the end. And Son House had to be the ending reply in this one.
It is not clear whether Lomax met Muddy first, which is what matrix numbers suggest IIRC, or the reverse... but his own comments tend to prove that it was House who had recommended Muddy to him, and if it is so the "discovery" of Son House's name during the interview is pure artifice. Anyway, although it is obvious that Muddy knew about Black Mama, and maybe adopted it after seeing Son play... or hearing his own record, which was out on the year he moved to Robinsonville, the more or less compulsory statement does not mean that Son directly taught it to him.
I think people should stop picturing Muddy as a primitive young guy, introduced to the blues in the first place, by an older "mentor". In spite of his age, he probably took up a guitar before Son, trying to learn Leroy Carr's How Long Blues (first tune he played) from the Victrola around 1928, while Son House was still staying away from the devilish instrument. Lomax insists on making him repeat that he prefered "blues" to anything else, but we know he listened to a lot of music, and his favourite was Fats Waller!
Peter Guranlick also insisted on the "influence" of Son House on Muddy, but since he found no obvious stylistical traits (the imitation of *one* song cannot be considered as "influence") he gave up the instrumental aspect and decided that the common points were in the singing. Up to him...

If Muddy had any more solo performances than the two songs he recorded (and repeated) in 1942, Lomax wouldn't have missed them. And if he had indeed been mentored by Son House, both men lived long enough to let their greedy interviewers know about such a detail.

Regarding Howlin' Wolf, I do not see what suggests he borrowed anything from Son, he obviouly met him, but he was already introduced to blues techniques when he did (his own" instructor" being no-one but Charley Patton - once again, before "churchy" House decided to make music)