[Harp-L] re: Smo-Joe & Richard hunters comments ('jazz' & 'distortion')

[Roscoharp@xxxxxxx]

In a message dated 12/4/2005 10:57:47 A.M. Eastern Standard Time,  
harp-l-archives@xxxxxxxxxxxxxxx writes:

From:  Richard Hunter <turtlehill@xxxxxxxxxxxxx>
Subject: [Harp-L] Jazz and  specific techniques

Winslow commented on one of my posts not too long  ago to the effect that
specific techniques might in fact be intrinsic to  jazz, and I've thought
about it quite a lot since then.  Ultimately,  I've decided that Winslow
is partly right and mostly wrong (subject of  course to further debate).

First, let's agree that jazz is a very big  tent.  It includes people
whose sounds and conceptions are radically  different.  Keith Jarrett is
jazz; so is Errol Garner; so is Bud  Powell; so is Bill Evans.  Sidney
Bechet is jazz; so is Johnny Hodges;  so is Charlie Parker; so is John
Coltrane.  This brief list should  illustrate the point: you can do a lot
of different things on your  instrument and still be playing jazz.

Where Winslow is right, I think,  is that certain conceptual approaches,
and their associated techniques, are  clearly associated with certain
jazz styles.  To take an obvious  example, Coltrane's use of what critic
Martin Williams called "exploding  harmonics" (multiple overtones played
simultaneously on the tenor sax) is  clearly associated with his late
style.  However, one would never say  that a saxophonist is not playing
jazz just because he or she is not using  exploding harmonics.

To take an example closer to home, Howard Levy's  jazz diatonic style
clearly demands overblows, and can't be duplicated  without them. 
However, jazz is a big tent, and Howard's approach isn't the  only viable
approach to playing jazz on the diatonic.  Using  specially-tuned
diatonics is an obvious alternative, and in addition to my  own work in
this area I can cite players whose use of special tunings is  far more
radical than mine, and whose results are certainly jazz.

I  categorically reject the idea that any single player's approach to  any
instrument, no matter how brilliant, defines jazz, and therefore  the
idea that any single set of techniques defines jazz.  To say  otherwise
is equivalent to saying that jazz stops growing when the right  player
comes along with the right set of ideas and techniques.  If  that were
the case, jazz would have stopped growing with Armstrong.   Or Parker. 
Or Coltrane.  Or whoever. 

It's more accurate to  say that every great player, and a lot of the
less-than-great ones,  contribute something new to the evolving language
that is jazz.  And I  certainly reject out of hand the reverse
implication -- that if a player is  NOT using a certain set of
techniques, e.g. overblowing, that he or she by  definition is not
playing jazz on the diatonic.

Like I said, subject  to further debate.



Hey list,
I read this post soon after reading Smo-Joes post about not liking the  sound 
of some, I assume, electric harp styles. It all goes to the same idea,  & 
reminds me of the "Popper" threads. If you don't like a style of music,  
literature, film, whatever... no problem. Don't listen, read, or watch. These  things 
can be fun to argue about, but there is no right or wrong.  Richard  writes 
that "jazz is a big tent" & I think that that is undeniable. I would  also say 
"harmonica music is a big tent." Bill Barrett, Steve Guyger, Howard  Levy & 
Chris Michalek all have different sounds & play different styles  (in multiple 
genres), but they are all great to my ears. 
 
Smo Joe writes: "Excuse me J.R. and I don't want  to cause a fuss, but yes 
you do. I'm
speaking of this over muffling and  distorting deal. A little is ok, but
some people play TOTALLY distorted. If a  person wants distortion, get a
toy tuba and blow it into a metal waste paper  can."
 
 
You know, I might really dig that toy tuba thing! Smo-joe might  not......& 
he doesn't have to. Again, I can't say there is a right or wrong  opinion.
As for one of Richard's points, I used to be a snob about altered  tunings. I 
was being dumb & close-minded.  Listening to Barrett (my  favorite 'jazz' 
chro player),  or P.T.Gazell, amongst others using altered  harp set-ups, I don't 
care how they make their music. I just enjoy it  immensly. 
 
Later,
Rosco
_may.be au.gust_ (http://www.maybeaugust.com/) 
 
live recordings: _may.be  au.gust_ (http://www.maybeaugust.com/Live.aspx)