Re: [Harp-L] ancestor worship

[IcemanLE@xxxxxxx]

In a message dated 1/14/2009 12:48:15 P.M. Eastern Standard Time,  
michaelrubinharmonica@xxxxxxxxx writes:

However,  when I listen to Little Walter, and for that matter Rice
Miller, Big Walter  Horton and George Smith, I hear technical ability,
personal style and  feeling that I like better than Greunling's.

IMO, the only living guys  who achieve anything near the technical
ability, personal style and feeling  that I like as much as those
mentioned in the previous paragragh are  Cotton, Estrin and Wilson.


I believe that the ODBG's have a place in history because they, for the  most 
part, crafted "that" sound on the harmonica, so are the originals. A lot of  
players since, and many today, are purveyors of "that" sound, or duplicators 
of  "that" sound. Granted, if you want to play traditional blues, "that" sound 
is  part of the equation.
 
Cotton, alive, did create his own "that" sound - power harp Chicago style.  
Estrin has a unique spin and easily recognizable style of "that" sound as well  
as letting his hilarious personality come through in his playing. Kim has 
that  force of nature momentum Little Walter style that just stands out in the  
crowd of purveyors of "that" sound (I often believe that this is what Little  
Walter would sound like if he were alive today). Steve Guyger duplicates "that" 
 sound, but has some kind of extra mojo that feels more authentic to me than, 
say  Dennis G, although Dennis also has that great sound and shows his own 
personal  creativity, especially when he does a Little Walter tune that starts 
out  memorized lick for lick, but then moves in new and interesting directions. 
 Bharat also has "that" sound w/some kind of mojo. (Wish I knew what the mojo 
 was).
 
One performer with "that" sound w/bit of original contemporary  twist that 
works for me, is Carlos Del Junco. I've already heard newer up and  coming 
players latch onto Carlos' harmonica and vocal styles and try to  reproduce him 
exactly, such as RJ Harman. Early on, I heard a lot of Carlos'  ideas and lines 
in Jason Ricci's playing (although Jason executes them at  lightening speed). 
 
Imitation is the sincerest form of flattery towards the  original artist, 
especially when the imitator gives credit where it is due. For  the most part, 
purveyors of "that" sound and imitators show respect. 
 
I've been personally "bugged", however, when I hear someone performing who  
is doing a note for note and sound duplication of another living player without 
 once mentioning where all these great ideas really originated - in  a 
backhanded way I feel that their silence  is claiming another's creativity as their 
own.
 
The Rantman
 
 
 
 
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