Some Responses to Old Posts

[BassHarper@xxxxxxx]

Still wading thru the archives, and finding lots of interesting subjects -
here's my $.02 worth on some of the subjects:

Chord Harmonicas - surprisingly Alan Pogson plays the 2nd version of the
chord, but he DOES play it upside down.  Al Fiore plays the original version,
both regular and with inversions as pointed out by George Miklas.  Al prefers
the inverted chord style for its brightness of tone, but also because it
provides a "rising"  sequence of chords as a progression is played "up the
scale".  The normal tuning has low-sounding and higher-sounding chords out of
sequence as a chord scale is played.  Why does he then still play the
original tuning?  Simply because that was the chord used on the big hit of
1947, "Peg O' My Heart", and it sounds strange to play it on the inverted
version.  After the first inverted chords were made for Al by Hohner, at Al's
request and design, Al always carried two chords with him - one of each
version - for that reason, and seldom used the original for anything but
"Peg".  (How about a true story regarding the two chords that I witnessed on
stage on more than one occasion?  As happens to all chord (and bass) players
at one time or another, Al would pick up his chord, and realize that it was
upside down.  Rather than look silly and turn the chord over like a drum
major's baton in front of thousands, he would simply put it back down and
pick up the other chord - better to look like he picked up the wrong
instrument than admit he picked it up upside down!)

Regarding the availability of the inverted tuning chords - Hohner had made up
a supply of them for Al, and had them on a shelf with his name on them.  They
wouldn't sell them to anyone else, because they were a special order for Al -
his design.  However, several years ago, Jerry Murad was able to get Hohner
to make up a supply in response to special orders that he had placed for
several of his friends.  I think they numbered somewhere between one and two
dozen.  When they were delivered, they went fast, and there were no more
made.

CORKY SIEGEL - I'm surprised no one mentioned that Corky played at the 1992
SPAH Convention in Chicago (or did I just miss it?).  He did great shows on
both the main stage in the ballroom as well as the blues jam, where he jammed
with Peter Madcat Ruth and Lee Oskar, as well as others.

Prior to Corky's forming the Chamber Blues group, which has played to rave
reviews from classical and blues aficianados alike, he recorded two albums
with Seiji Ozawa and the San Francisco Symphony Orchestra on the Deutsche
Grammophon label.  The first, catalog #2530-309, recorded in 1968, contained
William Russo's Three Pieces for Blues Band and Orchestra, featuring the
Siegel-Schwall Blues Band, while the second, catalog #2530-788, recorded in
1977, included Street Music, Op.65 - A Blues Concerto, also composed by
William Russo.  This session featured Corky as soloist.  Both albums very
interesting, to say the least.  Another album of Colky's that is a lot of fun
to listen to is his solo album of 1974 titled simply "Corky Siegel", and
features both his harp and keyboard artistry, as well as his trade-mark
vocals on  Dharma Records D-806.

If you have a chance to catch any of Corky's shows, don't pass it up.

More later.  -  BassHarp