harp prices in the US

[dahlbom@xxxxxxxxx]

Although I may be in violation of Harp-L etiquette by doing so, I would
still like to ask a few questions without directly referring to any subject
recently discussed, (and therewith perhaps also extending beyond the proper
length of Harp-L messages.) My excuse for this is that I am not directly
connected to the cyber- world, but writing under the aegis of my friend Bo
- who of course takes any messages at the above address - and this means
that I only read Harp-L in weekly chunks, or whenever such an amount of
messages is gathered that I will take the trouble to go and collect them (I
assume that I am not the only one with this indirect Internet-relation).
Thus I am seldom in the position to ask/reply immediatly to currently
debated themes.

1) I was referred to harp-L several months ago, when I asked the
participants on the blues-L discussion group (at least that is the Swedish
phrase) a deliberatly naive question regarding harmonica-amps. After that
the Harp-L was easily recognized as the proper forum for such queries. (As
well as being commendably free from all those dreary lists of who s the
baddest organ grinder, guitar player etc in the blues world.) No amp-stuff
now, however.

Instead I am puzzled by something that - at least as far as I ve seen -
seems relatively little discussed, namely the somewhat prosaic matter of
harmonica prices , especially in view of the durability of most harps. My
first Hohner MS (key of A) lasted about two hours of rather easy playing,
then it went sour on the blow 5. I hung in for a while and there went blow
9. (I think that was first time in 20 yrs of playing that a high register
note has collapsed on me.)

Apart from the fact that the harp in itself was totally inadequate,
compared to Pro-harp or Special 20 (leaking air etc), the retailers neither
keep replacement reeds nor any other Hohner harps stocked. I had to buy
another MS. (A somewhat distressing name...) The second one showed the same
lack of stamina, and is now defunct. My third one - tried a "Big River"
this time - is already from the beginning in such a deplorable condition
that I d rather play kazoo. This left me in a state of complete
disenchantment with the product development department at Hohner. (I take
it I m not the only one.) Reasons have been given on the list for this
pitiful display of declining standards in a reputed producer.

Now, the thing is that a new harp in Sweden costs around 200-250 SEK, i e
$25-30, and extra reeds circa 20% less. Since Sweden is supposedly on the
skids these days, prices have become tougher, but when a month ago I asked
a friend on a visit to the US to pick up a Huang harp - you can t get them
here - and it turned out that it only cost $12, I was beginning to wonder
if I should start importing on my own. (Admittedly the Huang "Star
Performer" is no greater harmonica, but it still works OK after many hours
of rather mercyless bending and overblowing treatment.)

In brief, what do you generally pay for a harp in the US? Since I ve
started to reflect upon a switch to Hohner GM:s (about $60 here), should I
have my next US visiting friend pick some up for me? Also, what about a
midrange-priced chromatic? Any pointers on good harmonica-shops in the N.Y
area? Or are the Lee Oskars more reasonably priced in the US? (The most
expensive in Sweden.) Arguably, the decline in Hohner quality is good
reason for buying Lee Oskars, but I m not to happy with their somewhat
thinner sound.

2) Howard Levy s instructional video has been mentioned several times, but,
as far as I ve seen, nobody s said anything on how to procure it. (The
chances of finding it in a Swedish music-store is nil.) Any help here would
be appreciated.
I had never heard - only heard of - HL until I stumbled on Rabih
Abou-Khalil s "The Sultan s Picnic", and I assume that this very fine
record has been given due consideration on the list. Anyone with even the
remotest interest in the possibilities if the diatonic harmonica outside
the blues context ought definitely to check it out.

3) As I recall some people on the list were connected to Gary Primich. Of
course this is totally out of line, but couldn t you please ask him, given
the opportunity, about his set-up (or is the word "rig"?) on the latest
record ("Travellin  Time")? Especially "Ding Dong Daddy" is a knock-out.
Those of you who claim that sounding good is "all in the player", almost
irrespective of equipment, should hear that one. (Not that GP sounds "bad"
otherwise, not at all, but I think his equipment here adds something...)

An explanation of the obviously very diverging quality of, say, BW Horton s
sound/tone - from piss-poor (Fleetwood Mac in Chicago) to shattering
("Easy" 1953 version) - would be interesting from the "all in the
player"-camp. Perhaps some of it could be attributed to a chronologically
negative development, but then the live-record with Ronnie Earl is
problematic. I believe it was the last thing he did, and it sounds
excellent to me. Despite external factors (booze, colds, depressions)
clearly it s to a very great extent a question of equipment. Some players
always sound bad no matter what they re using, but some of the time good
players sound bad because what they re using.

Unfortunately the amp/equipment question is (also) to an irritatingly high
degree a question of money. The Bassman re-issue and the various
bullet-mikes for instance, are ridiculosly priced, and not very
satisfactory either. Someone is making a lot of money by unsuccessfully
duplicating 1950s technology in the 90s. To all the new players on the list
I think this should be emphazised - especially if you re as destitute as I
am. Caveat emptor!

I would be much obliged for answers, and apologize for length and somewhat
erratic English.

                                          Martin Oldsberg


*
Bo Dahlbom, Department of Informatics, G|teborg University, 412 96
G|teborg, Sweden
email dahlbom@xxxxxxxxx 	tel +46(0)31 772 5174, fax +46(0)31 772 1099