Re: (singin, jammin) Why not just call them "Guitar Jams"
- Subject: Re: (singin, jammin) Why not just call them "Guitar Jams"
- From: Mojo Red <harplicks@xxxxxxxxx>
- Date: Thu, 4 Dec 2003 12:08:37 -0800 (PST)
- --- Jp Pagan <jpl_pagan@xxxxxxxxx> wrote:
> does it really have to be "shut up, play your
> solo, and shut up"?
Nope. It sure doesn't. At least that's my opinion.
When I play at a jam I almost always play fills,
comps and rythms; and I'll get into
call-and-response things with guitarists during
their 2nd 12-bar lead - if they are willing/able.
But laying out until your solo is certainly the
~safest~ way to approach a jam - especially if you
don't know any of the players onstage with you; and
especially if you're a little unsure about how to
play back-harp well.
I think the thing is that the stuff you play
(outside your solo) really needs to ~help~ the
song, ~enhance~ what's going on and ~not~ place the
spotlight on the harp. One needs to use one's ears,
try and stay objective, and if it's not working...
lay out. There's nothing worse than someone up
there searching for the right notes onstage as if
he were in the woodshed.
Ya gotta remember, a jam session isn't a ~practice~
session. It's entertainment for the paying
customers. You want to play and behave as
professionally as you're able.
When done well, back-harp is simply an added
ambience to a song, one that's non-intrusive. The
spotlight falls on the harp during the harp solo.
If you have an itch to play behind someone in a jam
situation, then do so ~carefully~, do so
~mindfully~... keep your ears open and keep your
eye on who you're playing behind. If he/she doesn't
want you there, they'll let you know soon enough.
If you're work is appreciated, you just hang in
that pocket... as unobtrusive as a skilled rhythm
That's my take anyhow.
Harpin' in Colorado,
- --Ken M.
"When you speak of Walter Horton, the first thing you think of is his tone, that big, fat tone."
- ---Li'l Ronnie Owens
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