Bebop

[Andrew Wimhurst <awimhurst@xxxxxxxxxxxxx>]

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Actually, that's not true, regarding bebop. Lots of guys have absorbed 
and used bebop stylings - the two major players that spring to mind are 
Little Walter and Kim Wilson. Check out some of the phrasing on "Roller 
Coaster", "Mellow Down Easy" and others. Check out Wilson's 3rd 
position playing on the Smokin Joint CD (can't remember the track title 
but it's the looong one where his solo is sandwiched between solos by 
Kirk Fletcher and Troy Gonyea). The great thing is both Walter and 
Wilson play/ed this sort of phrasing without sacrificing their muscular 
tone, something that can't be said for those who favour overblowing. 
It's a matter of knowing where you can't go and working with what 
you've got - which is actually the same for any great instrumentalist, 
IMO.

It's true, however, that diatonic players generally prefer to cop from 
riff-based swing players like Lester Young.

For an easy introduction to bebop playing in which it's possible to cop 
some cool phrases, check out Cannonball Adderley's LP: "Julian 
'Cannonball' Adderley".

Cheers
Andrew



Chris wrote:

> Its really hard to put this stuff in harmonica terms nobody except
> Howard Levy is capable enough to play jazz on the diatonic. The best
> example I can think of is Howard Levy (be-bop) vs Jeff Grossberg
> (hard bop)


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<fontfamily><param>Courier</param><smaller><smaller>Actually, that's
not true, regarding bebop. Lots of guys have absorbed and used bebop
stylings - the two major players that spring to mind are Little Walter
and Kim Wilson. Check out some of the phrasing on "Roller Coaster",
"Mellow Down Easy" and others. Check out Wilson's 3rd position playing
on the Smokin Joint CD (can't remember the track title but it's the
looong one where his solo is sandwiched between solos by Kirk Fletcher
and Troy Gonyea). The great thing is both Walter and Wilson play/ed
this sort of phrasing without sacrificing their muscular tone,
something that can't be said for those who favour overblowing. It's a
matter of knowing where you can't go and working with what you've got
- - which is actually the same for any great instrumentalist, IMO.


It's true, however, that diatonic players generally prefer to cop from
riff-based swing players like Lester Young. 


For an easy introduction to bebop playing in which it's possible to
cop some cool phrases, check out Cannonball Adderley's LP: "Julian
'Cannonball' Adderley".


Cheers

Andrew




Chris wrote:


<excerpt>Its really hard to put this stuff in harmonica terms nobody
except 

Howard Levy is capable enough to play jazz on the diatonic. The best 

example I can think of is Howard Levy (be-bop) vs Jeff Grossberg 

(hard bop) 

</excerpt>

</smaller></smaller></fontfamily>
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