Re: [Harp-L] A Night In Tunisia / diatonic jazz

["Bret Littlehales" <blittlehales@xxxxxxxxx>]

Hi-

There is no doubt whatsoever that great jazz can be played on the
chromatic harmonica. 

However, it seems as if there's a tone trade-off there. Personally,
I'm much fonder of the diatonic harp's tone than I am the chromatic. I
do like Larry Adler's beautiful robust tone, but not Toots'. For years
his tone was a hindrance to my enjoyment of his incredible musicality. 

Mauricio Einhorn, the great Brazilian chromatic player, feels that
there has to be a certain sacrifice tonally in order to acheive the
speed needed to play many tunes, and I've come to feel that he's
correct. Interestingly, his fellow South American, Hugo Diaz, has one
of the best, earthiest chromatic tones I've ever heard, but doesn't
play nearly as sophisticated music.

I think it's inarguable that certain music is more suited to certain
instruments than others. Saxophone and jazz, for example. The clarinet
used to be the lead instrument in jazz, along w/ the cornet, but both
are out of fashion now. Chromatic always sounds a little compromised 
in jazz ensembles despite the undeniable talent of some of the
players. It's a hybrid jazz instrument, like violin. 

Therefore, an attempt to translate "Tunisia" to a diatonic is a really
laudable idea. Tone regained. Speed regained, especially if you wanted
to replicate Bird's break after the head. I haven't played an XB yet
so I don't know if it would work as well. I would think that the size
of the harp would hurt one's speed. But I have heard Pierre Beauregard
play "Tunisia" on a prototype Magic harmonica (on a phone message he
left me about 3 years ago),and he DID play Bird's break before he went
into an extended improv. Imagine Little Walter playing Bird. 

I guess I'm really replying to Richard's message. I just feel it's
very very important to broaden the repetoire of the diatonic-- it's a
wonderful musical instrument.

Bret