RE: [Harp-L] I'm Gonna Listen to 'Em . NOW: how many degree'sof seperation?

["Dennis Alters, MD" <dennisaltersmd@xxxxxxxxxxxx>]

Hey Mike we haven't met but please send my regards to Big Mitch as well. We
cruised together for two years as Dr. D mentions below.

Dennis "Doc" Alters aka Doc A. by LRBC cruisers

Dennis B. Alters, MD
Diplomate, American Board of Psychiatry and Neurology
Diplomate, American Board of Child and Adolescent Psychiatry and Neurology
-----Original Message-----
From: David R. Fertig [mailto:dfertig@xxxxxxxxxxxxx] 
Sent: Friday, March 18, 2005 5:24 PM
To: michael harp; HARP-L
Subject: Re: [Harp-L] I'm Gonna Listen to 'Em . NOW: how many degree'sof
seperation?

At 04:03 PM 3/18/2005, michael harp wrote:
>After a 4 year band hiatus, I recently started gigging again this year. The
>band I'm in is the band that sets the bar for all other blues bands to meet
>or beat in this part of PA., Krypton City Blues Review.


Krypton City Blues Review!  That means you play with the great Mitch 
Ivanoff!  Mitch is one of the finest people I have met in a jam, and one of 
the must enjoyable guitarists I have played with or listened to.  A true
gent.

On the Legendary Rhythm & Blues Cruise, at least in 2004 and 2005 when I 
went, Mitch was perhaps the most popular jammin' guitarist (i.e., not paid 
performer) and not just because of his sweet and heartfelt musical style, 
but for his whole laid-back yet caring and focused demeanor, his sharing 
and open approach, and of course his awesome chops.

Any bandmates of his must be exceptional, my hat's off to you.

Tell Mitch that Dr. D says hi!

-Dave Fertig



>   An odd thing happened while trying to "de-evolve" my playing style in
>order to fit into the band's vintage sound. The jazz sax technique of
>soloing I've been hearing in my head for years was starting to come out.
>Not the smooth jazz crap, but the real players.
>
>  The nice thing about this band is that the soloists are given plenty of
>time to build solos based on feel rather then sticking to a 12 or 24 bar
>canned/cover solo. It creates a breeding ground for fresh ideas while
>soloing over old material. Some very fine harp players have emerged from
the
>band.
>
>Rather then trying to play LW solos like LW or other Muddy sidemen, I
>started building my solos based on the short horn phrasings I was hearing
>mentally. The end result is that I'm starting to develop solos in the LW
>vein which is basically a harp player influenced by horn players. I'm not
>locked into sounding like LW but I can effectively build a solo on one of
>his or Muddy's tunes by not looking to him for influence. Granted, I listen
>to other harp players for tongue techniques but not solos. I can't remember
>anyone's harp solo to save my butt.
>
>IF we listen to nothing but harp players for influence our ideas become
>locked into a narrow mould. You can still be technically good but limited
in
>the types and styles of music you can "effectively" play.
>
>Then again, if you don't like horn players you aren't going to learn
>anything by listening to them. I started playing in the early 70's owning
>very few harp or other recordings so I spent hours on end playing along
with
>the instrumental tunes on ABB Filmore East lp and learning slide guitar
>solos on the vocal tracks.  and yes, guitarists do notice when you can do a
>Duane Allman solo almost note for note.:)  I used the lp to build dexterity
>on the harp. Later, playing along with  ABB and Pat Metheny live recordings
>taught me how to improv on tunes that don't follow a standard blues
pattern.
>
>By exploring other instruments and music you prepare yourself for many
>musical encounters throughout your life.   Your harp will never be a hurdle
>and your opportunities to play will increase dramatically.
>
>mike
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