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

[michael harp <diachrome@xxxxxxxxxxx>]

on 3/18/05 8:24 PM, Joe and Cass Leone at leone@xxxxxxxx wrote:

>> 
>> Very good big Mike. The problem I see with listening only to harpies
>> is that instead of focusing on the music/notes/patterns etc, many
>> players are so hung up on PEOPLE. We see it here all the time. Someone
>> starts a thread about a subject and it gradually morphs into "so and
>> so did such and such", or "hey, did anyone catch what's his name"?

Good point Smokey.
>> 
>> It is no secret that some people are idol worshipers and at the
>> slightest breath of certain peoples names, their eyes glaze over. So
>> HERE is the problem. People who concentrate on PEOPLE (especially
>> their FAVORITES) can listen all they want to but will NOT catch the
>> TRUE music. They will be sub-conciously tied to the PERSON and this
>> will pull corpuscles of concentration AWAY from what they were
>> listening FOR in the first place.

That is so true. 
I've seen good local harp players (and guitarists) get lost on stage when
tunes or rhythms are called outside their vein of listening. IF so and so
didn't play in that style on their cd's they have a hard time switching
gears and finding themselves in the tune.  That is where listening to a lot
of different music and musicians comes into play. We shouldn't wait for our
influences to come to us via the new harmonica release of the month or our
idols yearly release.

One thing some poster's fail to mention. Despite Jason Ricci listening to
and copying every LW solo note for note he now hates LW clones. He was ready
to give up the harp for the sax a few years ago. Around that time is when he
changed directions from being a harp idol clone himself to working on being
an innovator. His change didn't come from remaining a LW copycat but from
finding other sources of influence. While I don't think he hates LW per se ,
he does have a dislike toward those that don't look past other harp players
for influence. 

For those that idolize Jason and want to play like him, take Chris M.'s
advice.  Don't copy his style or licks. Copy his influences. That way you
can learn to play with his dexterity on tunes he hasn't recorded yet. Isn't
that what we all want? To play with the dexterity of those we admire. It
isn't really the notes they attack, it's the freedom to create fresh ideas
on the spot.

>> 
>> The perfect situation would be to listen to the phrasing, patterns,
>> chord progressions, etc. but done by someone who is UNKNOWN to you.
>> This way, you wont be "Pre-Jaded". Of course once you have heard this
>> unknown person, they TOO become known to you and you're back where you
>> started in that strange world of "Jeez, since I'm putting on this so
>> and so disc and I KNOW that so and so is great, I know I'll hear some
>> great stuff. Which brings you right back to concentrating on hearing
>> great stuff from someone whom you already KNOW is great. Therefore,
>> you STAY in a world of great expectations (from a PERSON)
>> 
>> Better to listen to an amalgum of all sorts of music by all sorts of
>> people, and therefore have NO pre-conceived notions of WHOM is doing
>> it, but more of WHAT they are doing.

Right. don't think of LW or JR or Toots, Coltrane, Miles or McCoy or any of
those cats when you solo or do fills. Just think about creating a musical
voice from all the other sounds that stay with you. Let a musical phrase be
a phrase, don't attach a persons name to it in your mind when you play.
Otherwise it sounds like up are pulling up canned solo #13 or #27 from those
you copied.

>> the ghost of smokey joe

I hear you can still hear his wailing harp late at night in Camp Hill
Correctional.;-)

mike