Re: [Harp-L] jazz - technique vs. style

[Winslow Yerxa <winslowyerxa@xxxxxxxxx>]

Are style and technique completely distinct as Richard Hunter asserts
(see below)?

Two examples to argue the contrary:

Using the hands to shape individual notes (including vibrato/tremolo)
is used in many styles but is shunned by nearly all dedicated jazz
harmonica players: Toots, Galison, Meurkens, Levy, Turk. If they do use
it, it's only when playing in other styles.

The practice of detaching each successive note, usually with a glottal
stop, is a distinctly classical practice. Douglas Tate used to speak of
this as a way of eliminating the unevenness inherent in some note
sequences involving same-breath notes (smooth) and others changes of
breath (choppy). By slightly detaching each note, one can then use
other means, such as rhythmic stress, to articulate phrases and create
the illusion of legato. This can be heard in the playing of most
classical players whether they talk about it or not. I'm not aware of
this technique being consistently applied as a part of the fundamental
approach in any other style.

I'm afraid I have to give credence to Chris' notion that style and
technique are somehow linked and that one can indeed have "chops" for a
particular style.

Winslow

Chris Michalek wrote:
*************
I have known Clint Hoover for 20 years.  
He's got fantastic tone on the chromatic and stellar chops. I also
like his vibrato and his in one of the reason I have evolved mine to
such a high level.
I also think he has superb folk/country-style blues chops on the
diatonic.  He is a very good jazz chromatic player but I wouldn't put
him in the jazz diatonic class.
*************

==Richard Hunter replied:

Well, the message above makes no sense, and in particular it's confused
about the difference between technique and music.  The thing that makes
you a jazz player, on any instrument, is your conception.  Clint's jazz
conception is very strong, whether applied to chromatic or diatonic. 
He certainly knows how to use all the chromatic techniques available on
diatonic, not that it's necessarily essential to playing jazz on the
diatonic.  His recorded diatonic work is mostly about early jazz, but
it's certainly jazz.

I'm starting to feel like I don't understand what's supposed to make
someone a "real" jazz diatonic player, given exclusions like this one. 

Regards, Richard Hunter
hunterharp.com  





	
		
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