Re: [Harp-L] RE: Spain

[Richard Hunter <turtlehill@xxxxxxxxxxxxx>]

I promised in a previous post to harp-L to keep listening to the work
others on this list do, to encourage others to listen to my stuff, to
comment on what I hear, and to listen to the comments of others.  

Re: listening to the comments of others, I want to advise again that one
of my latest pieces, "Paris Boogie," an amped blues with full band and a
New Orleans groove, is available for listening now on Broadjam.  Go to
broadjam.com, and click on "search" on the main page menu bar.  On the
next page, type "Richard Hunter" into the artist name field.  You'll see
a list of my pieces appear.  Scroll down the list until you see "Paris
Boogie," and click on "Play."  Among other things, this piece has four
harmonica parts, all of which were recorded through my RP200 using my
"StkSlp" (Stack amp, slap delay) patch. I used an LO Natural Minor harp
in A in 2nd position for the lead on this piece, precisely because the
whole step between the blow and draw reeds in the 5 hole allowed me to
get a hair-raising bend into the top note of the melody. The bridge
section uses both Natural Minor and standard Richter-tuned harps, and
shifts into a major-key feel. See what you think and let me know.

Regarding Ludo's recording of "Spain", as with so many attempts to play
complex material on the diatonic, I'm of two minds about it. First, the
energy on this recording is wonderful and thrilling, even inspiring.  It
starts off at a gallop and never looks back, with Ludo's harp setting
the pace.  On the other hand, the pitch on many altered (bent or
overblown) notes is shaky, and the timbre of notes that are altered
tends to stick out.  This is especially so on the tricky bridge section
of the piece, which was a problem for Sandy Weltman too in his recording
of the tune. 

I remain convinced that the best way to play "Spain" is on a chromatic
harp using tongue-switching (as taught by Robert Bofiglio) to manage the
rapid jumps with changes of direction that occur in the bridge.  I made
similar points in a previous thread on this list about "A Night in
Tunisia," and none of the diatonic recordings produced by list members
on that occasion changed my mind.  

All that said, I want to close by emphasizing the point I started with:
the energy on this recording is inspiring.  We'll see whether
overblowers can ultimately manage the pitch and timbre challenges that
go with the technique, or whether audiences and musicians are willing to
let it pass.  

Regards, Richard Hunter
hunterharp.com