Re: [Harp-L] re: a question

[r_mcgraw@xxxxxxxxxxx]

Jonathan Ross wrote:
>To me the limitations of the 
> diatonic need to be acknowledged as real and that they often preclude 
> successful playing of complex pieces unless many techniques are brought 
> to bear including but not limited to bends and overbends, changing 
> harps, alternate tunings and probably more I'm missing. 
---As a person who used to be a champion of playing everything on the diatonic, I must say I agree. I have come to the conclusion that the path towards FULL chromacticity on diatonic is a dead end...thought the journey down that path is worthwhile because the development of these extended techniques has enlarged the vocabulary of the diatonic wonderfully.  To my ears, the various overblowe masters are doing some terrific music, some of the best stuff being done on the harmonica today...but I have yet to hear any diatonic player, including Howard Levy, really overcome the intonation problems...can someone on the list cite a CD where any overblower really plays jazz ballads with the authority of the best chromatic players? Without intonation problems? And let's face it folks, when most of us are listening to a beautiful melody, we don't want to hear out-of-tune notes. I also   reject the analogy of out-of-tune Miles Davis playing, trumpets, string bass, etc...yes, there are other instruments that have intonation problems...the point is does that excuse intonation problems of the magnitude the diatonic presents?
  Still, as Richard Hunter says, we'll see down the road who is correct about this. I've made my own decision and switched to chromatic in my fledgling attempts at jazz...I will continue to use overbends when I play diatonic  in blues and rock situations, and I will continue to listen with interest to the guys pushing the envelope on diatonic.
   I'd be delighted to be proven wrong on this one!
WVa Bob