Re: [Harp-L] But when it comes right down to it,,

["Rick Dempster" <rick.dempster@xxxxxxxxxxx>]

Think I know what you're talking about here Wolf. Most harp players,
traditionally, are the singer as well. The 'Muddy Waters Band'
situatiuon is less usual; that is the only prescedent for the harp to
have a 'chair' (as in, for example, first-trumpet in the Ellington orch.
et al)
Sonny Boy was a harpman/singer, and probably not used, and possibly not
well disposed, to 'backing up' (maybe 'playing second fiddle' might be
appropriate here, particularly in his case)
It's an entirely different skill filling in, answering and colouring 
someone elses musical phrasing rather than your own. I find it one of
the most enjoyable aspects of playing, and think it's at least, if not
more important than soloing.
If more harp players took this attitude, we might find ourselves in
greater demand.
Everything you say here is right on the money. Few players (and me not
among them) are  such great soloists that they can play for a few hours,
through twenty or thirty tunes, soloing in every number, without
becoming boring. But if the band works together supporting each other,
weaving the whole sound collectively, it can really move people.
Good words!
RD


>>> Wolf Kristiansen <wolfkristiansen@xxxxxxxx> 14/03/2007 9:20:32 >>>
I feel like jumping in on this discussion, that being
playing vs. overplaying your instrument in group
formats; especially as it relates to harmonica. Not
sure I have anything new to add, but it's something
I've thought about often. 

I play blues harmonica. My only musical trick. These
remarks come from the perspective of a lifelong blues
devotee.  I suspect non-blues harmonica players would
approach the issue differently.

In my small town, there's a core group of musicians
who get together in various combinations for special
events, concerts, music festivals, night club gigs,
etc.  I'm in that group. Since I don't sing, I'm never
the leader of the band. I'm always trying to please
whatever band I'm in; especially its singer.  He or
she is usually the nominal leader of the band.  Some
of my bands are "blues" bands; some are not.

Because I see the voice as the supreme, sublime
instrument, even more expressive than the harmonica, I
see every instrumentalist's role, be it a horn
instrument (including harmonica) or rhythm instrument
(including harmonica), as having its first goal to
support the singer.  More precisely, to help the
singer convey the mood, message, emotional content,
etc. of the song. So, if you can do that while playing
as the singer sings, or as the other instruments
sound, by all means do it. If you can't, stick to your
solo spot; even a sympathetically delivered solo can
add immeasurably to a song. 

In my opinion, you should never be trying to "wow" the
audience when it's your time to solo. Wowing the
audience, moving them to them say "what a great harp
player", is detracting from the overall spirit of the
song. They should be thinking about the message in the
song.  (even the blues songs-- if you listen, you'll
find it's not always about "my no good woman/man done
left me".)  I'm not talking about instrumentals where
often the point is to showcase everyone's virtuosity.

Besides being great soloists, Little Walter and Walter
Horton were great accompanists.  They had the uncanny
ability to pick just the right phrases, played in
rhythm, for the singers they backed.  

Not all great blues harp players have that ability. 
Sonny Boy Williamson II, for instance, as well as he
played on his own recordings, showed his fallibility
when he was called upon to back other singers.  I am
thinking especially of the European package tours he
travelled with-- the American Folk Blues Festivals and
side gigs, as documented on record and video.  To my
mind, he clashes with the singers as often as he
provides sympathetic accompaniment.

My point? Play contemporaneously with everybody else
if you truly have the skill; if you don't, best stick
to your solo spot.  Hopefully the band, especially the
singer, will give you feedback as to where you fit in.
 I'm not sure where I fit in; some of the singers I
back love it when I play over, under and all around
them as they sing; others insist on not hearing a peep
out of me.

Oh-- one last thing.  The sound of a harmonica is
powerful and arresting.  It turns people's heads.  Too
much of it in a song, or in an evening of music,
dilutes that power.  When in doubt, lay out!  You want
people craving more, not less.

Cheers,

Wolf

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