[Harp-L] RE: Real creativity

["Barnum, Ansel \(Ansel\)" <Ansel.Barnum@xxxxxxx>]

Piazza is a great example--one I had in mind but refrained from mentioning. For many years I idolized his playing which seemed to be so innovative and original. Back in the young and naive years I listened to his solos on CDs and thought he was coming up with that stuff off the top of his head, which blew me away. Then I began attending his concerts and hearing the same solos reproduced note for note. Sure, they were still wonderful, but my disillusioned ears were less awestruck. Instead of hearing a great improviser, they heard the work of great composer whose solos were merely extensions to the song he wrote. It was like discovering that an eloquent speaker was scripted.

Yes, it's still all good music in the end, but innovation--be it preconceived or improvised--is what defines the artist and compels the listener.


-----Original Message-----
From: Haka Harri [mailto:harri.haka@xxxxxxxx]
Sent: Sun 5/6/2007 5:44 PM
To: harp-l@xxxxxxxxxx
Cc: Barnum, Ansel (Ansel)
Subject: Re: Real creativity
 
Real creativity can also be found with players who seemingly repeat themselves. This illusion of repetitiveness comes from songs resembling each other. One example is the late great Jimmy Reed who was a genius and stuck to his own distinctive style which is still widely copied and appreciated. 

Many diatonic players of today have found their own distinctive sound and want to stick to it, making only moderate changes. And they also have a huge following, including myself. I wouldn't want to travel to a Rod Piazza gig and find him doing a totally different thing from what he's been doing for the past 40 years, diatonic or chromatic.

I doubt that you will find a good harp player who blows something totally new every time. What might be more like what you're looking for is other genres of harp playing.

Harri


> Date: Sun, 6 May 2007 11:54:56 -0400
> From: "Barnum, Ansel \(Ansel\)" <Ansel.Barnum@xxxxxxx>
> Subject: [Harp-L] Real creativity
> To: <harp-l@xxxxxxxxxx>
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> 
> Recently I'm beginning to become disillusioned with my 
> childhood harp heroes. Last night I heard one of them in 
> concert which was admittedly a great show. However, it was 
> the same one I'd heard last year, the year before, and so on 
> going back to when I first heard them ten years ago. And that 
> seems to be the trend amongst most in my harp pantheon. Yes, 
> they conceived of great music at one point in time, but they 
> don't continue to do so, instead replaying the great ideas 
> they (or someone else) thought of in the past. And even those 
> that do periodically come up with new material on a CD just 
> rehash it like a jukebox in concert.
> 
> So my question is: Where is the *real* creativity? Who are 
> the musicians that play something fresh every time a harp 
> meets their lips? I certainly appreciate that the diatonic 
> harp and blues form imposes constraints that chromatic jazz 
> players do not face. Which is why I'm searching for those 
> geniuses able to break through these barriers to that zen 
> state of art. Who can I turn to for inspiration of exciting, 
> dynamic, creative music that continuously flows into the 
> instrument--in this case, a diatonic harp?
> 
> 
> Ansel