Re: [Harp-L] re: Zen Harmonica

["Bob Laughlin" <rlaughlin@xxxxxxxxxxxx>]

Moving, or not moving, physically across the stage, or in place, is not a
doctrine set in stone. For some, what Iceman suggested, letting go of a
particular nervous compulsion to move, plays a part in progressing from
someone "trying to impress", and someone "finding the groove". After a
while, in the course of that same progression, one may become adept enough
as to allow for some "dancing" while playing well, as the technique of
extracting "good tone out of a tin sandwich" has been mastered to a
reasonable degree. If this mastery is lacking, then perhaps the showmanship
may need to be set aside for now, until the tone and playing skills improve.
Movement shouldn't merely be a nervous cover for lack of musical skill. But
that's no law either. Mick Jagger's chops on harp aren't up to the par of,
say, Kim Wilson, so I'd certainly hope dear Mick "keeps on dancin' ", cuz
it's "part of the show". If he just "stood there", I'd hope to hear
something more impressive on the harp end of it.

I doubt sincerely whether any working band wants to see a walk-on harp
player "getting his groove thing on" with all the wrong notes, as one
extreme example. For that matter, someone soulfully playing without moving
can reach out and touch the audience (by the music) more than a strictly
physical show.

Again, this isn't written in stone, and fortunately for all, music is for
having fun, not for living according to someone else's standards of "what
looks good", or "should be done". The best way to approach music is to "just
do it". I tell my classical guitar playing son to "lean into it", "feel the
music", and to "caress the guitar". I encourage him to emote, become
emotionally available to the audience. But if he were to do these things
merely to satisfy me, his dad, it would be wooden, and false. He plays well
enough without all of my counsel. I just say these things to give him a
sense of liberty, that IF HE WANTS TO, he can add this dimension to his
performance. He actually does very well as it is. I'm just trying to encoura
ge, and liberate.

But I recall when I was a kid growing up, and my sister tried to get me to
"loosen up" and "learn to dance" (She was, God bless her, trying to help me
to become more "socially available"). Sure, I tried it, for a moment,
according to her "instruction", but it just seemed artificial, and she saw
it, and gave up. I wouldn't enjoy dancing again, until after I got a bit
older, and took some drugs,,,er,,I mean,,felt comfortable doing it. Until it
became "natural" to me to dance, to move, etc,,it just wasn't a "natch'l
thang" (Many thanks to Taj Mahal for that). No amount of so-called
"encouragement" (discouragement) can teach a typically inhibited person to
"be uninhibited". It's in the person's nature, and only time and experience
can change a person's nature. Only the music can move you, and if it's not
the music moving you, then don't bother moving.

I feel helped by the Iceman's suggestions. But they are not laws, merely
advice, for those in particular who, perhaps, get so nervous and
self-conscious onstage as to feel the need to "do something" which, in
effect, takes them AWAY from the music, AND the "groove".  Some may feel
liberated when "allowed" to stand still. Others may need the opposite kind
of freedom. Remember, "freedom" is not "freedom imposed", but "freedom
allowed". Liberation and so-called "democratization" sometimes work against
each other.

Okay,,back to the music,,If I were asked to play harp, for instance, with
Bob Marley (God rest his soul) and the Wailers, believe me, I don't think I
could do it standing still. That kind of music just gets me going. Now
THERE'S a "groove", and "it is written,,thou shalt move",,

But I find, again, Iceman's suggestions refreshing, in that oftentimes it's
how you "take away" from what you're doing, that actually ends up ADDING to
the power, to the effect. THAT's art.

(Hate to say this,,but look at the difference between John Popper style
"busy harp", and a guy like Miles Davis, playing it cool and deep, low and
slow. I'd much rather hear "sweet tones than busy bones".)

Just my opinion.

But yes, there's a place for showmanship,,even gimmicks. Whatever works, I
suppose.

Bob

----- Original Message ----- 
From: <BiscuitBoy714@xxxxxxx>
To: <harp-l@xxxxxxxxxx>
Sent: Tuesday, May 15, 2007 5:57 PM
Subject: Re: [Harp-L] re: Zen Harmonica


>
> I always thought that moving was part of what you  do to play music. I
> started back in 69 and I guess I got spoiled, but I played  behind the
Exiles when I
> was 13 years old and watching Jimmy Stokely do his act  I had no choice
other
> than dance. If you have to think about what you are doing  on stage, then
> probably it will look contrived. I came up doing rock cause I was  a
singer. I
> could play harp so I always did, but part of the show was moving to  the
groove.
> I learned to move to the groove and play harp at the same time  'cause I
got
> a good reaction from the crowd. Give 'em the meat. That's what  Steven
Tyler
> says. Everybody has their own way, my way is to get down with it,  and
give all
> I got. if I 'aint sweatin,' I aint playin'.
>       Randy
>    BiscuitBoy Blues
>
> In a message dated 5/15/2007 5:13:42 P.M. Eastern Daylight Time,
> BRATGIRLBABY63@xxxxxxx writes:
>
> Your  stage presence, or whatever you want to call it, is more important
to
> the fans than you may think. You could be a fabulous harp player but as a
> fan,
> I  won't be as entertained watching you if you are a mannequin,  no matter
> how
> good  you are. I want the whole  package:)
>
>
> Just one little Brat's opinion...
>
> Chicago  Brat
> Knowledge is Power
>
>
>
>
>
>
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http://www.aol.com.
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