Re: [Harp-L] re: Zen Harmonica



As someone who use to play in a few 'chicken wire' bands i can give thanks for the inventor of said wire.
The worst thing,to me, about being a Harp player who doesn't sing or play another instrument, is that you can end up trying to occupy some serious stage time when you aren't actually 'doing' anything.
How did I cope? Well early in the gig I would pretend to be working the PA amp, complete with knowing looks at the vocalist as I manipulated the knobs that weren't actually connected to anything.
The next set I would disappear behind the curtain,speakers or between solos sorta jig jig a bit.
Then girlfriends would invariably say that I looked like an illusionist or a pogo stick and if so I should stick to making tigers disappear.
Ah, the third set.Here is where the 8 pints would kick in and I suddenly became the worlds biggest showman,look out James Brown, there wasn't a shuffle I couldn't groove to,mustang sally was the big call to leap on the dance floor and blow harp while checkin' out the 'talent'.(another no no with the girlfriend) This is not recommended when you attached to a 20' mic lead.(one time I took 3 dancers with me as we all spiralled to the floor enveloped in mic cord that had a G/B attached to it,man them old G/bs weigh a bunch when they wack you on the head; They weigh twice as much when its "Bozos" lady who wore the said mike.This I know personally because I have the scars to prove it.
So what to do when you are stuck on a stage with nothing to do?
Well in my case ,
Now I would assume an air of superiority,as in,hey you guys are out there payin' for this... i'm gettin' free beer and your girlfriend(now that she is 'glowing') is lookin' at me,not you.
Look I can play a Tambourine too..
Then .well I was young and had a ball and that is what music(should) be all about?.
Rick
in NZ
----- Original Message ----- From: "Bob Laughlin" <rlaughlin@xxxxxxxxxxxx>
To: <BiscuitBoy714@xxxxxxx>; <harp-l@xxxxxxxxxx>
Sent: Wednesday, May 16, 2007 2:28 PM
Subject: Re: [Harp-L] re: Zen Harmonica



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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