[Harp-L] RE: Discussion topic: Why do you want to play blues?

[Warren Bee <wlb@xxxxxxxxxxxx>]

I see the Buddha is seeking enlightenment as to why one would choose the
blues. The bait has been dangled and I shall bite:

 

 

"This is mainly for diatonic players and of course the question doesn't

apply to all."

 

*I am a diatonic guy so I guess I qualify to proceed!

 

"Why do you choose to play blues on the harmonica? Because you love

blues or because you love the harmonica and it seems to be heavily

intertwined with blues?"

 

*I first fell in love with the sounds that the diatonic harmonica makes. No
matter where/when I heard the harp whether it be in rock, pop, folk or blues
music I was attracted to the sounds. When I got a full dose of the blues on
harp via Sonny Terry, Peg Leg Sam, Paul Butterfield, Junior Wells (my first
exposures) I was then aware of just how expressive and powerful the blues
harp could be and it touched me. I really liked the sounds then. Then I
realized that the music that attracted me in general; Zeppelin, Pink Floyd,
The Stones, The Beatles, The Who, The Doors, Dylan, John Prine, James
Taylor, Paul Simon, CSN&Y, The Dead etc. had plenty of space to put those
bluesy sounds that came out of the harp. Many of those bands/people in fact
were using harp in a blues context but not always. Then I made the
connection that the harmonica was an instrument that was full of improvising
potential and that its sounds could be shaped "my way". I was then a blues
junky and at the same time still digging the other stuff. Muddy said it all
when he said "the blues had a baby and they called it rock n roll". I really
didn't look at the harp as a blues instrument.it was just a cool axe that I
could really relate to. It fit with all of the music I loved.

 

 

"So is playing blues an ability issue, "copycat" issue or one of

passion for the genre?" 

 

*That's a loaded question! There is no doubt part of my attraction after
buying a harp was that I could figure out the basics on my own.I didn't need
a teacher other than Tony Glovers book. That and of course the records that
I was spinning non-stop and listening to with big ears. Yes the "copy cat"
part was attractive.I could mimic harp lines a lot better than I could
figure out guitar, keys or drum parts. It was a good feeling to be able to
work out some things and "copy them" at a reasonable level. That phase only
lasted for a short period of time once I figured out that I could make up my
own shit and it still fit with the music...even if the artist was playing a
different harp line I was making up "my lines". The improvisational nature
of the blues and the harp were my #1 reason's for diving into the deep end
of the pool with passion. I had discovered a means of self expression that I
really liked and that others seemed to enjoy too. Friends weren't telling me
to shut up...they were asking me to play more. No one else in my area was
doing it either so I know I was also attracted to having "my own thing"
going on.

 

 

Is there a reason players don't seem to seek an

original voice on their instrument?

 

*I can only speak for my self. As I already said... an original voice was
what I was after. The thing about the blues though is that the human element
and emotion that make up the blues in very universal in nature. In a genre
like the blues there will always be some overlap. I believe that is the
nature of the beast. You see the same thing in all types of folk music
around the world. What sets the real players apart to me isn't so much an
original voice for the sake of being different but a style and sound that
comes from their heart. Their music is an extension of their person. The
similarities and the differences of the music is what make it real to me.
It's nice to share the same emotions with others as well as have personal
and unique emotions.

 

"A good example of original voice

is, George Brooks, watch the SPAH jam vids, he sticks out every time

it's his turn to play, even when he plays 2nd position.  Jason Ricci

is another person with an original sound as are Little Walter, Lee

Oskar and Howard Levy etc..."

 

*Yes indeed all of those mentioned have original voices... but interspersed
in between their "original notes and runs" are the same notes that have been
used over and over by others. It's the magical mixture that puts the "kit in
the caboodle"

 

WB