Re: [Harp-L] Why do you want to play blues? In defense of the blues.



Guys, I play all of the genre and, while I am not expert in all, I have learned that the simpler forms are every bit as challenging as the more complex for many of the reasons you have already mentioned.

A minimalist heart felt solo in the manner of Big Walter Horton takes so much feel and specialized technique it will only be mastered by someone with great experience both in life and with the instrument.

The very same can be said about mastering the other genre.

I think it was the great percussionist Airto who said something like it takes a great musician to make great music just banging two rocks together. (If some one can source that quote, let me know. )

One of my favorite challenges is backing up singer songwriters. This role often excludes solos and is limited to gracing the song with color notes and some simple figures. It is a true excercise in "less is more." There is no forest of notes to hide my mistakes. Everything must be reduced to only that which is essential to the message.

What is interesting and compelling is that I have learned that this must be my goal whether it is blues or bebop.

When I get it right, the audience listens.


Sent from my iPhone


On Aug 22, 2008, at 3:03 AM, Richard Hammersley <rhhammersley@xxxxxxxxxxxxxx > wrote:

I know I'm in a different country, but in the UK I would say the blues receives enormous respect compared to, for instance, jazz which is often packaged displeasingly as 'smooth jazz' with most of the risks planed right off.
On 21 Aug 2008, at 19:52, lil Buddha wrote:


I do agree with you Bill. I think blues often receives the same disrespect
the harmonica receives. Just because something can be easy and simple does
not mean it needs to be confined to that. Nor does something being complex
or difficult make it inherently better.



On Thu, Aug 21, 2008 at 10:59 AM, Bill Kumpe <bkumpe@xxxxxxx> wrote:


Jonathan Mets said: "It's easy, and I'm not good enough yet to play jazz
or
classical." I'm not a good enough player or sufficiently educated to speak
with authority on this subject and Jonathan, I mean no disrespect to you,
but your answer bothers me. Maybe some of the more accomplished folks on
the list can speak more to this subject. However, I don't see it as fair
to
compare blues with classical and jazz in that way. It is my understanding
that jazz grew out of the blues and good players go back and forth over
whatever imaginary line divides them without worrying about it too much. I
know when I hear it happening and I love it. As a matter of fact, I've
started playing around with standards and throwing in a blues lick whenever
I think it will sound good. But the very simplicity of the blues format
leaves much more room for personal expression and interpretation. I don't
see the blues as musical step-child to be abandoned when you master your
insrument but rather as a distinct art form with its own peculiar,
expressive, challenging characteristics. Am I wrong here?




Bill Kumpe

Attorney at Law

320 S. Boston, Ste.1026

Tulsa, OK 74103

918-381-9792



_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org
Harp-L@xxxxxxxxxx
http://harp-l.org/mailman/listinfo/harp-l

_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org
Harp-L@xxxxxxxxxx
http://harp-l.org/mailman/listinfo/harp-l

Richard Hammersley Grantshouse, Scottish Borders http://www.last.fm/music/Richard+Hammersley http://www.myspace.com/rhammersley http://www.myspace.com/magpiesittingdown




_______________________________________________ Harp-L is sponsored by SPAH, http://www.spah.org Harp-L@xxxxxxxxxx http://harp-l.org/mailman/listinfo/harp-l



This archive was generated by a fusion of Pipermail 0.09 (Mailman edition) and MHonArc 2.6.8.