[Harp-L] Re:country/western/McCoy

["Rick Dempster" <rick.dempster@xxxxxxxxxxx>]

"> He really turned it into a 'voice', and really made me think very  
> differently about the instrument.

I ALWAYS thought about it that way. I suppose listening to Neopolitan  
love songs, gave me an idea of where I wanted to go.
"
..........If you started out on chromatic Joe, I can understand that. But I'm not aware of anyone prior to McCoy who combined the blues-born technique of pitch-bending with a European concept of melody, on the diatonic.

RD


>>> Joe and Cass Leone <leone@xxxxxxxx> 15/07/2008 16:18 >>>

On Jul 15, 2008, at 1:23 AM, Rick Dempster wrote:

> Strange that Joe. To me, drenched in old local-style vamping,  
> Chicago blues, Louisiana Blues etc etc., plus  all the pre-war  
> style US greats. black & white, the old-style country guys like  
> Wayne Raney, Onie Wheeler, Lonnie Glosson etc., 'country harp' was  
> blown wide open by Charlie McCoy, who not only demonstrated the  
> possibilities of harmonica in country music, but also the broadly  
> applied melodic possibilities of second position.

When I started playing harmonica, I started on chromo first, so I had  
no idea about diatonic. Then when I eventually started playing it, I  
did the same thing I had done with chromo. I sucked instead of  
blowing. So, in retrospect, I started playing chromo in 3rd position.  
The I started diatonic in 2nd.

Somewhere along the way, I decided there were too many missing notes,  
and so I retuned a reed on my diatonic. Then I retuned another.  
Imagine my shock when, in 1970 a program came on TV and there was a  
fellow who was playing diatonic that sounded similar to me. It was  
Charlie McCoy.

Ironically, it was in 1962?  when I was in the navy and was spending  
a weekend at a place called Virginia Beach Va. and Roy Orbison was  
appearing at the Peppermint Top Hat lounge. I told Orbison that I  
could do the harp part on Candy Man if he wanted to do it. Roy  
brushed me off. I didn't know it was McCoy on that record at that time.

I don't do the fast stuff he does. P.T. Gazell is so much better at  
it. Listen to Phil do the Flintstones if you think I'm kidding. Rocky  
Top & Bobby McGhee is as fast as I go. So, if you don't do those  
crowd pleasers (like OBS & John Henry), you won't get the big bucks.

> He really turned it into a 'voice', and really made me think very  
> differently about the instrument.

I ALWAYS thought about it that way. I suppose listening to Neopolitan  
love songs, gave me an idea of where I wanted to go.

> McCoy's playing had a dramatic effect on me,

It gave ME encouragement.

> and I'm certain, amongst harp players generally. Obviously, because  
> I'm not a US resident, there may be a lot I have missed; maybe  
> there were other unknown players (yourself, perhaps?)

No, don't start. Forget the 'yourself' thing. I am just average. I  
don't want to impose upon your life but check out my video 'After The  
Lovin' at   http://youtube.com/user/snarkus  before you let THAT pop  
into your head again. Then tell me if you think I can handle country.

> influencing things at the grass roots level.

Grass is about the level that I'm at. Very good  lol

> But for those of us members of the 'cargo cult' (ie buyers of  
> imported records) McCoy's influence was huge. I see Jason Ricci  
> cites Pat Ramsay (hope I'm right here!) as his major
>  influence, but listening to Ramsay, I'd say that without McCoy,  
> Ramsay wouldn't be playing like he did, and perhaps likewise,  
> therefore, Jason.

I have heard Ramsey at the Buckingham Blues Bar in Ft. Myers Florida  
and I don't see the connection to Jason. Jason's style is different.

> I'm sure I could extend this parallel. Thus the dearth of 'country'  
> players amazes me, and the rareness of references to McCoy on the  
> list likewise.

I would mention him but I don't want to tick anyone off. Spent his  
67th  birthday with him, (he's a year older than I) had a wonderful  
day, and I wouldn't do anything to cause him any loss of esteem by  
constantly bringing up his name till someone got annoyed and wound up  
taking it out on HIM. I profoundly admire him.

> No country harp at SPAH? Incredible! (hey...it's none of my  
> business anyway; no offence intended)

Well, I didn't mean to give the impression that there's NO country  
harp at spah. There is, but it is naturally limited by the resources  
available. There are players but they practically have to play  
Acapulco. Mainly because they can't bring their bands. The usual  
routine is for a country harper to lay down the head and bridge. This  
may take 45 seconds. Then another instrument (like a guitar) comes in  
for a phrase (30 seconds) and maybe a THIRD instrument (dobro/fiddle)  
comes in for the bridge (15 seconds). Then the harp finishes with  
another 45 seconds. Total time= 2 min 15 sec. So if you want to pull  
the tune out longer, you can stretch the guitar & dobro or fiddle  
parts to 45 seconds. Total = 3 minutes. A tune almost HAS to be 3  
minutes.

Otherwise the poor harp player has to blow his brains out for 3 solid  
minutes all by himself. That gets old real quick. For the player AND  
the audience. The key is to keep it diversified. Too much of the same  
timbre isn't good.
Jo-Jo


> Cheers,
> RD