Re: [Harp-L] Transparency

[Zack <zack.pomerleau@xxxxxxxxx>]

   All instruments have their issues. A clarinet can be squeaky, a piano has
tuning issues at times and you need left AND right hand skills, drums are
loud, etc. I find the sound of bends and overblows to be just a beautiful
part of the instrument.

On Thu, Feb 11, 2010 at 6:10 PM, Jonathan Ross <jross38@xxxxxxxxxxx> wrote:

> The first quotes from Chris:
>
> "People like Jason Ricci, Carlos delJunco, Otavio Castro, Howard Levy
> and myself have proven time and again there is a place for OBs and
> they can be as transparent as any other bent note."
>
> I like the caveat.  And I agree with it.  Overblows can be every bit as
> transparent as standard bends.
>
> I'm not really sure I've seen people arguing otherwise, though I have seen
> people arguing context.  Mostly I feel that you two are not hearing each
> other.  It seems like EV wants to discuss the usage of overbends in the
> blues, perhaps even in traditional blues.  It seems like Chris want's to
> discuss the validity of overbends in general but almost seems to be saying
> that they have no part in the blues.  Is your (Chris') argument that there
> is no place for overbends in traditional blues because the best overblowers
> don't play traditional blues?  If so, that seems rather circular to me.
>
> Chris again:
>
> "Furthermore, you [EV] continue to make the mistake of thinking Traditional
> Blues is the only way to play harp so all others are judged from the
> traditional blues perspective. "
>
> I actually don't see EV making that argument at all.  It seems more like he
> wants to have a specific conversation and you a more general one.  Perhaps
> I'm wrong.  But, I think that if EVs initial post was rephrased might help.
>
> EV wrote:
>
> "I don't get "het up" about overblows but I've noticed a lot of overblow
> practitioners get het up when I observe that a) the tone of OBs can't yet
> match the tone of traditional blues harp and b) that it is usually the case
> that OBs are frequently approximate in pitch, especially when the player is
> being overly ambitious and attempting some jazz tune with a lot of
> changes."
>
> I might rephrase that as follows:
>
>  "a) the tone of OBs is different from the tone of either bent or natural
> notes."
>
> And this is where Chris does have a good point--you cannot judge the tone
> of OBs in a singular context.  It might not work in traditional blues (a
> good discussion could be had--I could certainly see some uses for OBs
> tone-wise in a traditional blues), but that is only one context.  Thus it's
> better, IMO, to say the tone is different rather than make a broad value
> judgement against OB-tone because it doesn't fit in a singular context.
>  But, I also thought the context of this entire thread was OBs in the blues,
> so read the above statements within that context where they are less
> universal.
>
> "and b) that it is usually the case
> that OBs are frequently approximate in pitch, especially when the player is
> being overly ambitious and attempting some jazz tune with a lot of
> changes."
>
>
> Actually, I wouldn't rephrase that.  I would, however, echo back to the
> first thing I quoted from Chris and point out that all these issues are just
> as true for bends.
>
> Chris again:
>
> "Isn't being a good musician what matters most?  Who cares about style?"
>
> I'd agree, but then I'd ask what makes a good musician.  Is it knowledge
> and technique, is it someone I want to listen to, is it success in creating
> moving works of music?  Is being a good musician process based or results
> based.  I've known plenty of guitarists who could shred for hours, but I'd
> rather listen to Brownie McGhee play the same simple rhythm all day.  That's
> partly my own taste, but I'd also say it's partly because Brownie had "it"
> and those others didn't--he could create an interesting and moving piece of
> music from those simple parts.  To me that makes him a very good musician
> indeed.
>
>
>
> JR Ross
>
>


-- 
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