Re: [Harp-L] kim wilson,rick estren,mark hummel,etc overblows

["Doug" <mr4chnt@xxxxxxxxx>]

A lot of the 'overblowers' are still in the stage of working out how to apply their new skills and sometimes the musicality seems to suffer (my opinion), but there are moments when they get it right, and are well within the blues idiom.

I saw Carlos del Junco last fall and there were moments when I heard passages and licks that were not part of the standard blues harp arsenal, BUT were so right and and so perfectly placed that it put a smile on my face that took a few hours to wipe away.  It was amazing, not just because he could do it, but because it was so absolutely what my ears wanted to hear.  In some cases it was simply hearing a traditional lick taken up an octave, or played around an F chord rather than the C or G (assuming a C harp).  Truly being creative and well within the genre.

I will go out on a limb and say, like it or not, the traditional blues sounds of tomorrow are being worked out today.  How does that Dylan song go . . .?

Doug H

  ----- Original Message ----- 
  From: Niall Tracey 
  Cc: harp-l@xxxxxxxxxx 
  Sent: Monday, June 21, 2010 6:32 AM
  Subject: RE: [Harp-L] kim wilson,rick estren,mark hummel,etc overblows



  Setting your harp for overblows changes the feel for the player considerably, and "if it ain't broke, don't fix it," as they say.

  Overbends may be tricky and impressive, but musically they are badly intonated (overbends have a fixed pitch that doesn't conform to either Equal Temperament or Just Intonation) so not only are you introducing notes that aren't in the key you're playing in, but they're always bum notes, in a manner of speaking.

  And crucially, you've picked three dedicated blues players, and these notes aren't part of the traditional blues sound.

  Some people are driven to innovate, while some people prefer to be creative within the established boundaries of a genre.
         
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