[Harp-L] Re: Is Howard Levy the most technically advanced harmonica player?

[Ev630 <eviltweed@xxxxxxxxx>]

Amen! Testify! GREAT post.

There are guys who can noodle up and down the harp using all sorts of
techniques, transposing (now dated) jazz and world music material, who will
never, ever, EVER, achieve an immediately identifiable sound, or even be
able to copy the signature tone and phrasing of someone like James Cotton.

It's about time we saw some more love around here for the most identifiable
blues harp player since the Walters.

Martin,
> It blows my mind that you do not see Cotton as a technical wizard, but
> everyone hears and accesses technique differently.
>
> Here are some of Cotton's strengths:
>
> Control of single notes and bends in all 3 octaves using tongue blocking.
> Dirt. Dirt is my term for double stops (two notes played at once) but with
> an emphasis on one of the notes. For example 3 draw and 4 draw are played,
> but 4 draw is only heard as a "sloppy" accent to the 3 draw. Many people
> hear this and think, "They are playing in a sloppy, imprecise manner." Try
> for a year to make it sound like James and report back to us. James is
> extremely precise in his sloppiness.
> Octaves.
> Slop Octaves. Similiar dirt, this means having the two notes of the octaves
> be the focus notes, but having other notes surrounding those notes creep
> in. Another case in extemely precise sloppiness.
> Wah wah hand muting technique. Name me one other player who is so obviously
> influenced by Rice Miller yet created a wah wah style completely his own
> that has a convincing blues style. I love Rick Estrin and think he is
> close, but not like James.
> High note 1st position blow bending control. When pointing out the real
> deal for this style, very few names come up. Reed, Horton, Cotton. There
> are some great other players, Kashmar, Wilson, Wonder, but I think Cotton
> is
> in the top three.
> Vocal microphone technique both for wah wah styles where the mic is on the
> stand and the player is away from the mic and he practically wrote the book
> on cupping a vocal mic, playing directly thru the PA and creating a great
> blues sound.
> Tongue slaps and pulls. Check out The Creeper again.
> Ability to hold a note for a long time.
> Head shakes. And not just for two consecutive holes.
> Kissing sounds on the harp.
> Rhythm chording
> Dynamics. Very few players have his control of the old quiet and loud.
>
> I'm sure there is more, but you get the idea. All this and imho, the most
> authentic blues player in the blues with tone, timing and feeling and a
> sound that I can recognize without seconds. If you can recognize a Cotton
> song in a few seconds ask yourself if there is any technical ability in
> creating such uniqueness.
> Michael Rubin
> Michaelrubinharmonica.com
>