I should probably be trying to promote myself exclusively here, but once in a while I stumble across something that just has to be shared.
James Conway is a Chicagoan. He plays Celtic music and Blues. One of the instruments that he's incredibly proficient with is the harmonica, which is how I stumbled on his YouTube videos. In this video he just goes so far outside the box ('which box?' ANY box!) that it really captured my interest. You'll hear harmonica, some incredible 'jaw harp', Tuvan Throat Singing and some more harmonica. Wow.
James' website is at www.jamesconway.net
UPDATE: 1/1 I just received 'Mouth Box', James Conway's CD. Wow, there's some incredible music on this disc, masterfully performed. I think it's fair to say that James Conway is every bit as good as (if not better than) any Irish Trad player I've ever heard, and an incredibly good harmonica player. This is really advanced musicianship, and beautiful music; I highly recommend it.
Perspective
I visited Eugene Ryan's site recently, and before I could really dig into his site (which has been substantially updated since my last visit), I impulsively followed a link to this site about Jazz theory. I'm no music scholar, and while a lot of what I read in the sample chapter was interesting, much of it eluded me.
The concept that I really dug was in the section about Copyright law. The author says:
The legal position of the jazz artist’s work is nothing short of astounding. Put briefly, jazz does not exist. All that exists in music copyright are ‘compositions’.
Other art forms exist in Western culture, and are understood. The series of paintings of the west face of Rouen cathedral that Monet made from his draughty open window above a lingerie shop between 1892 and 1894, for instance. Each of these is understood by everyone to be a unique work, and of course, a work by Monet. In jazz terms, though, the unique work would be said to be the cathedral, and the royalties for each painting would go to the architect. If they were reproduced in a book, the printer would get a royalty too. In all cases, Monet would get nothing. This is because legally the song is a composition, a set text, and if a jazz musician performs the song, then in law, a composition is being played. If there is any recognition of the uniqueness of what the jazz player does, it is in the performance being called an ‘arrangement’ of the composition. If someone transcribes the solo though, it is the transcriber who gets the copyright, not the musician. That is what I mean when I say that the jazz musician’s art does not exist in law.
Powerful thinking. What if all of us (improvisational musicians) were recognized for the uniqueness of our contributions, rather than bound by copyright law as it is today?
The concept that I really dug was in the section about Copyright law. The author says:
The legal position of the jazz artist’s work is nothing short of astounding. Put briefly, jazz does not exist. All that exists in music copyright are ‘compositions’.
Other art forms exist in Western culture, and are understood. The series of paintings of the west face of Rouen cathedral that Monet made from his draughty open window above a lingerie shop between 1892 and 1894, for instance. Each of these is understood by everyone to be a unique work, and of course, a work by Monet. In jazz terms, though, the unique work would be said to be the cathedral, and the royalties for each painting would go to the architect. If they were reproduced in a book, the printer would get a royalty too. In all cases, Monet would get nothing. This is because legally the song is a composition, a set text, and if a jazz musician performs the song, then in law, a composition is being played. If there is any recognition of the uniqueness of what the jazz player does, it is in the performance being called an ‘arrangement’ of the composition. If someone transcribes the solo though, it is the transcriber who gets the copyright, not the musician. That is what I mean when I say that the jazz musician’s art does not exist in law.
Powerful thinking. What if all of us (improvisational musicians) were recognized for the uniqueness of our contributions, rather than bound by copyright law as it is today?
Rhythm
I've had occasion over the last couple of months to play with a number of different drummers. Funny how profoundly that rhythm can affect the sound & feel of the music. Ask 3 drummers to play a shuffle, a rumba, or a flat-tire, and you'll get 9 distinctly different feels, I guarantee. I suppose that's as it should be, really - if it wasn't, we'd all be more comfortable just playing with a drum machine (not something I want to do).
And there's no reason to expect drummers to be any different from any other musician - a guitar player, or harmonica player, for instance - with their own individual feel. Still, it's remarkable how much it changes the whole feel of the band to play with a different drummer. For instance, when I play with Jack City Band, I want to play horn lines. It's not because of the guitar, vocals, or bass. It's something about the way Terry plays (and my role in that band) just makes me want to play big strong punches, octave splits, and simple phrases, and try to make them sound like a sax or 'bone. I play more Low Octave harmonicas with them than any other situation I play in. There's a quality to his 'swing' that just makes me feel "Big Band" - very cool.
Some musicians I've heard that impress me most with their use of rhythm don't even have drummers. I'm referring to the wild, careening syncopation of Satan & Adam, Eric Noden's relentless pounding left foot, and Nathan James' thumping suitcase kick-drum (hey, check-out Ben's cool washtub bass!). These guys have affected me so much I have even started making percussion instruments from scraps & found objects myself to try to integrate into my own performances at some point.
I've also found myself obsessed with trying to find a drummer willing to strip his kit down to nothing, like the drummer that plays with Bharath and his Rhythm Four. Check this guy out - he doesn't even use a hi-hat! Bharath's band plays authentic Chicago blues, with a primitive, elemental flavor that is very unique in the 21st century - really some primal, deep stuff.
And there's no reason to expect drummers to be any different from any other musician - a guitar player, or harmonica player, for instance - with their own individual feel. Still, it's remarkable how much it changes the whole feel of the band to play with a different drummer. For instance, when I play with Jack City Band, I want to play horn lines. It's not because of the guitar, vocals, or bass. It's something about the way Terry plays (and my role in that band) just makes me want to play big strong punches, octave splits, and simple phrases, and try to make them sound like a sax or 'bone. I play more Low Octave harmonicas with them than any other situation I play in. There's a quality to his 'swing' that just makes me feel "Big Band" - very cool.
Some musicians I've heard that impress me most with their use of rhythm don't even have drummers. I'm referring to the wild, careening syncopation of Satan & Adam, Eric Noden's relentless pounding left foot, and Nathan James' thumping suitcase kick-drum (hey, check-out Ben's cool washtub bass!). These guys have affected me so much I have even started making percussion instruments from scraps & found objects myself to try to integrate into my own performances at some point.
I've also found myself obsessed with trying to find a drummer willing to strip his kit down to nothing, like the drummer that plays with Bharath and his Rhythm Four. Check this guy out - he doesn't even use a hi-hat! Bharath's band plays authentic Chicago blues, with a primitive, elemental flavor that is very unique in the 21st century - really some primal, deep stuff.
Wonder
This morning I followed a link to this article in the News Observer, entitled Harmonica of Wonder to read an interesting, although not entirely accurate article about Stevie Wonder & the chromatic harmonica (funny how reporters almost never get it all exactly right).
The comments offered by Rick Estrin at the end of the article are most profound.
The comments offered by Rick Estrin at the end of the article are most profound.
Thanks
Just before Thanksgiving, I received an email from Tim Woods (acquaintance, Musician, Open Mic Organizer), about a piano that needed a good home. I wrote a brief email to a stranger, told him about my kids, our love for music, my desire to have my kids learn to read and play music.
Al, called me after about an hour and offered to give us his beautiful, virtually perfect 1967 Baldwin Acrosonic spinet piano. We picked it up on Friday, the day after Thanksgiving.
So far, the piano seems to be very happy sitting next to my desk in our home. It shares the home with my wife & I, our kids, cats and dog. My kids are very happy to play with it daily. Very soon they will start actually learning to play REAL MUSIC on it, as will I.
Al, thanks very much for the piano. We'll treasure it. It will be in our family a very long time, and will be with us for our grandchildren to play, as well.
Tim, thanks for having me on your email list & providing the opportunity for my family to be blessed by Al's generosity.
Al, called me after about an hour and offered to give us his beautiful, virtually perfect 1967 Baldwin Acrosonic spinet piano. We picked it up on Friday, the day after Thanksgiving.
So far, the piano seems to be very happy sitting next to my desk in our home. It shares the home with my wife & I, our kids, cats and dog. My kids are very happy to play with it daily. Very soon they will start actually learning to play REAL MUSIC on it, as will I.
Al, thanks very much for the piano. We'll treasure it. It will be in our family a very long time, and will be with us for our grandchildren to play, as well.
Tim, thanks for having me on your email list & providing the opportunity for my family to be blessed by Al's generosity.
Matchbox
Once in a while I'll hear a song that just gets in my head and I can't shake it. It'll just go 'round and 'round...
Albert King & Stevie Ray recorded a version of Match Box Blues that I really dig, even though I feel like I've been Stevie Ray Vaughan'd to death.
(No disrespect intended - I really enjoyed his music - it's all the CLONES that have driven it into the ground for me - I just can't bear to hear that style copped any more.)
Anyway, the tune's really cool and it's been rollin' around in my head, so I finally had to take a crack at it. This version has lots of flaws, but I'm happy with the overall feel, and with the fact that no instruments other than harmonicas were used in this version (except a #3 washtub I used for the kick-drum sound).
Albert King & Stevie Ray recorded a version of Match Box Blues that I really dig, even though I feel like I've been Stevie Ray Vaughan'd to death.
(No disrespect intended - I really enjoyed his music - it's all the CLONES that have driven it into the ground for me - I just can't bear to hear that style copped any more.)
Anyway, the tune's really cool and it's been rollin' around in my head, so I finally had to take a crack at it. This version has lots of flaws, but I'm happy with the overall feel, and with the fact that no instruments other than harmonicas were used in this version (except a #3 washtub I used for the kick-drum sound).
Humility
Recording yourself can be a great way to check your progress. Recording rehearsals & practice is especially recommended.
Of course, the risk is that watching yourself on video can feel like getting a large bucket of ice water thrown in your face. I'm glad I watched most of mine with no band-mates in attendance.
Gotta go - I can hear that ol' woodshed callin' me.
Of course, the risk is that watching yourself on video can feel like getting a large bucket of ice water thrown in your face. I'm glad I watched most of mine with no band-mates in attendance.
Gotta go - I can hear that ol' woodshed callin' me.
Volume
My campaign to play at reasonable volume levels continues.
We played a gig last night that Jimmy had to leave early. He was with us for the first two sets, but had to leave for another engagement before the third set.
The gig was fine, but everyone turned up when Jimmy left! I think they were trying to compensate for the lack of the second guitar. I had to ask them to turn down 3 times and still didn't get the volume down where it needed to be.
I played the gig with my Fender Champion 600 5-watt amp. I did not mic it into the PA. My amp'd tone has never sounded better - even my band-mates remarked about it. I had the amp connected to my Bassman speakers for the gig, but during sound-check & after the gig checked it through it's 6" speaker...it had plenty of volume. The little Champion 600 sounds great for harp - the speaker must be made with some kind of voodoo magic, 'cause it has tons of bottom-end (sounds more like a 10" on the bottom) and still has bark like a 6".
The amp worked fine for this small room - no trouble being heard, even though one guitar player was playing a Hot Rod Deluxe, one a Mesa Boogie, the PA was 500 watts, the Drummer gets excited and likes to hit hard, and the Bass amp was 150 watts.
We played a gig last night that Jimmy had to leave early. He was with us for the first two sets, but had to leave for another engagement before the third set.
The gig was fine, but everyone turned up when Jimmy left! I think they were trying to compensate for the lack of the second guitar. I had to ask them to turn down 3 times and still didn't get the volume down where it needed to be.
I played the gig with my Fender Champion 600 5-watt amp. I did not mic it into the PA. My amp'd tone has never sounded better - even my band-mates remarked about it. I had the amp connected to my Bassman speakers for the gig, but during sound-check & after the gig checked it through it's 6" speaker...it had plenty of volume. The little Champion 600 sounds great for harp - the speaker must be made with some kind of voodoo magic, 'cause it has tons of bottom-end (sounds more like a 10" on the bottom) and still has bark like a 6".
The amp worked fine for this small room - no trouble being heard, even though one guitar player was playing a Hot Rod Deluxe, one a Mesa Boogie, the PA was 500 watts, the Drummer gets excited and likes to hit hard, and the Bass amp was 150 watts.
Since
Since I've been playing the Blues...
Now I spell it 'RAWK' when I hyphenate it with Blues as in 'Blues-RAWK'.
I can identify & categorize a double-handful of different genres of Blues and I find it hard to state a clear preference for any one, although I'm also much more discriminating about what I consider Real Blues to be.
I have a hard time understanding why some musicians just can't play Blues music - but there it is...
As deeply as I feel this music, I wonder whether a Blues Critic would mark me as one of them that is Usurping The Blues from it's African-American Roots (part of a problem), or Respectfully Preserving a Slice of American Musical History (part of a solution).
What the hell is a Blues Critic, anyway?
I'm still amazed at folks who are quick to say they don't care for the Blues, yet upon hearing real Honest-to-God Blues music almost always say "I didn't know it could sound like THAT!"
I've decided I'm perfectly willing to Go Down to The Crossroads if someone would just give me accurate directions.
I still can't define in words exactly what separates great Blues players from the rest - but I can always hear the difference immediately.
(With thanks to Jp and apologies to Since I started listening to Jazz)
Now I spell it 'RAWK' when I hyphenate it with Blues as in 'Blues-RAWK'.
I can identify & categorize a double-handful of different genres of Blues and I find it hard to state a clear preference for any one, although I'm also much more discriminating about what I consider Real Blues to be.
I have a hard time understanding why some musicians just can't play Blues music - but there it is...
As deeply as I feel this music, I wonder whether a Blues Critic would mark me as one of them that is Usurping The Blues from it's African-American Roots (part of a problem), or Respectfully Preserving a Slice of American Musical History (part of a solution).
What the hell is a Blues Critic, anyway?
I'm still amazed at folks who are quick to say they don't care for the Blues, yet upon hearing real Honest-to-God Blues music almost always say "I didn't know it could sound like THAT!"
I've decided I'm perfectly willing to Go Down to The Crossroads if someone would just give me accurate directions.
I still can't define in words exactly what separates great Blues players from the rest - but I can always hear the difference immediately.
(With thanks to Jp and apologies to Since I started listening to Jazz)
Sugar is sweet...
The last 5-6 weeks have been a bloody crawl - I just found out I'm Diabetic, so a few lifestyle changes are gonna be in order. In the weeks leading up to the diagnosis, my blood sugar has been on a real rampage, and the effect of that has been the utter inability to mentally concentrate, and drastically impaired vision.
Finally, I think the loopiness and blurry vision are mostly behind me, and I'm trying to get my 'focus' (visual AND mental) back.
In the meantime, I'm in the woodshed working up some tunes.
Finally, I think the loopiness and blurry vision are mostly behind me, and I'm trying to get my 'focus' (visual AND mental) back.
In the meantime, I'm in the woodshed working up some tunes.
Thanks, Allen
What is the exact opposite of a Hatchet Job?
The San Diego Troubadour is a local monthly free newspaper about San Diego's roots music scene. They cover Americana to Jazz, Bluegrass to Blues, and everything rootsy in between.
My friend Allen Singer occasionally writes reviews of local artists and CDs and such for them. (I should confess at this point that Allen & I have been performing together for a couple of years.)
About Allen: his deep, first-hand, encyclopedic understanding of Folk Music is based in the life-experience of "being at ground zero during the great Folk-scare of the '60s". Allen came up hanging around Greenwich Village, rubbing up against heros like Seeger, Guthrie, and Zimmerman (er, Dylan). The life-experience he's amassed is conveyed in a very direct way in the honest, immediately accessible & unaffected manner that he plays and sings the music he loves. Allen's a great contributor to our local Folk scene - as a performer, booking agent, writer for our local journals and mentor (of musicians like me).
He's also seen so much musically historical stuff personally that he's a pretty hard guy to impress at this stage of life. ("But enough about that", Allen would say.)
For the September edition of the San Diego Troubadour (Vol. 6, No. 12), for some unfathomable reason, my pal Allen wrote an extremely flattering article about me. Said a bunch of stuff that it's going to be very difficult for me to live up to. Really nice stuff. It's the first time I've been the subject of any kind of publicly circulated piece, so it's a really big deal to me. I'll be sending copies to family members just as I'm telling y'all about it here in my blog.
It's a little unsettling to see one's own name in a publication read by thousands (TENS of thousands?). And it's very humbling, especially coming from someone whom I like and respect so much. Hard to come up with something that accurately conveys how this boon makes me feel.
Thank you sincerely, Allen, for the 'good press'.
The San Diego Troubadour is a local monthly free newspaper about San Diego's roots music scene. They cover Americana to Jazz, Bluegrass to Blues, and everything rootsy in between.
My friend Allen Singer occasionally writes reviews of local artists and CDs and such for them. (I should confess at this point that Allen & I have been performing together for a couple of years.)
About Allen: his deep, first-hand, encyclopedic understanding of Folk Music is based in the life-experience of "being at ground zero during the great Folk-scare of the '60s". Allen came up hanging around Greenwich Village, rubbing up against heros like Seeger, Guthrie, and Zimmerman (er, Dylan). The life-experience he's amassed is conveyed in a very direct way in the honest, immediately accessible & unaffected manner that he plays and sings the music he loves. Allen's a great contributor to our local Folk scene - as a performer, booking agent, writer for our local journals and mentor (of musicians like me).
He's also seen so much musically historical stuff personally that he's a pretty hard guy to impress at this stage of life. ("But enough about that", Allen would say.)
For the September edition of the San Diego Troubadour (Vol. 6, No. 12), for some unfathomable reason, my pal Allen wrote an extremely flattering article about me. Said a bunch of stuff that it's going to be very difficult for me to live up to. Really nice stuff. It's the first time I've been the subject of any kind of publicly circulated piece, so it's a really big deal to me. I'll be sending copies to family members just as I'm telling y'all about it here in my blog.
It's a little unsettling to see one's own name in a publication read by thousands (TENS of thousands?). And it's very humbling, especially coming from someone whom I like and respect so much. Hard to come up with something that accurately conveys how this boon makes me feel.
Thank you sincerely, Allen, for the 'good press'.
Props
I was listening to some music yesterday, and had a virtual Flashback.
I remembered seeing a harmonica-playing buddy at Etta's Place a couple of years ago. He was playing with some jammers and a dude he referred to reverentially as The Guru. My friend revered him, and tells me he's learned a LOT from "The Guru".
The Guru had real great tone. The thing The Guru did that impressed me incredibly was, he SANG. I mean he projected, broad-casted, he really put it out there. His voice projected so strongly, he almost didn't need the PA. Reminded me a little of an old movie I saw with Cab Calloway . The dude's voice just projected so strongly, so HONESTLY, that it really knocked me out. I've been striving to integrate that into my vocal delivery ever since.
So, Guru, thanks for showing me something important.
I remembered seeing a harmonica-playing buddy at Etta's Place a couple of years ago. He was playing with some jammers and a dude he referred to reverentially as The Guru. My friend revered him, and tells me he's learned a LOT from "The Guru".
The Guru had real great tone. The thing The Guru did that impressed me incredibly was, he SANG. I mean he projected, broad-casted, he really put it out there. His voice projected so strongly, he almost didn't need the PA. Reminded me a little of an old movie I saw with Cab Calloway . The dude's voice just projected so strongly, so HONESTLY, that it really knocked me out. I've been striving to integrate that into my vocal delivery ever since.
So, Guru, thanks for showing me something important.
Champ
Just got one of the new Fender Champion 600 amps. Man, it's got some grind. It also has a ton of bottom end (considering it carries a 6" speaker). I'll be A/B-ing it with the Valve Jr through all my different speaker set-ups to find out how it sounds over the next few days. I already prefer the way it responds to the Franken-mic, so that's a plus.
I'm really fond of little amps!
UPDATE 8/20 - the little mofo definitely sings. It sounds good through my external speakers, too, although Fender made the jack so bloody hard to get to that I tend to favor just playing through the 6" speaker it came with. The only mic I own that doesn't sound good with it is "The Cheese Mic", but that's OK - still leaves me with 3 strong choices.
New Old Content
It's been some time since I've posted about my Epiphone Valve Junior - in light of the fact that I've been living with it for half a year, I think an update is warranted.
I first gushed about this little diamond-in-the-rough in this blog, in a post entitled Reward. Since then, I've drug that little monster all over town. I mentioned that I built a 2 x 8 cab to haul around. That cab is fine for the living room, a little on the quiet side for rehearsal, and not bad at all for recording.
The surprise is that I've gigged with the VJ several times! In a small enough room I can hang, even with the (right) drummer using STICKS. And I've hooked it up to my Bassman Ltd 4 x 10s in gigs for a little more volume. I know - it's heretical to connect a LITTLE amp to a mighty Bassman's speakers, but I really dig the sound - I get a real dark, blurred, horn-like sound from the set-up.
The amp doesn't sound good for blues guitar, IMO - too grindy (I tend to favor guitar tones more like Jimmy Vaughan, Albert King, Jr Watson) for blues.
Oh yeah - the VJ is OK with a 520DX, but it doesn't sound good at all with my favorite crystal (which is the mic of choice for the Bassman), but the BEST mic for it is a real low-gain franken-mic we refer to as "The Cheese Mic" because of it's "Lo-Fi", cheesy sound through the PA. The Cheese mic is "Baby Bear" (Juuust Right) for the VJ - I can turn the amp up to about 85-90% driving the power tube almost to saturation. Ah, tube compression & distorted harp...Mmmmm...
A while back, my amigo Karlos had me over to taste-test some of his incredible vintage Nationals, so now I have a hankerin' to get me some ovals to blow through. Those Natis he plays all have 6 x 9 speakers - man, you want to hear a trumpet bark!
Speaking of which, some cats are just SO authentic and true to the sound of real blues...listen to Karl & Tom's band West of Memphis if you get a chance - you'll be blown away if you haven't heard the real stuff like they play it. (Yeah, I know - broken record - well, it's true, I really admire WoM) Check them out - you'll understand what I'm telling you.
I first gushed about this little diamond-in-the-rough in this blog, in a post entitled Reward. Since then, I've drug that little monster all over town. I mentioned that I built a 2 x 8 cab to haul around. That cab is fine for the living room, a little on the quiet side for rehearsal, and not bad at all for recording.
The surprise is that I've gigged with the VJ several times! In a small enough room I can hang, even with the (right) drummer using STICKS. And I've hooked it up to my Bassman Ltd 4 x 10s in gigs for a little more volume. I know - it's heretical to connect a LITTLE amp to a mighty Bassman's speakers, but I really dig the sound - I get a real dark, blurred, horn-like sound from the set-up.
The amp doesn't sound good for blues guitar, IMO - too grindy (I tend to favor guitar tones more like Jimmy Vaughan, Albert King, Jr Watson) for blues.
Oh yeah - the VJ is OK with a 520DX, but it doesn't sound good at all with my favorite crystal (which is the mic of choice for the Bassman), but the BEST mic for it is a real low-gain franken-mic we refer to as "The Cheese Mic" because of it's "Lo-Fi", cheesy sound through the PA. The Cheese mic is "Baby Bear" (Juuust Right) for the VJ - I can turn the amp up to about 85-90% driving the power tube almost to saturation. Ah, tube compression & distorted harp...Mmmmm...
A while back, my amigo Karlos had me over to taste-test some of his incredible vintage Nationals, so now I have a hankerin' to get me some ovals to blow through. Those Natis he plays all have 6 x 9 speakers - man, you want to hear a trumpet bark!
Speaking of which, some cats are just SO authentic and true to the sound of real blues...listen to Karl & Tom's band West of Memphis if you get a chance - you'll be blown away if you haven't heard the real stuff like they play it. (Yeah, I know - broken record - well, it's true, I really admire WoM) Check them out - you'll understand what I'm telling you.
The Barrel
I apologize that it's been so long since I posted regularly here. I'll try to get back in the swing...
Seems like musicians are among the lowest-paid workers there are. The time we put into rehearsal...
...entirely unpaid.
The time we put into...
...entirely unpaid
The time we put in working on our 'promo'...
...entirely unpaid
A lot of the places to play around here expect musicians to play for FREE. Even the 'paying' gigs won't fill the gas tanks of a 6-piece band (or even a 4-piece, some of them!). Maybe it gets better after the 3rd platinum CD. (Hey, wait a minute - I'm not trying to be nationally famous - I just wanna play out).
I'm told it's even worse in some cities where the 'pay to play' schemes are outrageous.
OK, it's true, we all have day jobs. We're not full-time pros. We love playing music so much we'd all do it for free anyway. Hell, we DO play for free - jamming in each other's living rooms, sitting in, doing 'charity' gigs, just playing music every chance we get.
But is that any reason to put us over a barrel? The bar/restaurant manager who expects to get quality LIVE entertainment from talented flesh-and-blood musicians for less than minimum wage; man, that's mighty low.
(And don't even get me started on DJ's and Karaoke!)
OK, sorry to go all negative on you - I really do love doing this - I think you almost couldn't STOP me from it. I just think people deserve to be treated with respect, and many of us (musicians) are not.
Seems like musicians are among the lowest-paid workers there are. The time we put into rehearsal...
...entirely unpaid.
The time we put into...
- Loading our gear into the truck
- Unloading the gear from the truck
- Setting the gear up on stage
- Knocking down the gear after the gig & loading back into the truck
- Unloading from the truck and putting the gear back into the studio after the gig (at 3:00AM)...
...entirely unpaid
The time we put in working on our 'promo'...
- Marketing
- Sales Calls
- Follow-up
- Negotiating
...entirely unpaid
A lot of the places to play around here expect musicians to play for FREE. Even the 'paying' gigs won't fill the gas tanks of a 6-piece band (or even a 4-piece, some of them!). Maybe it gets better after the 3rd platinum CD. (Hey, wait a minute - I'm not trying to be nationally famous - I just wanna play out).
I'm told it's even worse in some cities where the 'pay to play' schemes are outrageous.
OK, it's true, we all have day jobs. We're not full-time pros. We love playing music so much we'd all do it for free anyway. Hell, we DO play for free - jamming in each other's living rooms, sitting in, doing 'charity' gigs, just playing music every chance we get.
But is that any reason to put us over a barrel? The bar/restaurant manager who expects to get quality LIVE entertainment from talented flesh-and-blood musicians for less than minimum wage; man, that's mighty low.
(And don't even get me started on DJ's and Karaoke!)
OK, sorry to go all negative on you - I really do love doing this - I think you almost couldn't STOP me from it. I just think people deserve to be treated with respect, and many of us (musicians) are not.
Tribute to Paul deLay
I've been meaning to do this since heard the news of his untimely death in early March of this year. If you haven't heard the man play and sing, and you enjoy your Blues with heaping helping of R&B, please visit his website and order at least one of his CDs - you won't be disappointed.
I'll eventually work the music out for this tribute, and perform it every chance I get. If you're familiar with his music, just imagine it played like he would do it.
Tribute to Paul deLay
There was this cat up in Portland, in the great Pacific Northwest
He was a blues horn player; in fact he was one of the best
But he’s passed on now, he’s gone to his final rest
He was a big man and he played the Blues his way
He was a big, big man and he played the Blues his way
He could swing and he could shuffle, he could jump and he sure could play
He lead a blues band, and a damn fine band it was
He lead a blues band, and a damn fine band it was
Man that band could swing, and I’ll tell you why because…
Well with Dave on drums, and Peter on guitar; pianist David and Jeff on bass
You knew you were in for a hell of a party when his 5-piece band hit the stage
And the icing on the cake was the big man – that sound was all Paul deLay’s
He was a singer and a swinger, and real cool cat
And a soul man, a maestro, I mean he knew where it’s at
He was a mover, a shaker, and powerhouse, too
He was the genuine article and knew what to do
Now I mean what I say; I’m gonna miss big Paul deLay.
He was a big man and he played them Blues his way
He was a big, big man and he played them Blues his way
He could swing and he could shuffle, he could jump and he sure could play
He lead a blues band, and a damn fine band it was
He lead a blues band, and a damn fine band it was
Man that band could swing, and I’ll tell you why because…
He was a singer and a swinger, and real cool cat
And a soul man, a maestro, I mean he knew where it’s at
He was a mover, a shaker, and powerhouse, too
He was the genuine article and knew what to do
Now I mean what I say; I’m gonna miss big Paul deLay.
I'll eventually work the music out for this tribute, and perform it every chance I get. If you're familiar with his music, just imagine it played like he would do it.
Tribute to Paul deLay
There was this cat up in Portland, in the great Pacific Northwest
He was a blues horn player; in fact he was one of the best
But he’s passed on now, he’s gone to his final rest
He was a big man and he played the Blues his way
He was a big, big man and he played the Blues his way
He could swing and he could shuffle, he could jump and he sure could play
He lead a blues band, and a damn fine band it was
He lead a blues band, and a damn fine band it was
Man that band could swing, and I’ll tell you why because…
Well with Dave on drums, and Peter on guitar; pianist David and Jeff on bass
You knew you were in for a hell of a party when his 5-piece band hit the stage
And the icing on the cake was the big man – that sound was all Paul deLay’s
He was a singer and a swinger, and real cool cat
And a soul man, a maestro, I mean he knew where it’s at
He was a mover, a shaker, and powerhouse, too
He was the genuine article and knew what to do
Now I mean what I say; I’m gonna miss big Paul deLay.
He was a big man and he played them Blues his way
He was a big, big man and he played them Blues his way
He could swing and he could shuffle, he could jump and he sure could play
He lead a blues band, and a damn fine band it was
He lead a blues band, and a damn fine band it was
Man that band could swing, and I’ll tell you why because…
He was a singer and a swinger, and real cool cat
And a soul man, a maestro, I mean he knew where it’s at
He was a mover, a shaker, and powerhouse, too
He was the genuine article and knew what to do
Now I mean what I say; I’m gonna miss big Paul deLay.
101+ ways to sound better playing Harmonica
I was browsing Chet Cannon's Good Blues Update recently and followed a link to this Guitar Player Magazine article entitled 99 Ways to Play Better.
Inspired, I decided to write a 'translated' version for harmonica players. Please keep in mind these are intended as practice strategies to 'open things up' for you. Not every strategy will work for every player, and some strategies may seem pretty elementary to more advanced players. I've tried all these strategies at one time or another with varying degrees of success - hopefully, one or two of them will help your playing.
[NOTE: I continue to update and add to this as time passes and I gain experience. For those of you who like to read the last chapter of the book first, I'll share this: The most important attribute of a good musician in my opinion is the ability to LISTEN and respond appropriately. The second most important is the ability to play at appropriate volume. If you don't take away anything else from this post, I hope you'll think about those two points when you play, and I guarantee your band-mates will consider you an improved player for it.]
1. Even if you haven't 'mastered' all the tunes and tricks you want to, shuffle new tunes, licks and techniques into your practice routine to keep it fresh - you might pick up something that will help you break down some of the barriers in your regular routine.
2. Even if you don't sing well, sing anyway - at least in the woodshed. Sing the melody, sing your riffs, sing everything. It will make you so much more familiar with the music you're trying to play, and singing is it's own reward.
3. Clap your hands, shake a shaker, stomp your feet, move your butt! Get intimately familiar with the rhythm of the music you're playing.
4. Learn to play as well at a whisper as at a wail. Vary your dynamics - it adds drama, and drama is good for your musical performance.
5. Play straight into your amp, without reverb, delay, or other effects. Learn to make that work before you start layering effects into your sound.
6. Miles Davis advised "Think of a note. Now, don't play it." Pick a note in your solo to avoid. Now solo all around it. Now, try the opposite - pick a note in your solo to repeat as much as possible. You maybe wouldn't want to do that onstage, but it will teach you things in practice.
7. An old sound-man/engineer trick: Use 2 mics when recording your amp - one near, one further away. This can make a tiny amp sound enormous!
8. Don't tighten up - keep your upper body, neck and face as relaxed as possible. It will open your tone.
9. Especially if you usually play into an amp in the Chicago Blues style, try playing some ballads or melodies acoustically for a change. Play with lots of heart, but leave out the tricks. See how it affects your playing.
10. Always stand when you play, and always use good posture. Critical for good sound & breathing.
11. Don't get in a 2nd-position rut. Learn to play as much as you can in alternate positions. For instance, explore 3rd position for Major-keyed tunes. Don't forget to work on 1st position as well.
12. Don't cling too much to any one idea - especially one particular approach to your sound over any other - and especially if you find yourself 'forcing' that sound into everything you play.
13. Play at appropriate volumes, even when amplified. John Lee Hooker, when confronted with a very loud room (loud audience), would play very softly, until the audience quieted down. So should you.
14. Don't blow (or draw) your notes flat. Poor technique can push you off-pitch. Listen for pitch all the time, and adjust as necessary, especially on your bends.
15. As much as possible, associate with musicians who play better than you. Listen to them, watch them (on & off the bandstand), learn from them.
16. Keep your instruments, mics and amps clean. Keeping your amps & mics clean shows some pride of ownership. Keeping your harmonicas clean inside & out makes them play better, and makes you sound better.
17. You know all those contemporary players you enjoy listening to? Find out who they listen to. Then find out who those guys listened to. Go to the source.
18. Seek inspiration for your music in other places than the woodshed and old recordings. Sources other than music, even.
19. Tell a story with your solos - stories, you'll remember, have a beginning, a middle, and an end. And drama. And sometimes, even humor.
20. Kim Wilson takes pride in the accuracy of his bends, especially on the 3-draw. If you listen to him he rarely 'pulls' a bent note down or up - he usually nails it spot-on, unless he needs to pull it for expressive reasons. Takes LOTS of practice on every key harmonica you play to get that good.
21. You have two ears, one mouth for a reason. Listen to your bandmates. Give them the same respect and space you appreciate.
22. Learn to determine the key a song is in by listening to it, with only your harmonicas and your ear as your tools. Play a CD or playlist all the way through (preferably one with NO harmonica) and challenge yourself to identify the key of every song within the first verse, or the first two measures, and so on.
23. Don't play like Dylan, but you also don't have to always play perfectly either. Loosen up - make a mistake now & then, get a little sloppy. It's all good, as long as you play expressively, from your heart.
24. Don't follow contemporary players with no creativity. Find artists that play other instruments than you and draw your inspiration from them.
25. The harmonica is about the most expressive instrument there is. It evokes emotion almost by itself. Use that. Drama!
26. Next time your guitarist (keyboard player, horn player, drummer) is on a good blow, LAY OUT.
Seriously.
27. Spend a few minutes each week or each month working on some instructional material. Doesn't have to be for harmonica. Just work on something unfamiliar.
28. Attempt to play along with Jamey Aebersold's Blues in All Keys. You don't have to master it, just attempt it. Extra points if you do this on only one harmonica (Chromatic is OK).
30. Be a good accompanist for someone who doesn't really need the help. Figure out how to fit in with them.
31. Record yourself. Play what you feel (eyes closed would be good). Play it back & discover yourself.
32. If you're a Blues player, you've noticed that lots of songs have similar riffs & motifs. Break it up when you play these - use a different position, use a Low-key harmonica, switch to Chromatic, or just a different approach. Make each song individual.
33. Learn to work your mic. Play at every possible volume level using only your hands and technique, without touching the volume knob. In fact, take that sucker out - it just robs your tone.
34. Play for the song, not for your ego. Lay out if that's what works for the song.
35. Vary your attack. You can't play every solo, every note with a huge Little Walter tight-cupped honk. Throw in some sweet gentle tones, some screaming wails, some long tones & shakes.
36. Learn to syncopate - play on the back beat sometimes just to mix things up.
36a. Swing.
37. Playing those 2-draw bends, and those 8, 9 & 10-blow bends and shakes - man people love those! I know, they're very common and over-played, but hey, you gotta play for the audience.
38. Stomp your foot. Make it funky. Keep it up. FEEL IT.
39. Use the vocal mic some of the time. This will give you an opportunity to explore your hand effects, mic proximity, and tone.
40. Play rhythm, in earnest - not fills, not solos; just pick a couple of songs and support the song by being a good rhythm player. Listen to the drummer. Help him out.
41. Open up. Play with your throat wide, relaxed. Play from your guts - even your toes.
42. Sometimes, you may need to take a little time away from the woodshed to gain a fresh perspective. It's OK. Remember, "All work & no play makes for some boring s***".
43. Apply a good-old American work ethic: don't be afraid to dig in and work to get the sound/emotion/effect you need to produce to make the song right.
44. Try playing through two amplifiers (stereo, not bi-amped), or a stereo PA. Huge sound can be had.
45. The greatest compliment you can be paid as a musician is to be told by a better musician that you have big ears.
Strive for that.
46. Vibrato: Fast, medium slow. Throat, diaphragm, hand, tongue-flutter, bend. Learn them all, use them all.
47. Try some low-tuned tuned diatonics, a high-G, or some minor or other alternate tunings. Even if you only use it once in a night, it can change things up in an interesting way for your audience. You are playing for the audience aren't you?
48. Try starting a solo on a seemingly random note. If you make a mistake repeat it.
48a. As an exercise in creativity, try to avoid playing anything the way Little Walter did.
49. Watch your SPL (Sound Pressure Levels) onstage. When you can't hear yourself onstage, the natural tendency is to turn up. Don't do it - turn down instead, and make everyone else do the same. If they won't, get another band.
50. To beef up your solos, try alternate positions (even change keys if possible or necessary) to make your phrasing strong in the appropriate places.
51. Always have a good harmonica handy. Don't carry a clunker, and don't carry one without a case (that will turn a good harp into a clunker double-quick). Play that sucker several times a day, even if only a few minutes at a time; it'll keep your head in it.
52. Hand, arm and neck position are also part of good posture. Be mindful of how your body is positioned - it can make the difference between enjoying a 4-hour gig or barely surviving a 4-hour death march. (Don't forget to stretch between sets!)
53. Fast playing starts with correct slow playing that builds speed gradually & incrementally. As my Martial-Arts Instructor said said:"Practice doesn't make perfect; Perfect practice makes perfect"
54. Turn down your amp a little before you adjust the tone - then adjust it by listening. Then turn up, only if you must (see #49).
55. When you sit in with more experienced musicians or musicians you haven't played with, listen. You better listen, man! They've got a lot more to show you than you have to show them. Listen & learn. (You'll earn their respect.)
56. Attack, vibrato, hand effects, mic use, amp volume - these are all components of your personal sound. Not so much the brand of your equipment; more how you use it. Remember that.
57. Listening is as much a part of improvising as wailing. Make it a conversation; give others the opportunity to say something & respect what they've said.
58. Cover those unused holes when you play! It makes your instrument sound bigger, stronger, more powerful & airtight. I use my cheek. (Some cats even use their fingers.)
59. Listen to great stylists like Jimmy Vaughan, Stanton Moore, Ella Fitzgerald. Don't copy them, just listen and learn. Play to your strengths. What makes a blues musician a stand-out is the ability to exploit their strengths.
60. When using a vocal mic or playing acoustically, try closing your hands, or use a drinking cup or a small juice can for resonant effect. Shape the notes with your hands when you play.
61. When you play, just play. Don't play in the car, or while you're riding your bike or skateboard. It just makes you do neither one very well, no matter who you are.
62. Learn tongue-ing - use slaps, pulls, trills & flutters on both sides of your mouth (& in the middle). You will be like a God to the rest of us! ;-)
63. Use a tube amp with a tube rectifier. The compression you get with a tube rectifier is especially sweet....
64. A guitar player friend of mine once said, "Time takes time". Take it easy, it's hard to realize you're making progress sometimes, but don't get frustrated - it'll come if you're patient and persistent.
65. Go easy on the effects. Your instrument sounds unlike anything else - don't obscure the sound - highlight it!
66. Practice playing legato, staccato, fortissimo, pianissimo.
66a. Learn these terms and what they mean. You won't ever use them on the bandstand, but knowing how to DO them will make you a better player.
66b. Study music. You don't have to go to school if that's not your thing. You don't even have to take lessons if you can't go the cost. Just go to the library and get some books to learn from. You don't have to memorize all these terms, but even a passing familiarity with musical theory will make you a better musician.
67. At the risk of repetition, play to your strengths. Your quirks don't have to be limitations. Can't do a side to side tongue-flutter? Use something else, don't get all hung-up over it. Find a new way to use a shake or a horn-pop, or an octave in it's place. Don't try to force yourself to be Howard Levy if it ain't your thang - just do what you do.
68. Enjoy yourself. Don't be too timid, or scared - people want you to have fun, be passionate, and succeed onstage.
69. Learn to play triplets on your solos. Trip - Pull - Let. And not just while your playing those Paul Butterfield Rolls, either - work them in to arpeggios and runs. Triplets sound cool.
70. Play out, in front of an audience, as much as possible. Music takes on an entirely different meaning when it's performed for an audience.
71. Experiment with approaches outside your norm. You could specialize in Sonny Terry whoops, you could be a moaner, you could focus on hand techniques, tongue-tricks, or percussion. Or, you could get yourself a JamMan and learn how to Beat-box. Search YouTube for Son of Dave for something different, or listen to the instrumentation, approach and incredible musicianship of Hazmat Modine, Tom Waits, The Latin Playboys. Try playing in a Jug band, or form your own. Get out of your rut & stretch. Youll bring some really cool stuff back withyou and you'll grow as a player.
72. Explore fiddle-tunes on harmonica - check out Glenn Weiser, or Brendan Power.
73. Learn to count. Learn to play in odd meters. Go beyond 4/4, 3/4, 2/3.
74. Play for the groove. Songs can be too driving (yes they can) sometimes. Try slowing the tempo, or changing the rhythmic approach to find the groove. Always groove.
75. Play something new every day. Listen to the radio, or make it up. It doesn't have to be perfect, or even sound good; the mere act of learning to play it will help you to grow.
76. You don't have to learn a riff note for note, or at speed. Take it easy, learn it slower, let the speed come with familiarity.
77. Don't be too hard on yourself. Play with a light heart - have fun. The other way kills creativity.
78. Eat well, exercise, take care of yourself. Playing harmonica, like singing, can be a physically demanding activity - it takes a little wind, a little stamina. Keep your body in good shape to play well. Four-set nights can really take their toll!
79. Sometimes you have to try to detach a little from what you're playing so you can hear what you're playing.
80. Listen to the spaces between the notes. Try to play those spaces.
81. To get really good, you have to be in love with your instrument, and in love with the music you're playing on it. Immersed. Passionately.
82. Don't over-think your playing, or your approach; don't over-analyze. Just blow!
83. Good music is all about tension and release. You have to be mindful of how to create that tension (dynamics, voicing, attack) in order to deliver the release. And the release is what makes the audience happy.
84. Steal all the cool stuff you can from everyone you hear, but you must integrate it into your own style.
85. Advanced players: Avoid the obvious stuff that everyone's heard. Play that boogie in 1st, that Major shuffle in 3rd, that minor in 2nd. Avoid the obvious and the predictable; don't be afraid to work at it a little.
86. Feel it. Close your eyes and feel what to play, without thinking so hard. Feel what your bandmates are doing and respond to that.
87. Study the music you play in earnest. That doesn't mean you have to learn to read, or learn theory (and it doesn't mean you shouldn't, either). It means learn about the music you perform. Learn about it's beginings, it's offspring, even it's proponents and detractors. But most importantly listen to (and learn) the music.
88. Keep it simple. It's much harder to play in a 6-piece band than a four piece and have it sound good, in my opinion. Too many cooks really can spoil the broth. Strip it down. Less is more; it leaves you more space to create in.
89. Try soloing against the harmony of the melody instead of the actual melody.
90. Don't throw out everything you know in the first set. Meter it out carefully, delicately, like serving a 7-course meal. Hit them in the face with your most blazing solo the first song, and they have nothing but disappointment to anticipate. Remember that your performance is all about tension & release.
91. Accept a little slop, if you're playing from your heart. This instrument is an emotional one - emote! But don't worry about a little slop - it's cool.
92. Explore some of the sounds you can coax out of your instrument acoustically. Apply those techniques to your amplified approach. Expand your pallette.
93. If you can relax, play from your heart and emote, you will touch your audience in a very significant way. Just play with them like their your teammates on a ball-field. Engage them, enjoin them. Let go and play with them.
94. When recording, do not beat a tune to death with 10 takes. If it doesn't come in the first few takes, something is wrong; the approach, the players, or maybe just the fit between you and the song. Let it go & play something you love instead.
95. Use the instruments in your band to paint a tone-picture. Layer the colors one by one until the picture takes form.
96. Most of us harmonica players like to 'put some hair on it' - play with a distorted tone. Find a little amp to play through to get that - you don't want to have to play with a big amp 'on 11' to get your sound. Use a little amp & mic it - that little amp will sound huge through the PA, and you can play it as loud or soft as you want.
96a. A "Legendary Pignose" #7-100(the little portable with the AA batteries) makes a great little practice amp with the right mic. It's low-cost, portable and has a classic sound. I know a big-name pro player who uses one of these. Place it in the middle of your dining room table to improve it's bass response.
97. Playing through the PA can also give you access to effects you wouldn't have ordinarilly without 'sucking your sound'.
98. You're performing a show. Everything you do on & off-stage, the way you behave, the way you dress, the way you look - either contributes to or detracts from that show. Everything.
98a. Be genuine, not jive.
99. Trust your heart - the rest will follow. Play what feels right without forcing it, let it wail when it needs to, let it cry, let it moan.
100. Learn good hand techniques with and without a bullet mic - they're a huge part of a harmonica players toolset. You must know them.
101. If you have a little tube amp like a Champ, get a line-out box, or have a line-out jack installed in it. You're not getting as much of 'your sound' from the speaker as you think, and it will let you use a bigger amp or the PA for more volume, without losing that tiny terror's tube goodness.
Bonus tips:
Learn to play Horn-pops with the horn section. Also, learn to play bass lines correctly and accurately.
Octaves make your harmonica sound bigger, even acoustically. Get comfortable playing them - especially on Chromatic.
Play around with your instrument. Explore it and learn what chords & double-stops you can use. You don't always have to play single notes, and you don't have to sound like Alanis Morrisette when you play chords.
Play harmony to the lead guitar or horns melody line or the hook. Or play a melody line with double-stops, playing both melody and harmony yourself.
Learn to adjust your instrument. Not every harmonica comes out of the box in fully playable condition, nor perfectly in tune. Learn how to do this for yourself, even if it costs you a few harmonicas to learn it (try working on the ones that are already hopelessly blown-out first).
About once every 6-8 weeks (more frequently if you play a lot), take your harmonicas apart, and give them a thorough cleaning in warm soapy water (except if they have wood bodies). This is also a good time to touch-up the tuning on any that need it, or to replace noisy, sticking, leaky or missing valves (windsavers) on your Chromatics.
Always keep your harmonicas looking sharp and wiped off with a clean towel when you're not using them.
Keep a good playable 'short set' of the keys you play most in equally good shape, and close at hand while you're onstage. You need them as a backup in case you blow a reed.
DON'T EVER SHARE YOUR HARMONICA WITH ANYONE. That's just wrong, man!
Keep fuses for your amp, and a spare mic & cable handy at gigs. If you want to be the 'always prepared Boy Scout' of your band, keep a guitar strap, power tubes, cable (guitar and mic), and a couple 9-volt batteries in your gig bag/box.
...And one final, advanced, bonus - tip:
DRAMA!
Grunt, groan, scream, holler, wail, trill, shake, flutter, slap and pull. Clap, stomp, thump the mic, dance, fall down, crawl, shake and shimmy. Play percussion, make faces, cry, laugh, hoot and holler. Use every trick in your bag - just be entertaining - they'll love you even if you think it makes you look a little crazy. Audiences love crazy - don't forget it's a show.
Inspired, I decided to write a 'translated' version for harmonica players. Please keep in mind these are intended as practice strategies to 'open things up' for you. Not every strategy will work for every player, and some strategies may seem pretty elementary to more advanced players. I've tried all these strategies at one time or another with varying degrees of success - hopefully, one or two of them will help your playing.
[NOTE: I continue to update and add to this as time passes and I gain experience. For those of you who like to read the last chapter of the book first, I'll share this: The most important attribute of a good musician in my opinion is the ability to LISTEN and respond appropriately. The second most important is the ability to play at appropriate volume. If you don't take away anything else from this post, I hope you'll think about those two points when you play, and I guarantee your band-mates will consider you an improved player for it.]
1. Even if you haven't 'mastered' all the tunes and tricks you want to, shuffle new tunes, licks and techniques into your practice routine to keep it fresh - you might pick up something that will help you break down some of the barriers in your regular routine.
2. Even if you don't sing well, sing anyway - at least in the woodshed. Sing the melody, sing your riffs, sing everything. It will make you so much more familiar with the music you're trying to play, and singing is it's own reward.
3. Clap your hands, shake a shaker, stomp your feet, move your butt! Get intimately familiar with the rhythm of the music you're playing.
4. Learn to play as well at a whisper as at a wail. Vary your dynamics - it adds drama, and drama is good for your musical performance.
5. Play straight into your amp, without reverb, delay, or other effects. Learn to make that work before you start layering effects into your sound.
6. Miles Davis advised "Think of a note. Now, don't play it." Pick a note in your solo to avoid. Now solo all around it. Now, try the opposite - pick a note in your solo to repeat as much as possible. You maybe wouldn't want to do that onstage, but it will teach you things in practice.
7. An old sound-man/engineer trick: Use 2 mics when recording your amp - one near, one further away. This can make a tiny amp sound enormous!
8. Don't tighten up - keep your upper body, neck and face as relaxed as possible. It will open your tone.
9. Especially if you usually play into an amp in the Chicago Blues style, try playing some ballads or melodies acoustically for a change. Play with lots of heart, but leave out the tricks. See how it affects your playing.
10. Always stand when you play, and always use good posture. Critical for good sound & breathing.
11. Don't get in a 2nd-position rut. Learn to play as much as you can in alternate positions. For instance, explore 3rd position for Major-keyed tunes. Don't forget to work on 1st position as well.
12. Don't cling too much to any one idea - especially one particular approach to your sound over any other - and especially if you find yourself 'forcing' that sound into everything you play.
13. Play at appropriate volumes, even when amplified. John Lee Hooker, when confronted with a very loud room (loud audience), would play very softly, until the audience quieted down. So should you.
14. Don't blow (or draw) your notes flat. Poor technique can push you off-pitch. Listen for pitch all the time, and adjust as necessary, especially on your bends.
15. As much as possible, associate with musicians who play better than you. Listen to them, watch them (on & off the bandstand), learn from them.
16. Keep your instruments, mics and amps clean. Keeping your amps & mics clean shows some pride of ownership. Keeping your harmonicas clean inside & out makes them play better, and makes you sound better.
17. You know all those contemporary players you enjoy listening to? Find out who they listen to. Then find out who those guys listened to. Go to the source.
18. Seek inspiration for your music in other places than the woodshed and old recordings. Sources other than music, even.
19. Tell a story with your solos - stories, you'll remember, have a beginning, a middle, and an end. And drama. And sometimes, even humor.
20. Kim Wilson takes pride in the accuracy of his bends, especially on the 3-draw. If you listen to him he rarely 'pulls' a bent note down or up - he usually nails it spot-on, unless he needs to pull it for expressive reasons. Takes LOTS of practice on every key harmonica you play to get that good.
21. You have two ears, one mouth for a reason. Listen to your bandmates. Give them the same respect and space you appreciate.
22. Learn to determine the key a song is in by listening to it, with only your harmonicas and your ear as your tools. Play a CD or playlist all the way through (preferably one with NO harmonica) and challenge yourself to identify the key of every song within the first verse, or the first two measures, and so on.
23. Don't play like Dylan, but you also don't have to always play perfectly either. Loosen up - make a mistake now & then, get a little sloppy. It's all good, as long as you play expressively, from your heart.
24. Don't follow contemporary players with no creativity. Find artists that play other instruments than you and draw your inspiration from them.
25. The harmonica is about the most expressive instrument there is. It evokes emotion almost by itself. Use that. Drama!
26. Next time your guitarist (keyboard player, horn player, drummer) is on a good blow, LAY OUT.
Seriously.
27. Spend a few minutes each week or each month working on some instructional material. Doesn't have to be for harmonica. Just work on something unfamiliar.
28. Attempt to play along with Jamey Aebersold's Blues in All Keys. You don't have to master it, just attempt it. Extra points if you do this on only one harmonica (Chromatic is OK).
30. Be a good accompanist for someone who doesn't really need the help. Figure out how to fit in with them.
31. Record yourself. Play what you feel (eyes closed would be good). Play it back & discover yourself.
32. If you're a Blues player, you've noticed that lots of songs have similar riffs & motifs. Break it up when you play these - use a different position, use a Low-key harmonica, switch to Chromatic, or just a different approach. Make each song individual.
33. Learn to work your mic. Play at every possible volume level using only your hands and technique, without touching the volume knob. In fact, take that sucker out - it just robs your tone.
34. Play for the song, not for your ego. Lay out if that's what works for the song.
35. Vary your attack. You can't play every solo, every note with a huge Little Walter tight-cupped honk. Throw in some sweet gentle tones, some screaming wails, some long tones & shakes.
36. Learn to syncopate - play on the back beat sometimes just to mix things up.
36a. Swing.
37. Playing those 2-draw bends, and those 8, 9 & 10-blow bends and shakes - man people love those! I know, they're very common and over-played, but hey, you gotta play for the audience.
38. Stomp your foot. Make it funky. Keep it up. FEEL IT.
39. Use the vocal mic some of the time. This will give you an opportunity to explore your hand effects, mic proximity, and tone.
40. Play rhythm, in earnest - not fills, not solos; just pick a couple of songs and support the song by being a good rhythm player. Listen to the drummer. Help him out.
41. Open up. Play with your throat wide, relaxed. Play from your guts - even your toes.
42. Sometimes, you may need to take a little time away from the woodshed to gain a fresh perspective. It's OK. Remember, "All work & no play makes for some boring s***".
43. Apply a good-old American work ethic: don't be afraid to dig in and work to get the sound/emotion/effect you need to produce to make the song right.
44. Try playing through two amplifiers (stereo, not bi-amped), or a stereo PA. Huge sound can be had.
45. The greatest compliment you can be paid as a musician is to be told by a better musician that you have big ears.
Strive for that.
46. Vibrato: Fast, medium slow. Throat, diaphragm, hand, tongue-flutter, bend. Learn them all, use them all.
47. Try some low-tuned tuned diatonics, a high-G, or some minor or other alternate tunings. Even if you only use it once in a night, it can change things up in an interesting way for your audience. You are playing for the audience aren't you?
48. Try starting a solo on a seemingly random note. If you make a mistake repeat it.
48a. As an exercise in creativity, try to avoid playing anything the way Little Walter did.
49. Watch your SPL (Sound Pressure Levels) onstage. When you can't hear yourself onstage, the natural tendency is to turn up. Don't do it - turn down instead, and make everyone else do the same. If they won't, get another band.
50. To beef up your solos, try alternate positions (even change keys if possible or necessary) to make your phrasing strong in the appropriate places.
51. Always have a good harmonica handy. Don't carry a clunker, and don't carry one without a case (that will turn a good harp into a clunker double-quick). Play that sucker several times a day, even if only a few minutes at a time; it'll keep your head in it.
52. Hand, arm and neck position are also part of good posture. Be mindful of how your body is positioned - it can make the difference between enjoying a 4-hour gig or barely surviving a 4-hour death march. (Don't forget to stretch between sets!)
53. Fast playing starts with correct slow playing that builds speed gradually & incrementally. As my Martial-Arts Instructor said said:"Practice doesn't make perfect; Perfect practice makes perfect"
54. Turn down your amp a little before you adjust the tone - then adjust it by listening. Then turn up, only if you must (see #49).
55. When you sit in with more experienced musicians or musicians you haven't played with, listen. You better listen, man! They've got a lot more to show you than you have to show them. Listen & learn. (You'll earn their respect.)
56. Attack, vibrato, hand effects, mic use, amp volume - these are all components of your personal sound. Not so much the brand of your equipment; more how you use it. Remember that.
57. Listening is as much a part of improvising as wailing. Make it a conversation; give others the opportunity to say something & respect what they've said.
58. Cover those unused holes when you play! It makes your instrument sound bigger, stronger, more powerful & airtight. I use my cheek. (Some cats even use their fingers.)
59. Listen to great stylists like Jimmy Vaughan, Stanton Moore, Ella Fitzgerald. Don't copy them, just listen and learn. Play to your strengths. What makes a blues musician a stand-out is the ability to exploit their strengths.
60. When using a vocal mic or playing acoustically, try closing your hands, or use a drinking cup or a small juice can for resonant effect. Shape the notes with your hands when you play.
61. When you play, just play. Don't play in the car, or while you're riding your bike or skateboard. It just makes you do neither one very well, no matter who you are.
62. Learn tongue-ing - use slaps, pulls, trills & flutters on both sides of your mouth (& in the middle). You will be like a God to the rest of us! ;-)
63. Use a tube amp with a tube rectifier. The compression you get with a tube rectifier is especially sweet....
64. A guitar player friend of mine once said, "Time takes time". Take it easy, it's hard to realize you're making progress sometimes, but don't get frustrated - it'll come if you're patient and persistent.
65. Go easy on the effects. Your instrument sounds unlike anything else - don't obscure the sound - highlight it!
66. Practice playing legato, staccato, fortissimo, pianissimo.
66a. Learn these terms and what they mean. You won't ever use them on the bandstand, but knowing how to DO them will make you a better player.
66b. Study music. You don't have to go to school if that's not your thing. You don't even have to take lessons if you can't go the cost. Just go to the library and get some books to learn from. You don't have to memorize all these terms, but even a passing familiarity with musical theory will make you a better musician.
67. At the risk of repetition, play to your strengths. Your quirks don't have to be limitations. Can't do a side to side tongue-flutter? Use something else, don't get all hung-up over it. Find a new way to use a shake or a horn-pop, or an octave in it's place. Don't try to force yourself to be Howard Levy if it ain't your thang - just do what you do.
68. Enjoy yourself. Don't be too timid, or scared - people want you to have fun, be passionate, and succeed onstage.
69. Learn to play triplets on your solos. Trip - Pull - Let. And not just while your playing those Paul Butterfield Rolls, either - work them in to arpeggios and runs. Triplets sound cool.
70. Play out, in front of an audience, as much as possible. Music takes on an entirely different meaning when it's performed for an audience.
71. Experiment with approaches outside your norm. You could specialize in Sonny Terry whoops, you could be a moaner, you could focus on hand techniques, tongue-tricks, or percussion. Or, you could get yourself a JamMan and learn how to Beat-box. Search YouTube for Son of Dave for something different, or listen to the instrumentation, approach and incredible musicianship of Hazmat Modine, Tom Waits, The Latin Playboys. Try playing in a Jug band, or form your own. Get out of your rut & stretch. Youll bring some really cool stuff back withyou and you'll grow as a player.
72. Explore fiddle-tunes on harmonica - check out Glenn Weiser, or Brendan Power.
73. Learn to count. Learn to play in odd meters. Go beyond 4/4, 3/4, 2/3.
74. Play for the groove. Songs can be too driving (yes they can) sometimes. Try slowing the tempo, or changing the rhythmic approach to find the groove. Always groove.
75. Play something new every day. Listen to the radio, or make it up. It doesn't have to be perfect, or even sound good; the mere act of learning to play it will help you to grow.
76. You don't have to learn a riff note for note, or at speed. Take it easy, learn it slower, let the speed come with familiarity.
77. Don't be too hard on yourself. Play with a light heart - have fun. The other way kills creativity.
78. Eat well, exercise, take care of yourself. Playing harmonica, like singing, can be a physically demanding activity - it takes a little wind, a little stamina. Keep your body in good shape to play well. Four-set nights can really take their toll!
79. Sometimes you have to try to detach a little from what you're playing so you can hear what you're playing.
80. Listen to the spaces between the notes. Try to play those spaces.
81. To get really good, you have to be in love with your instrument, and in love with the music you're playing on it. Immersed. Passionately.
82. Don't over-think your playing, or your approach; don't over-analyze. Just blow!
83. Good music is all about tension and release. You have to be mindful of how to create that tension (dynamics, voicing, attack) in order to deliver the release. And the release is what makes the audience happy.
84. Steal all the cool stuff you can from everyone you hear, but you must integrate it into your own style.
85. Advanced players: Avoid the obvious stuff that everyone's heard. Play that boogie in 1st, that Major shuffle in 3rd, that minor in 2nd. Avoid the obvious and the predictable; don't be afraid to work at it a little.
86. Feel it. Close your eyes and feel what to play, without thinking so hard. Feel what your bandmates are doing and respond to that.
87. Study the music you play in earnest. That doesn't mean you have to learn to read, or learn theory (and it doesn't mean you shouldn't, either). It means learn about the music you perform. Learn about it's beginings, it's offspring, even it's proponents and detractors. But most importantly listen to (and learn) the music.
88. Keep it simple. It's much harder to play in a 6-piece band than a four piece and have it sound good, in my opinion. Too many cooks really can spoil the broth. Strip it down. Less is more; it leaves you more space to create in.
89. Try soloing against the harmony of the melody instead of the actual melody.
90. Don't throw out everything you know in the first set. Meter it out carefully, delicately, like serving a 7-course meal. Hit them in the face with your most blazing solo the first song, and they have nothing but disappointment to anticipate. Remember that your performance is all about tension & release.
91. Accept a little slop, if you're playing from your heart. This instrument is an emotional one - emote! But don't worry about a little slop - it's cool.
92. Explore some of the sounds you can coax out of your instrument acoustically. Apply those techniques to your amplified approach. Expand your pallette.
93. If you can relax, play from your heart and emote, you will touch your audience in a very significant way. Just play with them like their your teammates on a ball-field. Engage them, enjoin them. Let go and play with them.
94. When recording, do not beat a tune to death with 10 takes. If it doesn't come in the first few takes, something is wrong; the approach, the players, or maybe just the fit between you and the song. Let it go & play something you love instead.
95. Use the instruments in your band to paint a tone-picture. Layer the colors one by one until the picture takes form.
96. Most of us harmonica players like to 'put some hair on it' - play with a distorted tone. Find a little amp to play through to get that - you don't want to have to play with a big amp 'on 11' to get your sound. Use a little amp & mic it - that little amp will sound huge through the PA, and you can play it as loud or soft as you want.
96a. A "Legendary Pignose" #7-100(the little portable with the AA batteries) makes a great little practice amp with the right mic. It's low-cost, portable and has a classic sound. I know a big-name pro player who uses one of these. Place it in the middle of your dining room table to improve it's bass response.
97. Playing through the PA can also give you access to effects you wouldn't have ordinarilly without 'sucking your sound'.
98. You're performing a show. Everything you do on & off-stage, the way you behave, the way you dress, the way you look - either contributes to or detracts from that show. Everything.
98a. Be genuine, not jive.
99. Trust your heart - the rest will follow. Play what feels right without forcing it, let it wail when it needs to, let it cry, let it moan.
100. Learn good hand techniques with and without a bullet mic - they're a huge part of a harmonica players toolset. You must know them.
101. If you have a little tube amp like a Champ, get a line-out box, or have a line-out jack installed in it. You're not getting as much of 'your sound' from the speaker as you think, and it will let you use a bigger amp or the PA for more volume, without losing that tiny terror's tube goodness.
Bonus tips:
Learn to play Horn-pops with the horn section. Also, learn to play bass lines correctly and accurately.
Octaves make your harmonica sound bigger, even acoustically. Get comfortable playing them - especially on Chromatic.
Play around with your instrument. Explore it and learn what chords & double-stops you can use. You don't always have to play single notes, and you don't have to sound like Alanis Morrisette when you play chords.
Play harmony to the lead guitar or horns melody line or the hook. Or play a melody line with double-stops, playing both melody and harmony yourself.
Learn to adjust your instrument. Not every harmonica comes out of the box in fully playable condition, nor perfectly in tune. Learn how to do this for yourself, even if it costs you a few harmonicas to learn it (try working on the ones that are already hopelessly blown-out first).
About once every 6-8 weeks (more frequently if you play a lot), take your harmonicas apart, and give them a thorough cleaning in warm soapy water (except if they have wood bodies). This is also a good time to touch-up the tuning on any that need it, or to replace noisy, sticking, leaky or missing valves (windsavers) on your Chromatics.
Always keep your harmonicas looking sharp and wiped off with a clean towel when you're not using them.
Keep a good playable 'short set' of the keys you play most in equally good shape, and close at hand while you're onstage. You need them as a backup in case you blow a reed.
DON'T EVER SHARE YOUR HARMONICA WITH ANYONE. That's just wrong, man!
Keep fuses for your amp, and a spare mic & cable handy at gigs. If you want to be the 'always prepared Boy Scout' of your band, keep a guitar strap, power tubes, cable (guitar and mic), and a couple 9-volt batteries in your gig bag/box.
...And one final, advanced, bonus - tip:
DRAMA!
Grunt, groan, scream, holler, wail, trill, shake, flutter, slap and pull. Clap, stomp, thump the mic, dance, fall down, crawl, shake and shimmy. Play percussion, make faces, cry, laugh, hoot and holler. Use every trick in your bag - just be entertaining - they'll love you even if you think it makes you look a little crazy. Audiences love crazy - don't forget it's a show.
Spring Harp Fest 2007
I always enjoy Spring Harp Fest,the annual harmonica-centric concert-for-charity that is presented by my friends Budd Willis, "Harmonica John" Frazer, and Chet Cannon. It's a lot of good fun, features some of the best Blues Players in So Cal (a not-insignificant group of players), and it's all for a good cause, The San Diego Girls' Club.
This year the line-up was outstanding, as usual. I won't mention everyone (just follow the link above to the website for a complete list), but I want to mention what the highlights were for me.
Billy Watson is an incredible Harmonicist and well-liked entertainer around here. His technique, tone, attack, and solos are unsurpassed. He had Junior Watson on guitar, Nathan James on bass, and Brian "Nucci" Cantrell on drums. Man, what a show these guys put on! If you don't recognize any of those names, Google them and find out who they are. It would be very hard to over-state how good these guys are. Even if you don't care for Billy's "shtick", his playing and showmanship are unquestionalbly superior.
Another highlight of the show for me was John Whiteman's incredible Harmonica collection (I hear he has over 2,000 instruments in his collection); John brought only a representative sample of instruments to display, but they were all quite remarkable, and John is so knowledgeable about them, it's like a mini-trip to the museum.
Finally, the reason I was so exited to attend this year's Harp Fest - West of Memphis.
West of Memphis' front-man Karl Cabbage is the most sincere, humble and talented Blues Harmonica player I have the privilege to call my friend. He's a scholar of Old School tone and attack, he has a deep respect for the music, he uses "the real deal" Vintage gear, he dresses and behaves like a real gentleman on stage, and the man can BLOW! He has great tone and Mad Skills. Close your eyes and you could swear you were in a Chicago Juke Joint. Karl and his co-leader Tom (and the whole band!) are totally professional and sound great together. Tom also has serious chops, but you know me, I'm all about harmonica.
West of Memphis plays every Friday in Salvation Alley at San Diego's House of Blues. Please make time to check them out.
The icing on the cake for me was having the opportunity to chat with Troy Sandow, who plays Harmonica for The Fremonts. As good as Billy and Karl are, I'd have to say I enjoy Troy's playing even more - his acoustic tone is as fattening as a three-layer cake, it's that good!
From the moment I introduced myself and started a conversation with him, he was very friendly and amenable with me. We talked about vintage gear, 4-set nights, Harp Fest, playing techniques and our favorite players. Troy is a real gentleman and a monster of a player - it was a privilege to meet him.
I missed the post-harp-fest jam at the Downtown Cafe afterwards, but I had a ton of fun coloring Easter eggs with my kids later on Saturday night - all in all a very good day!
The Fremonts
I should probably be promoting myself on this site rather than other musicians - (especially local ones), but I just saw this video by The Fremonts, and I was absolutely blown away. So soulful, so swingin', such a deep, bitchin' groove.
The Fremonts, fronted by singer Mighty Joe Milsap have such a smooth, sweet style, the band is groovin' like a house-afire, and Troy "Pony Boy" Sandow is an INCREDIBLY talented harmonica player. He's got all the technique, chops, and taste anyone could hope for - man just listen to him playing like old Sonny Boy himself!
The Fremonts, fronted by singer Mighty Joe Milsap have such a smooth, sweet style, the band is groovin' like a house-afire, and Troy "Pony Boy" Sandow is an INCREDIBLY talented harmonica player. He's got all the technique, chops, and taste anyone could hope for - man just listen to him playing like old Sonny Boy himself!
Paul deLay 3/31/52 - 3/7/7
Sad, sad news.
Paul deLay passed suddenly today. He was one of the most original musicians of any genre I ever heard, period. In my opinion, his Harmonica playing was second only to Stevie Wonder in terms of outright originality.
It's especially sad when an artist dies, because they touch so many hearts and help to ease the suffering of these earthly shackles. Paul deLay's passing is a great loss to all of us who enjoyed his music and admired his art.
He played the Harmonica like a horn, wrote lyrics like a poet, and sang like a soul-man.
There are a few really good articles on http://blog.oregonlive.com/, and here:
columbian.com
kgw.com
Rest in Peace, Paul.
Paul deLay passed suddenly today. He was one of the most original musicians of any genre I ever heard, period. In my opinion, his Harmonica playing was second only to Stevie Wonder in terms of outright originality.
It's especially sad when an artist dies, because they touch so many hearts and help to ease the suffering of these earthly shackles. Paul deLay's passing is a great loss to all of us who enjoyed his music and admired his art.
He played the Harmonica like a horn, wrote lyrics like a poet, and sang like a soul-man.
There are a few really good articles on http://blog.oregonlive.com/, and here:
columbian.com
kgw.com
Rest in Peace, Paul.
Subscribe to:
Posts (Atom)
