FROM HOHNER, INC. SPRING/SUMMER 2003

2368101417

Searching forLittle Walter

Mickey Raphael

EuropeanNews

SPAH 2002

Notes FromRick’s Bench

New Releases

US News

DoubleDarin’deLay

Page 12

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L ittle Walter remains a mystery. Perhapsyou own every immortal Chess/Checkertrack the harmonica genius recorded, as

well as the fascinating alternative tracks. Maybeyou’ve studied liner notes discussing his HohnerMarine Band mastery and tragic “gone-too-soon” life story. If so, you’ve probably also rattledyour brain working out the riffsto such classics as Juke andRoller Coaster.

Nonetheless, no full-scale biography of arguablythe most inventive,creative and lyrical bluesharmonica player of alltime, Marion Walter Jacobs,had ever been written. Thisis surprising, as the oft-over-looked pioneer single-han-dledly wrote the definitivetextbook on Chicago-styleblues harmonica. He diedtragically in 1968 — only 37years old.

But all will be revealedin a new Little Walterbiography.

Three Little Walterfanatics embarked on thedaunting task of piecingtogether the complex trou-bled life and groundbreak-ing music of Little Walter— the first complete andexhaustive biography.

The result is Blues with aFeeling: The Little WalterStory (Routledge Press; 368pages) which also includesthe most complete Walterdiscography ever published,plus never-before-seenphotos and promo ads,according to the authors.

This triumvirate of co-authors (all blues harp play-ers) pooled their respectiveresearch talents and writing

skills and spent the last five years diligently work-ing on this massive project. Along the way, eachauthor would help motivate the others to keepthe challenging and time-consuming researchand writing moving along.

Chicago-based writer/musician Scott Dirks,Tony Glover (of Koerner, Ray and Glover fame,

and author of a harp instruction book in 1965)and writer/musician Ward Gaines scouredcensus records, police files, studio log sheets,genealogical data. They also studied hours ofrare out-takes and interviewed more than 60 ofWalter’s cohorts and contemporaries — fromMarshall Chess to Billy Boy Arnold.

“We thought the task of writ-ing this book would be toodaunting individually,” saysGaines. “But writing thebook together with Scottand Tony was a lot of fun.”

The writers were allsomewhat surprised at thelack of written material onWalter — and had to over-come many research road-blocks and obstacles. Thechallenges included severalWalter contemporaries andsome family members whowere hesitant to share theirknowledge. In addition, attimes names and dates didnot jibe, research leads andtips fizzled out, etc. In fact,the authors had to roll uptheir sleeves and do a lot ofold-fashioned detectivework.

“The project was realarcheology,” says Gaines.“Our research was likeforensics, finding a bonehere and a shard there, andbuilding up from that. Thebook was similar to fittingtogether a mosaic or onebig jigsaw puzzle.”

The authors learned thatWalter essentially had beenoverlooked by history. Theybelieve their biography willhelp to give Walter his dueas one of the true geniusesof blues and modern music.

In Search of Little WalterPioneer of Chicago Blues Harmonica

BY DAVID MASSEY

continued on page 22

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Mickey Raphael has been playingharmonica in the same country bandfor almost 30 years. Sure, it’s Willie

Nelson’s band, but still, Mickey’s been playingCrazy since Mariah Carey was two and the warin Vietnam plagued us! From all I’ve learned,this band’s survival comes down to fierce loyalty,musical skill and the ability to grow togetherthrough challenges.

For Raphael, this means he’s always on thelookout for ways to stay fresh and stimulate hismusical muse. Born in Dallas, Texas, in 1952and gifted with a guitar at a young age, hequickly abandoned it. “I was terrible,” helaughed. Before long, however, the teenagerwas playing gigs in a Dallas folk club andworking with folk singer B.W. Stephenson.

One day a Dallas football coach and faninvited him to a post-game party. Willie Nelsonwas there. “He told me to come jam if I heardthey were playing around, so I did!”

Though Willie works the band hard fromFebruary to November (last year they did 130cities), Mickey takes on session work wheneverhe can. He got his start as a session artist whenRodney Crowell interested Brian Ahearn(Emmylou Harris’ producer) in him. Hesoon moved from his home in Austinand remained in the Los Angelesarea for 18 years before moving toNashville, TN (all the while tour-ing with Willie). He’s recordedwith a huge list of stars:Emmylou Harris, Elton John,Rodney Crowell, Guy Clark,U2, etc. “Every now and then Ineed a curve ball,” he smiled.

A recent project with PaulaCole and another with jazzsaxophone player Bill Evans(who Raphael saw play withMiles Davis as a kid) reallypumped him up. “Jazz washard,” laughed Mickey, “but themusic really fit the harp.” He eventried producing. “I produced atrack for Mark Seliger — a fledgling

musician most famous as the album cover pho-tographer for the Rolling Stones. Lenny Kravitzactually produced the album and enlisted friendsto help on different tracks. “Lenny did a couple;Gillian Welch; the Wallflowers; and Willie and Iproduced one.”

When not engaged in outside projects,Raphael experiments with his stage work,adding echo and bass harp to develop differentambient sounds. Yet he sticks with his basic

playing philoso-phy —advice hefirst heard

fromPaul

Butterfield, “‘It’s easy to play riffs all night; it’smuch harder to play the melody.’ If I play licksit’s for a solo. I’m not a fast player either; I’drather hear one person play two wonderful noteswith great tone than machine-gun fire.”

Thirty years of working with Willie Nelsonhas given Mickey a wealth of amazing experi-ences, worldwide travel and incredible musicaladventures. Though band members share tightquarters (“luxurious but close,” grins Mickey),they have clearly developed a touring lifestylethat works. Nelson’s antics are legendary and hispopularity and music continue to charm audi-ences everywhere. Mickey Raphael is gratefuland not blind to the rarity of his 30-year gig.“Willie’s a pretty loyal guy to work for!”

EZR: The Willie-gig amazes me Mickey, yet Iknow you’re doing a lot of session work.

Mickey Raphael: Yes. I really love studio workbecause it’s such a challenge and I love the wayI sound in the studio! Maybe I’m jaded, but I’dmuch rather do something great on recordbecause studio work is how you’re judged. At

least that’s how I judge myself.

I know Willie’s got a zillionrecords out. What’s the latest?

The Great Divide, with MattSerletic. Matt producesMatchbox 20 and did the lastbig Santana hit.

Refresh me on your rigMickey. I rememberyou use a Beyer mic?

Yes, an M88, through apre-amp on stage intothe PA. It goes throughan amp too. I have acompressor and apre-amp on stage with avolume control so when

I play quieter harp I canboost the level a little.

Highway Living RoomCatching Up With Mickey Raphael

BY CATHI NORTON

continued on page 22

It’s funny howthings appearserendipitously.

Recently I was askedto write an article forEasyReeding aboutmy far better half, PetePedersen.

Pete passed awayin May of 2002. Sincethen, I’ve spent a goodbit of time sifting through old photographs andsouvenirs: a lifetime of achievements and memo-ries.There was so much to say about him. Somany things I wanted to write that I didn’t knowwhere to start.

I spent days writing and rewriting the 1500words allotted to me. I wanted every one tobe perfect — to give those who didn’tknow him an idea of who he was andwhat he had accomplished. At thesame time, I wanted to give thosewho had known him somethingmore. Something they had notknown before.

But the words would notcome. Then, last night, I cameacross a copy of a letter Pete hadwritten introducing himself andhis new CD in April 1996. Itwas just after the completion ofGroovin’ High, long before hetook ill or his good friend JerryMurad had passed away. In theletter Pete encapsulated his life’swork, lacing it with his own specialbrand of humor. Here was his storyas no one but Pete could tell it. Idecided to put aside my own recollec-tions and let Pete do the talking.

I will admit to adding a few finalthoughts of my own: the “something more”I mentioned earlier. For in his letter Pete hadsaid nothing of his character:, the man behindthe music.

And so we begin with Pete’s story, in his ownwords, just as he wrote it on that April day in 1996.

“I’ve been playing the harmonica since age 5. Igrew up in Chicago, and some of my early mentors. . . who even let the kid hang with them a little . . .were Stuff Smith, J.C. Higginbotham, Red Alanand Fletcher Henderson.

My best friend, even to this day, is Jerry Murad.Together with two guys we met in the Parks, Aland Bob, we formed a Harmonica band called theHarmonica Madcaps. Shortly after that, Jerry andI got an invitation to join the world famous BorrahMinevitch Harmonica Rascals: the harmonicaband that featured

the ‘little guy’ in feature movies as well as a count-less number of ‘shorts.’ I stayed with the ‘Rascals’for about 8 years.

On my own after Minevitch, I worked for awhile in a group called The Don Henry Trio, ashow group. We had a semi-hit on the Regentlabel in Sabre Dance, as well as some standardsthat are now collector’s items among harmonicaplayers. Next step was to become a duo: theHarmonic-Aires . . . I hope you love all these names. . . another show act, but now, with the credentialof eight appearances on the Ed Sullivan Show.We even toured with him for Lincoln Mercury

Concerts.Eventually I became a one-man show,kind of a poor-man’s Victor Borge with a

harmonica.Three kids later I became a

jingle, industrial film andproduction music library writer

at the worlds’ largest ‘MusicFactory,’ located inMemphis, Tennessee.

We’re not over yet!‘Cause ten years laterI’m producing Discohits in Toronto,Canada, for a groupcalled Three Hat’sProductions.

The day the discodied I moved back toMemphis and startedwriting jingles again,only this time I owned

the company.The thing that ties this

whole story together is theharmonica and my love of

jazz. As the saying goes, I’vebeen there and back (even

bought their T-shirt). But for themost part, what I did was what I do:

something for someone else.So Groovin’ High is the life work of a

first timer . . .”

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Pete PedersenThe Man Behind The Music

BY JAINE RODACK

continued on next page

“ . . . for the most part, what I didwas what I do: something forsomeone else.”

To me, that statement says it all. AlthoughPete didn’t mean it in a personal way, I never metanyone who spent so much of his time doingthings for others. It was also very much like Peteto think of himself as a poor man’s version ofsomeone he admired. He just couldn’t see him-self as an original, despite the fact that there wasno one else quite like him.

The first time I saw him, he wasstanding on the porch of one of adozen clapboard bungalows thathoused the musicians of DianaStreet. The place he referred to as“the world’s largest music factory.”

The year was 1969, and he hadjust made the move from Dallas toMemphis, to write singing commer-cials for what was then known asPepper Sound Studios.

In the thirty-plus years that fol-lowed, our relationship would evolvefrom co-worker to friend to long-timecompanion. I was a lyricist — thewords to his music. Pete wouldexplain it this way: “First we wrotetogether. Then we played together.”

He was the love of my life: quickof wit and warmof heart.

Back in the1980s, just about thetime we werewriting our owndisco album forThree Hats, a lyricline in a Broadwaymusical calledThey’re PlayingOur Song caughtmy attention. Itwas written about amusician so tied to his music,you couldn’t tell where one ended and the otherbegan who asks, “Does the man make the music,or does the music make this man?”

When it came to Pete, I never could decide.Pete and music were one and the same, as mucha part of the other than if he had been born witha harmonica in his mouth.

Pete used his music and natural wit to makepeople feel good. Seldom did he turn down a

request to play or write something for lack ofmoney. The joy of performing was always enoughfor Pete. My grandmother would have said thathe was a “mench,” a gentle man who never took acheap shot and always took the high road.

Through the years I watched as people soughthim out and coveted his advice. He was a greatlistener, extremely patient and extraordinarily fair.I can’t tell you how many times someone would say “I’ll never forget when you said such and such . . .”a statement that always gave him pause. He was

genuinely amazed thatsomething he said couldhave that kind of impact.

Since his passing, somany people haveremarked, “I don’t know anyone who knew Pete,who didn’t like him.” Me neither. I think it wasbecause we knew we could trust him to keepour confidences, feel our pain, and cheer ourtriumphs.

Of good Norwegian stock, Pete was, for most

of his life, a sturdy soul: strong and tall and ‘ableto leap tall buildings with a single bound.’ Hecould walk for miles, rise early and turn in late.Write all night and work all day. I was nearlytwenty years his junior and never could keep upwith him.

These past few years were not easy for Pete.The trials he faced would have broken the spiritof even the strongest among us. And yet he metevery challenge with tremendous grace. Evenwhen he could not help himself, he continued tohelp others. He was the most courageous, inspir-ing, and decent person I have ever known. And Imiss him terribly.

If you have never heard his music, it’s not toolate. Pete’s recordings, arrangements and perform-ances are still available for all to see and hear. Hislast work, When Spring Comes to Town, was writ-ten just weeks before his passing, and stands as anenduring tribute to his genius.

I remember years ago, he wrote a short piecehe entitled Jaine Rodack’s Doorbell. It was a mar-velous mix of train whistles, bells, trombones, andchirping birds, a Spike-Jones-like affair, that madeyou laugh without saying a word. It was pure Pete.

And so were his more serious pieces. Amongmy personal favorites: his awe-inspiring take onAn American In Paris, the test pieces and anamazing arrangement of I’ve Got Rhythm that he

wrote for a hundred-plus Tattoo(encompassing everything from aNavy Steel band to a gospelchoir, swan trumpets to a poporchestra, an African ensembleand toy xylophone contingency).It was incredible. But then, sowas he.

The passion he put intoevery note — his signature andsingular talent for weavingsongs throughout his arrange-ments, all of these things con-tinue to warm the heart andfill the soul.

Certainly no one everloved the harmonica moreor asked for less. He was

my hero. �Pete Pedersen’s music can be heard onthree CDs: Music & Memories, Groovin’High and Some Of These Days & Some ofThose Days. Selected sheet music is alsoavailable. For more information visitPETE-PEDERSEN.com or via e-mail atPETESCDS@aol.com.

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Vintage Pete (clock-wise from top): in thestudio writing for films,with the HarmonicaRascals (far right) andposing for a Hohnerpromotional shot.

Photos courtesy of Jaine Rodack & Hohner file

HarpOnlineGipfel

This year has seen anumber of interestingEuropean harmonicaevents. Last summerMichael Timler (ownerof the online harmonicashop HarpOnline) andKlaus Rohwer organizedthe HarpOnline Gipfel (summit) 2002 featur-ing overblow master Howard Levy and classicalchromonica virtuoso Franz Chmel in Ulm,Germany. The two-day event consisted of work-shops and concerts by both artists and was con-ceived to bring together the very best of modern

diatonic and chromatic har-monica. It was attended by

harmonica fans fromBelgium and Holland aswell as from all overGermany and went along way toward estab-lishing common ground

between players of bothtypes of instrument.

Howard and Franz hadnever met in personand both were deeply

impressed with the other’s performance.Congratulations to the organizers on success-fully building bridges between what can stillsometimes be antagonistic factions in theharmonica community.

First Trossingen BluesFactory Festival

At the beginning of September, the formersite of the Hohner production facilities hostedthe First Trossingen Blues Factory Festival. Setaround the fully renovated works power station,this three-day festival showcased a number ofacts featuring Hohner harmonica endorsers.Headlining on Friday night were B.B.& the

Blues Shacks, one of the top European bluesbands, with the excellent Michael Arlt on harpand vocals. Saturday saw the German debut ofan interesting Polish band, Beata Kossowska andLe Blue. Beata fronts the band and plays veryaccomplished folk-jazz harmonica. The musicisn’t really blues at all, morelike jazz rock with adistinct Slavic touch.There are some finemusicians emergingfrom the former Easternbloc and it’s great to seethem making names forthemselves. I was bookedto play after Beata with mypartner Abi Wallensteinbut the heavens openedwhile the band was con-ducting their soundcheck on the open air stageand everyone got very wet. The phone rangasking if we could come over and play insidewhile the band rescued their equipment, so weplayed first. The festival ended on Sunday with ablues brunch and session on the (now dry) out-door stage. Photos of the Blues Factory and alsoof the HarpOnline Gipfel can be viewed at www.harponline.de/Kunstler/Beata_Kossowska/Hohner/hohner.html

Harmo’Liege 2002Another annual harmonica event is the

Harmo’Liege in the French speaking Belgiancity of Liege. Run by the amiable EmileGregoire and his delightful family, this is a smallfestival created by true enthusiasts who alwaysmanage to put a quality program together. Thisyear they invited Celtic harp specialist BrendanPower and his partner Geoff Castle, French dia-tonic jazz expert Michel Herblin and Belgianvirtuoso Thierry Crommen (both accompaniedby their respective trios), traditional blues artistsElmore D. & Big Dave, one man band PhilippeMenard and the well-known Dutch harmonicatrio Fata Morgana. That’s quite a program for aprivate non-profit organization and ensured three

days of excellent harmonica music. BrendanPower was most impressed by the high standardof the French players. People are starting to com-bine their own musical heritages with theAfrican-American harmonica tradition and newstyles are emerging as a result.

Harmonica MastersWorkshops 2003

In cooperation with the Trossingen CulturalOffice, I am planning a four-day educationalevent September 3 - 7, 2003, to coincide withthe 2nd Trossingen Blues Factory Festival. Thiswill consist of seminars, sessions and concertsfeaturing some of the finest players on the scenetoday. In contrast to the World HarmonicaFestivals held at the same location every fouryears, there will be no competitions. The plan isto present four parallel courses taught by myself,Joe Filisko, Carlos Del Juncoand Brendan Power, plus acouple of larger seminarsfor all participants ontopics of general inter-est. The four instructorswill then perform fulllength concerts for theBlues Factory Festival.All the above players haveagreed to participate, so thispromises to be an excitingevent and is certainly thefirst of its kind in Europe. The Cultural Officewill be taking care of registration and accommo-dations, details are available on their website,www.kultur-trossingen.de.

Blues HarmonicaPlayalongs Volume 2

I’m in the middle of writing the sequel to theCD/book package Blues Harmonica PlayalongsVol. 1, available in the US from Mel BayPublications. For this project, I recorded 12instrumental titles in a wide range of styles

6continued next page

European NewsHarmonica Events Abound

BY STEVE BAKER

Beata Kossowska

Joe Filisko

Howard Levy

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including bluegrass, country blues, Chicagoblues, rockabilly, rock and funk. Each will befound in two versions on the CD, with andwithout harmonica. Halfof the titles featureacoustic accompaniment,the other half are electric.Fortunately I was able topersuade my old friendand musical partner DickBird to play guitar (Dickwill be known to anyonewho has attended one ofthe Trossingen harmonicafestivals as the guitarist in the backing band).His concise and tasteful picking on acoustic andelectric guitar made it possible to cover suchdiverse material. The book will contain tran-scriptions and step-by-step explanations of theharp themes as well as useful practicing tips. Inresponse to numerous requests from readers ofthe first volume, we have included transcriptionsof many of the harp solos, so students can checkexactly what went down.

Abi Wallenstein CDDespite his extremely busy touring schedule,

Abi found time last summer to record a newCD in Hamburg. This is possibly his bestrecording ever and convincingly demonstrateswhy he occupies such a unique position amongEuropean blues artists. It combines a rawnessseldom heard today with some top-line playingand showcases Abi’s deeply personal interpreta-tions of a mix of originals and obscure covers. Ihad the pleasure of playing on more than halfthe titles and all of them feature Martin Röttgeron cajon (Peruvian drum box). We are doingquite a number of trio gigs in this line-up, as itfits Abi’s music perfectly. The CD will probablybe entitled Step In Time and will be released on040 Records. �

San Francisco Bay’s BEST BLUESBack to my roots, the San Francisco Bay Area musicscene is still the heart and soul of all that is good aboutmusic. It was a thrill collecting the tracks for this com-pilation. Credit for recruitment of most of the artists onthis collection goes to one of my musical heroes, JohnLee Sanders. It is also poetic that my all-time favoriteguitar player & the best teacher I’ve ever had, GarthWebber, would put a track on this CD. This is truly acompilation of masters of their craft. My deepest grati-tude goes out to all the artists on this CD — you arethe spice of my life.

Vancouver, B.C.’s BEST BLUESVancouver may be on the edge of the world, but it’s definitely on top of the Blues. Each andevery submission we received was excellent and deserved a track on one of our BEST BLUEScompilations. It’s great having too much good material.As always, our aim was to give regional artists the creditand exposure they deserve while giving a wider cross-section of the public a chance to enjoy the localmasters performing a broad spectrum of styles of thispure North American art form. Vancouver, B.C.’sBEST BLUES has a first — we have a number ofnationally and internationally known acts thatstepped up and agreed to contribute. Our humblestthanks go to them as well as the rest of the artists.

Seattle’s BEST BLUES, Vol. 2Two years ago I did my first blues compilation,Seattle’s BEST BLUES, Volume 1. I’m now onmy fifth and I’m happy to report it’s anything butroutine. Musicians are an entirely unique breed — typically working graveyardhours and possessing a distinctive view of the world and the people who fill it. Not necessarilyjudgmental, just colored by a life experience unlike the one most of us are presented with. So

what? So that’s what makes working in this middleground, between the creative (and sometimes twisted)perspective of the artist and the often logic-based (andsometimes pedantic) world of business, so much fun.It’s not news that artists are severely underpaid — thegood news is, they get rewards most of us can onlydream of. Getting to reach deep down inside andcreate music and an environment that stirs audiencesin ways that can’t be measured has got to be one ofthe greatest experiences there is. The artists whoprovided the tracks for this compilation have greatmaterial to share. �Look through the complete song lists atwww.rawrecords.com, pick your favorites

and order these excellent anthology CDs.

New BEST BLUES Compilationsfrom Raw Records

BY MICHAEL COBB (PRESIDENT, RAW RECORDS)

Hohner Factory,Germany

1857

What an experience! Here I was,hunkered down for five days in ahotel with a harmonica convention

happening downstairs. All over the hotel, therewere plenty of accessible professional andamateur harmonica players from all over theworld! This was the one event to meetharmonica manufacturers, take workshops, viewantique harmonica collections, attend nightlyshowcases, learn to repair your harps, talk toother “harmaniacs,”participate in jamsessions, buy harpsand rare recordings,plus hear theharmonica played inevery musical styleimaginable.

This was the 2002SPAH Convention!

The annual con-vention of the Societyfor the Preservationand Advancement ofthe Harmonica,(SPAH) was held inColumbus, Ohio, fromAugust 13 to 17, 2002, incooperation with theBuckeye HarmonicaClub. Founded in 1963and now nearly fourdecades old, SPAH’s mis-sion has always been tounite the harmonica world.SPAH is a crystallization ofeverything harmonica inthe North AmericanEnglish-speaking countries.Membership is more than3,000. Convention atten-dees in 2002 came from asfar away as a harmonica triofrom Malaysia, to a youngFrenchman who was ahuge Sonny Terry fan.

The musicianship is tops and the artisticstylings are many. A large part of the SPAHmembership is composed of harmonica band music — which is usually performed by a triowith bass and chord harmonicas supplying therhythm and the chromatic as part of the melody.At one time these trios, and even entire harmon-ica orchestras, were the rage. They reached theirzenith in the early ‘50s. Several trios played the

nightly SPAH showcases. The Dan McKelvyTrio gave a spirited performance with a greatrendition of the Orange Blossom Special, theBliss Harmonica Gang traveled from Germanyto treat the SPAH crowd to one of the greatperformances that has been satisfying theEuropean public for 50 years. The HarmonicaClassics, who individually are proficient in jazzand diatonic playing, performed a tight set withjust the right touch of comedy.

Bill Barrett and DamienMasterson, both astoundinglyversatile players, representedthe jazz contingent. Barretthas been active in the avant-garde jazz scene, developingnew techniques for the chro-matic by creating “bizarresounds and sonic events.”Masterson played with somuch Latin-inspired soul thatit was a delight to hear himperform, not only on thechromatic, but vocally and on

tenor sax as well.SPAH

PresidentDouglas Tateperformedchromaticclassical musicand alsopresented aseminar aboututilizing yourPC for fun andperformance. Later, theversatile SusanRosenberglent herexpressiveharmonicavoice tomanyclassical and

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An Exciting Harmonica ExperienceSPAH Convention 2002

BY JAMES DAY

continued next page

SPAH highlightsinclude (clockwisefrom top): TheHarmonicaClassics with guest,Hohner’s RickEpping & Hohner’sSissi Jones.

Photos by Everet “Grif” Griffin

9

classic selections, ably accompanied byCarolbeth True on piano.

At the Saturday dinner showcase, FredericYonnet played his eclectic diatonic harmonicacombining jazz, fusion, country, reggae, gospel,hip-hop and classical styles.

Joe Filisko played in the pre-war acousticstyle and did a nice DeFord Bailey tune,followed by a droning Amazing Grace thatsounded like several bagpipes. DennisGruenling rounded out the diatonic perform-ance by accompanying vocalist Gina Fox onseveral jump blues tunes that had the fat toneof a honking baritone saxophone.

Those who wanted to advance their harmon-ica know-how in a short time could attend 2-hour-long “teach-ins” organized on threeconvention days by master customizer JoeFilisko. Where else could one learn from somuch concentrated talent and expertise at onetime? There were consistently about eightround tables full of players and technicians.Participants could slide into Jimmy Gordon’ssession about tweaking your harmonica, thenpop-in and learn tongue switching and fiddlephrasing on your “Mouth Box” in the Irish stylefrom James Conway, or bop into WinslowYerxa’s theory chalk talk.

Still want more?Ok, then ask Hohner’s Rick Epping or Sissi

Jones some chromatic questions, learn somemodern jazz from Allen Radcliffe-Holmes andfinish up with Nashville session man, Kirk“Jellyroll” Johnson.

The vibe of SPAH is friendly and one is ableto learn and speak with professional players.Walking down the hotel’s hallways there areharmonica riffs wafting from every other room.Impromptu jam sessions are at every turn, raf-fles, collectors’ displays and vendors abound —truly a harmonica happening!

Buzz Krantz hosted the late night blues jamswhere players could try their improvisationalskills with a cobbled together blues band thatshuffled you into the wee small hours. Jazz jamswith Michael Polesky were held in the hotel’sfoyer, and many trios and groups performeddaily concerts at the open mic in the lobby.

Many of the performers also led seminars toshowcase their particular virtuosity. These wereheld throughout the day, affording the manysleep-deprived attendees the opportunity tofurther advance their harmonica skills. Seminarsran the gamut from Alan “Blackie” Schackner’s

‘master’ chromatic class to rootsy gospel playerBuddy Greene, who displayed his Nashvilleinfluence. In addition, an informative workshopabout reading music was offered by the Hotshotsof Simpson/Smith.

SPAH is an event that every player shouldexperience at least once during his or herharmonica journey. It is a crystallization of allthings harmonica, where musicians check inwith each other and learn about the versatilityof the instrument. �SPAH’s 40th Anniversary Convention willbe hosted by HOOT (HarmonicaOrganization of Texas) August 19-23,2003 in Irving, Texas. For moreinformation, visit www.SPAH.org orwww.hoottexas.com.

James Day fronts the Fish Fry Swingersin Philadelphia.

Which Hohnerbluesmen won?Find out in News from the USA

on page 19

Vintage HohnerChrometta Assembly,

Hohner Germanycirca 1954

10

It has long been thedream of blues harpplayers to bend every

note. However, the limitations of the stan-dard diatonic harmonicarestrict that instrument’snote-bending capabilityto the extent that onlyeight of the 20 notes on a10-hole diatonic can bebent a semitone or more. For as longas harp players have been bendingnotes they have had to acceptthis limitation, avoiding orworking around musical pas-sages containing chromatic notes or slurs not available ontheir chosen instrument andpassing on lines that guitarists or horn players manage with ease.

The overblowing technique has helped toovercome the diatonic harmonica’s chromaticlimitations but is found by many players to besomewhat problematic and difficult to master.Partially valving the reedplates can extend dia-tonic bending capabilities, but it affects thetone on the valved reeds and can likewise bedifficult to control.

This situation changed this year whenHohner introduced the XB-40 ExtremeBending Harp, a revolutionary new model thatoffers the player total bending freedom — everynote, blow and draw, can be bent using thesame standard, diatonic bending technique.

What is note-bending, why is it limited onthe standard diatonic harmonica and how doesthe XB-40 overcome this limitation? Note-bending, as popularized by blues harp players,is a technique heard today in many styles ofdiatonic harmonica playing. As well as addingto the number of notes you can play on thediatonic harmonica, bending improves theinstrument’s expressive capability by makingpossible the use of slurs and glissandi.

Bending is accomplished by partially isolat-ing the air in your mouth cavity from the restof the vocal tract and adjusting its resonantfrequency to that of the desired bent note. The

back of your tongue is raised up against thepalate in the same way you change the mouth’svowel shape to make the sounds from AHH toEEE, without actually vocalizing. The tongueis then slid backward or forward to a positionthat will pull down the pitch of the unbentnote being played. High-pitched notes are bentwith the back of your tongue placed toward thefront of the mouth and lower notes are bentwith your tongue farther back. The bendingtechnique may take some time to master, but is

worth the effort to expand the artisticreach of your diatonic

instrument.

On aregular 10-hole diatonicharmonica, the standard bluesnote-bending method involves an interactionbetween two reeds, one blow and one draw.With this type of harmonica, only the higherpitched of the two notes from any given reedcell can be bent and then only to a point

somewhat above that of the lower pitched reed.For example, the 4-blow C reed on a regular

key of C harmonica, being two semitonesbelow the 4-draw D reed, enables the D drawnote to be bent down a little more than a semi-tone. The 5-draw F note, however, cannot bebent a complete semitone, because the 5-blowE reed is only one semitone lower than the 5-draw F reed. Furthermore, the notes of thelower pitched reeds in any reed cell, that is, 1through 6 blow and 7 through 10 draw, are pre-vented by the higher pitched reeds in their cellsfrom significantly bending at all. Thus, on astandard diatonic harmonica, only certain notesmay be played through bending [see CHART 1].

The chart below shows that, even with thehelp of note bending, playing a complete chro-matic scale is impossible within the standarddiatonic harmonica’s range.

The XB-40 overcomes this limitation byincorporating an additional set of reeds, tunedso that all twenty of the harmonica’s notes canbe bent using the standard blues harp bendingtechnique. Using a system of patented valvechambers, these auxiliary reeds come into playonly during note-bending. In addition to con-trolling the operation of the auxiliary reeds, thevalve chambers serve as tone chambers, whichamplify the fundamental frequency of the reedsto create a warm, rich tone.

Taking Bending to the ExtremeNotes From Rick’s Bench

BY RICK EPPING

HOLE 1 2 3 4 5 6 7 8 9 10

Blow bend a#3

Blow bend d#3 f#3 b3

Blow note c1 e1 g1 c2 e2 g2 c3 e3 g3 c4

Draw note d1 g1 b1 d2 f2 a2 b2 d3 f3 a3

Draw bend c#1 f#1 a#1 c#2 g#2

Draw bend f1 a1

Draw bend g#1

CHART 1: Standard diatonic harmonica, Key of C

continued next page

11

The valve chambers also produce an evenplaying response throughout the instrument.

The XB-40 is tuned so that every note canbe bent a whole tone, with an additional semi-tone bend on the 3-draw to complete the chro-matic scale in the first octave [see CHART 2].

The XB-40’s design not only creates a

complete chromatic scale, it offers you multipleways to play most notes. The player can, forinstance, play a g2 note in the standard man-ner, with the 6-blow unbent, include a slidingbend up to it from f2, or play a g2 as a bentnote on the 6-draw, adding a sliding bend downto it from the unbent a2. Similarly, a d#2 note

can be produced with a half-bend on the 5-blow or with a full-bend on the 5-draw. Thisfeature significantly increases the expressivecapability of the XB-40 in a way never beforepossible on any other harmonica.

The result of more than 10 years of develop-ment, Hohner’s XB-40 offers the player a har-monica that is uniquely rich in tone and consis-tent in response, with the capability to performwith unlimited freedom of expression throughtotal bending power. The blanks in the scaleare now filled to the extreme. �

Editor’s Note: Hohner’s new XB-40model will soon be available in all keysfrom a harmonica dealer near you.Designed by Hohner’s own Rick Epping,this instrument will astound you with itsrevolutionary playing capabilities!

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HOLE 1 2 3 4 5 6 7 8 9 10

Blow a# d1 f1 a#1 d2 f2 a#2 d3 f3 a#3bendBlow b f#1 b1 f#2 b2 f#3 b3bend d#1 d#2 d#3

Blow Note c1 e1 g1 c2 e2 g2 c3 e3 g3 c4

Draw Note d1 g1 b1 d2 f2 a2 b2 d3 f3 a3

Draw f#1 a#1 c#2 e2 a#2 c#3 e3bend c#1 g#2 G#3Draw c1 f1 a1 c2 g2 a2 c3 g3bend d#2 d#3Drawbend g#1

CHART 2: XB-40 harmonica, Key of C

12

E verything about Paul deLay seems larger than life: hishistory, his challenges, his size, musical creativity and,maybe best of all, his attitude. Born the last day of

January 1952 in Portland, Oregon, deLay grew up in a musi-cally inclined family. “My dad plays the best musical saw inthe world and my mom played piano and guitar. They had alot of crazy, drunken piano players that would come by in themiddle of the night.” Harmonica became a staple thanks togasoline Green Stamps. “I used to play a harmonica with onehand while I rode my bike.”

It wasn’t until deLay hit high school that he began to jamaround in bands. “I had a great jug band that did a very oper-atic version of Thunder Road that had the cops there in notime — without any amplification whatsoever!” he laughed.A friend suggested he listen to some Chess recordings and theblues knocked him out. While learningabout Sonny Boy Williamson and LittleWalter, deLay also heard PaulButterfield. “There were a coupleof cuts on Folksong ‘65 that Iused to come home fromschool and play with myhead stuck into the speakersas far as I could go.”

In the late ‘60s, hejoined Brown Sugar, a localblues band that remainedpopular for nearly 10 years.Between Brown Sugar andperforming with his own band,deLay toured with SunnylandSlim. He still chuckles at thatmemory: “They didn’t like my playingwell enough to even complain aboutit for a couple of weeks, but thenthey were kind enough to straightenme out in several areas about howChicago blues are played.”

With his old band’s guitarist, Jim Mesi,Paul soon formed his new “authentic blues” band. Now inexistence nearly 13 years, his current group features PeterDammann on guitar, Dan Fincher on sax, Louis Pain onkeyboards/bass and drummer Kelly Dunn. Over the course ofan evening they do about 80 percent originals and leantoward an “uptown” sound. “We do it all really — it’s blues,but there’s quite a bit of gospel, R&B and jazz influence in it.Then I also like to throw down with a complete sense ofimmediacy and just blow nice Chicago style blues.”

deLay has survived several of life’s major challenges, one

of which was a “livin’ large” drug era, for which hepaid heavily with a 41-month prison camp sentencein the ‘90s. “I highly endorse the clean and soberthing. That whole drug thing is a tremendousshortcut to the small time.” There’s littledoubt, however, that the experiencecatapulted Paul into a new creative ageof heartfelt songwriting and style.

Plunging into frenetic writing andrecording, he released two albums (TheOther One, 1990, and Paulzilla, 1992; bothon his own Criminal record label), and thenspent his sentence perfecting his writingstyle. “I had the time to avoid a lot ofpredictable rhymes and got out of that habit,

thank God,” he smiled. “I think I’ll proba-bly be using material I wrote in that

camp for the rest of my life.”In 1996, he burst forth with

two more impressive record-ings — Oceans of Tears, 1996and Nice and Strong, 1998— both on the Evidencelabel with whom he stillworks today. A side-trip toChicago in 1999 initiateddeLay Does Chicago

(Evidence) which also featuredRockin’ Johnny Burgin, JimmyDawkins and Zora Young.

Health problems werethe next major challengefor Paul. Struggling with

a pituitary tumor, depression,and a leg infection, he was seriously

slowed down which drove his weight up. Justthis year he feels his strength returning. “I think thetrick is to do as much as you consciously can and thenkick your brain out of trying to force things. Like read-ing a book — give it a chance to digest and then thingscome jumping out all in one piece sometimes.” It seemshe’s right, for his 2001 Evidence release, Heavy Rotation,was hovering persistently on the charts, right on the heelsof two nominations in ‘99 for W.C. Handy Awards(“Best Song” and “Best Harmonica”).

Daring to dream big, deLay brings newtextures to harmonica blues and a personal,unabashed writing style that reflects bothstruggle and compassion.

Double DaBY CATHI NORTON

EasyReeding S

As Peter “Madcat” Ruth commented: “Of all the harp playersout there, he’s one of my favorites. He has such a fresh

approach and does things his own way ... it’s beautiful.”

EZR: Paul, tell me a little about your harmonicatone.

Paul deLay: Well, I think onegood thing is I don’t smothermy mic completely, but operatefrom more of a semi-backed-offposition which is brighter.Then if I add more bass I canreally get on it, or back off fora whole lot of bright, treblesounds as well. I try not to getbogged down on the low endof the harp. For a blues guyI tend to use more blownotes and I really don’t likeplaying cliché blues harp.One of the sounds I’m try-ing to get is a Dixieland orjazz trumpet sound. I’m notexactly sure how, but peoplehave said that I am one ofthe more lyrical and melodicplayers.

Did you teach yourself?

Yes, but I don’t recommend that approach.(laughs) I usually tell people starting out tochord around a lot rather than trying to getyour bearings by playing single notes. I usedto just play four holes and block two in themiddle to play chords. I think the riffs I’veended up with used to be chord patternsthat eliminated the bottom note.Gradually, I’ve pieced it together. PerhapsI’d be farther along if I’d learned by thebook and played scales, but a passionatedelivery counts too. (laughs) I guess it’s

the gene pool whether or not you havewhat it takes to knock a solo off thetop of your head.

Do you give lessons?

I love doing lessons. I’m hoping I can figure out a way to dothem over the Internet with video hookups. Lately I’ve beenoccasionally playing late ‘30s, early ‘40s country blues with aworld-beater keyboard player, Janice Scroggins, and mydrummer Kelly. I would love to work on things that involve

‘call and response’ too, rather than justsoloing like crazy.

So you’re experimenting! Do you playmore chromatic than diatonic?

About half and half. I tend to play dia-tonic about half in second position and awhole lot of third position because Ithink there’s so much territory there thathasn’t been abused. I’m still refining mysound. I also enjoy effects like chorusand the octave sounds you get through a

harmonizer. It’s fun to mix it up!

Well, I gotta ask aboutharps of course. I knowyou’re a Hohner

endorser.

Yeah. I might as well have a Hohner tattoo!I’ve never liked any others nearly so well. I munch them

right out of the box and whole-heartedly endorse the BigRiver line. They are big, loud, durable, and CHEAP! I’m verygrateful for that! (laughs) Other than the Big River diatonics, Iuse the 280s and very much like the new CX12 chromatic.Also for afour-octave one I used the Super 64. I really dig that CX12.I wish they made a four-octave chromatic the way they makethat son of a gun, because, God, it’s so bright, flexible andcomfortable to play.

Got any advice for players in general?

Capitalize on your own strengths; develop your own style.The world needs another harp player doing Little Walter licksas much as it needs another Elvis impersonator! �For more information on deLay, visitwww.pauldelay.com

arin’ deLay

13PRING/SUMMER 2003

14

New ReleasesCOMPILED BY CAROL ANNE HERREN

Carey BellGOOD LUCK MANAlligator Records14 TRACKS

To every song, original and covertune alike, Carey brings his decadesof experience, his taste, humor andsubtlety, and the kind of roots thatcan't be learned sitting at homestudying records. He learned fromthe masters, and has become onehimself. — BRUCE IGLAUER

CONTACT: www.alligator.com

The BrothersFigaro OrchestraOLD TIME CHRISTMASPBR Records11 TRACKS

Inspired by Big Band recordings byTommy Dorsey from 1939 — with avery young crooner named FrankSinatra — this collection ofChristmas favorites has a haunting,nostaligic flavor that will surelyinfuse your holiday season withsacred mystery.CONTACT: www.brosfig.com

Norton Buffalo &Roy RogersROOTS OF OUR NATUREBlind Pig Records13 TRACKS

In Buffalo's harp-cupping, wah-wahing hands and mouth, there aresingle note runs, improvisationalopportunities and plenty of chancesto run rings around the expressivepower of every other instrument onthe album.CONTACT: www.blindpigrecords.com

William ClarkeNOW THAT YOU’RE GONEWatch Dog Records12 TRACKS

Clarke blows the doors off straight-ahead Chicago blues on thiscollection of 1981-83 studiorecordings. Compiled posthumouslyby his wife Jeanette, Now That You’reGone showcases the amazing talentof this award-winning bluesman andfeatures five previously unreleasedsongs.CONTACT: jlodovici@aol.com

Clayton MillerBlues BandGOTTA HAVE LOVEIndependent Recording10 TRACKS

To find this much passion, presenceand powerful skill in one family is arare gem. The bond of blood betweenClayton, Cole, [9-year-old Hohnerendorser] L.D. and their dad LarryMiller transforms raw musical talentinto a tight melting pot of blues

— NAOCONTACT:www.claytonmillerbluesband.com

Wallace ColemanLIVE AT JOE’SPinto Blue Music12 TRACKS

Capturing the ‘50s style and feel ofChicago’s electric blues, Live AtJoe’s provides the listener with anaudio snapshot of Coleman’spresence onstage. Real blues doneright! CONTACT: www.wallacecoleman.com

Buddy Greene“RUFUS”Rufus Music Company12 TRACKS

On his latest CD, Greene revisitshis formative years, weaving blue-grass, blues and the Beatles into acelebration of acoustic music.Joined by Jerry Douglas, Sam Bush,Ron Block, Kenny Malone, ByronHouse and Ashley Cleveland,among others.CONTACT: www.buddygreene.com

Smoky GreenwellSMOKIN’ CHRISTMASGreenwell Records11 TRACKS

Greenwell's fifth album has greatspirit and will definitely put you inthe holiday mood! Christmas blues,overlaid with jazz, seasoned withLouisiana hot sauce and shotstraight from the hip and fromthe heart.CONTACT: www.smokygreenwell.com

15

New Releases

Paul HarringtonHARMONICA SOUL SERENADESeduction Records14 TRACKS

Harrington’s latest — mostly instru-mental and covering R&B, jazz,blues and swing classics as well as afew originals — simply smokes.Harrington employs his full arsenalof harmonicas, sometimes even over-dubbing them to ear-pleasing effect.— PETER HUND

CONTACT: www.harpwizard.com

Mark HummelGOLDEN STATE BLUESElectro-Fi Records12 TRACKS

‘Golden State Blues’ continues thelegacy of the thriving Oaklandblues scene of the late ‘60s andearly ‘70s. A mix of originals andcover tunes range from slow-burningto jumping, all with the mark ofHummel’s distinct harp style. CONTACT: www.markhummel.com

T.J. KlayRIGHT ON TARGETSporting Klay’s Music9 TRACKS

TJ Klay offers harmonica at its fineston his latest release of instrumentals.Ranging in tone from whimsical tomelancholy, from TV theme songs tospirituals, he speaks to the heart andsoul of each listener.CONTACT: www.tjklay.com

Delbert McClintonROOM TO BREATHENew West Records12 TRACKS

Witty lyrics laced with Detroit bluesand Texas honky-tonk rhythms aresure to make McClinton’s latest anAmerican classic. Showcasing strongmusicianship and unclutteredarrangements, the variety of songstyles ensures this album hassomething for every ear!CONTACT: www.delbert.com

Mississippi HeatFOOTPRINTS ON THE CEILINGCrossCut Records14 TRACKS

Footprints on the Ceiling encom-passes a huge body of very diversework indeed, drawing from a wideand deep range of influences withinthat great musical family of theBlues. — MICHAEL FREEMAN

CONTACT: www.missippiheat.net

Paul OrtaOBJECTIF LUNE(DESTINATION THE MOON)Blues International Records11 TRACKS

Every lover of good-rockin'-Texas-Blues will want to have a copy ofthis recording for their collection.Orta is assisted by the finest ofblues musicians: Little Ray Ybarra,Uncle John Turner, Pierre Pelegrin,Alberto Storo, Jessica Buchheit,Keven Gassert, Roger Ward, LazyLester and the late Ervin Charles.CONTACT: www.great-recording.com

Rod PiazzaMODERN MASTER — THE BESTOF ROD PIAZZA 1968-2003Tone-Cool Records2 DISKS, 29 TRACKS TOTAL

Harmonica ace and vocalist Piazzahas perfected his craft over the last35 years. This career retrospectivepaints a portrait of Piazza's legacythat approaches legendary statusand hightlights the artistry anddedication required to be a‘Modern Master.’CONTACT: www.rodpiazza.com

Jerry PortnoyDOWN IN THE MOOD ROOMTinyTown Records13 TRACKS

Like all masters, Jerry has his owndistinct style ... an economicalapproach to note selection,brilliance of sound, richness oftone, huge vibrato and the rareability to speak directly throughthe instrument. — TOM ELLIS IIICONTACT: www.harpmaster.com

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New Releases

Gary PrimichDOG HOUSE MUSICAntone’s Records10 TRACKS

Primich’s signature style is markedby versatile musicality and colorfuland potent harp playing. His latestmelds the sweaty feel of an inspirednightclub set with the sharp sonicatmosphere of the studio.CONTACT:www.garyprimich.com

Snooky PryorSNOOKY PRYOR & HISMISSISSIPPI WRECKING CREWElectro-Fi Records10 TRACKS

The impetus behind this album is amusical celebration of the 80thbirthday of [Snooky Pryor,] one ofthe founding fathers of modernblues harmonica. The wit, wisdomand collective mojo of [these]gentlemen transform the bluesinto a living, breathing thing ofimmeasurable beauty.— ANDREW GALLOWAY

CONTACT: www.electrofi.com

Gary “Alaska” SloanDOWN SOUTHIndependent Recording17 TRACKS

Sloan’s latest release is not focusedon jamming but on the songsthemselves, each one different fromanother. His band, together forthree years, plays very well off eachother with his wife and sonspitching in on both songwritingand performing duties.CONTACT: alaska@diamondcity.net

Toots ThielemansTOOTS THIELEMANS &KENNY WERNERVerve Records13 TRACKS

Thielemans specializes in wringing joyand nostalgia from the most personalof instruments. He's joined by pianistWerner, who's attuned to Thielemans'every nuance and impulse. Theyexplore a moving collection ofmelodies that ranges from Bach's‘Sicilienne’ to medleys of songs associ-ated with Sinatra, Michel Legrand,and Disney. — STUART BROOMER

CONTACT: www.tootsthielemans.com

Trick PonyON A MISSIONWarner Brothers Records12 TRACKS

For those who thought this contempo-rary country trio would be just a one-Trick Pony following its self-titled2001 debut, think again. Their playfultone gives an upbeat vibe to even themore somber songs. — RALPH NOVAK

CONTACT: www.trickpony.com

Sandy WeltmanTHE KLEZMER NUTHOUSEWildstone Audio14 TRACKS

Weltman has again stretched hismusical boundaries with this forayinto Klezmer music. Klezmer isdescribed as Jewish Gypsy Jazz andoriginated in Eastern Europe. Theuse of the banjo and harmonica aslead instruments results in a beauti-fully unique tapestry of music.CONTACT: www.sandyweltman.com

Mark WennerMAMA TRIEDRight On Rhythm11 TRACKS

Those looking for polished perfec-tion certainly won't find it here ...blues fans are forewarned thatthere's as much country in Mark'srollicking, roadhouse-ready soundas there is blues. But it's real, andheartfelt, and the harp work isabsolutely killer.

— JOHN TAYLOR

CONTACT: www.blackdogweb.com

Various ArtistsINSPIRATION: 22 GREATHARMONICA PERFORMANCESUniversal Music22 TRACKS

A harmonica listener's dream cometrue! Milteau compiled thiscollection of 22 classic harmonicaperformances to illlustrate theingenuity and vision captured bythese imaginative harp players.Artists include DeFord Bailey,Jimmy Riddle, Big Walter Horton,Toots Thielemans and StevieWonder to name a few.CONTACT: www.planetharmonica.com

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� Longtime harmonica player, teacher, authorand book publisher, JON GINDICK is nowinvesting his talents,time, energy, knowledgeand money in newlessons, new music andnew technology on hiswebsite atwww.gindick.com.The site offers freelessons, many examples,MIDI files, originalsongs, plus two downloadable lessons onbending and chugging.

Jon's revised Rock ‘n’ Blues HarmonicaTriology along with other instructional materialsplus Hohner Harmonicas are available on hiswebsite. In addition, Gindick performs, teaches,writes and records in the Los Angeles area.

� HARMONICAS ACROSS AMERICA is anon-profit organization started last year byPATRICK STEWART of St. Louis. He has beenteaching harmonica in elementary schools inMissouri, Texas and other areas. Theorganization’s goal is to get children over ageeight involved in making music by using theharmonica, particularly kids who would notnormally have an opportunity to learn anymusical instrument.

� The Metropolitan Washington, DC, areablues community exploded with talent andenergy, during Harmonicathon 2 held in asmall smoky blues room called the BangkokBlues last summer.BRIAN MCGREGOR,BROOKS TEGLARand PETE KANARASwere the house band.WARD GAINS (whoreleased a book on LittleWalter) and CHARLEYSALES were talkingwhile ROGER EDSAL,DAVE SHERMAN andKanaras were setting up. The room was full ofpeople ready for a show. Headliner DOUG JAYcame in after a direct flight from Germany andhe was ready to play!

Gains opened the show with some full deep-toned classics. HUGH FEELEY was next withhis energetic, original, audience moving, coolshoes blues thing. Edsal came on next, bringingSherman and KEVIN WHISMAN up to thebandstand for a killer set of tight rockin' blues.

After TONY FASIO and DOUG KELLYshowed up, a BUZZ suddenly went through theroom ... STEVE JACOBS then walked in withCAREY BELL, who was in town!

� MARK HUMMEL'SBLUES HARMONICABLOWOUT 2003 washeld seven evenings lastJanuary at variousCalifornia venues. TheBlowouts are always spe-cial, featuring differentharmonica heroes eachyear. The 2003 showsstarred HUEY LEWIS & JOHN CLIFTON,JAMES COTTON, PAUL DELAY, JAMESHARMAN, MARK HUMMEL & THEBLUES SURVIVORS and DAVE BARRETT.

Mark also released Golden State Blues, hisfirst CD with ElectroFi Records (see NewReleases).

� HOWARD LEVY had a very active 2002.He premiered in On The Other Side... for har-monica, clarinet, accor-dion and orchestra byAdriana Hoelsky withthe Bavarian State RadioOrchestra in Munichand toured England andIreland with Rabih AbouKhalil. Howard alsoplayed concerts withBass Clarinetist MichaelRiessler in Germany, and several solo concertsthere as well. He played concerts with the greatJewish Cantor Alberto Mizrahi in New York,Chicago, and California, and performed hisHarmonica Concerto with several symphoniesacross the country.

He also performed with Trio Globo, TheHoward Levy Quartet, Anthony Molinaro andothers. In addition, Howard will release two

CDs in 2003. The first is a duo recording withpianist Anthony Molinaro that features originalsas well as very unusual interpretations ofstandard tunes. The second CD is with theLatin/Jazz band Chévere, in which Howardhas played for more than 20 years. Finally, themusic beloved by Chicago audiences fordecades will be available to global listeners.Howard composed and arranged most of themusic and plays both piano and harmonicawith Chévere.

For Howard's complete touring schedule goto www.levyland.com.

� DAMIEN MASTERSON recently gracedRaw Record's compilation, San Francisco Bay'sBEST BLUES. Amongthe other Hohner artistsfeatured on this CD areMARK HUMMEL andMICHAELPELOQUIN.

The cut featured isJoe's Fried Chicken fromDamien’s first recording,Intercambio (1996). Formore information about this and other excitingblues compilations by Raw Records, go towww.rawrecords.com.

� PAUL ORTA is nowliving and playing inFrance. He has recentlyperformed in Holland,Spain, England, Ireland,Italy, Switzerland,Denmark, Germany andAustria — playing festi-vals, concerts and clubs.He’s also been conduct-ing harmonica seminarsas well and released two new CDs, ObjectifLune (see New Releases) and Shuffling withLazy Lester.

� Piano/guitar duo LIZ PENNOCK and Dr.Blues released a new CD, Live from St. Pete. Itwas recorded at Caspy's Waterside Restaurant inSt. Petersburg, Florida, last November with astanding-room-only audience.

News from the USABY JOHNNA COSSABOON

HUGH FEELEY

18

The CD features 14 original songs and 4covers. About half have a Florida theme, andinclude an original song about blues singerDiamond Teeth MaryQueen of Diamonds,their boogie woogiearrangement of SwaneeRiver, two songs fromthe late harmonica play-er Rock Bottom, GatorTail and St. Pete Boogie,and one penned by RoyBookbinder Goin' Backto Tampa. Liz plays rack harmonica on sometracks along with her piano.

This is Liz & Doc's fifth album on UprightRecords and their first live release. This monththey celebrate their 20th Anniversary. Go towww.lizpennock.com or write to UprightRecords, P.O. Box 60667, St. Petersburg, FL33784.

� JASON RICCI has concluded his touringwith Big Al and the Heavyweights and is nowworking and recording with his band JasonRicci and New Blood. Their CD, Feel GoodFunk was released early this year. The songs arean eclectic blend of North Mississippi(Kimbrough/ Burnside) influenced grooves, aswell as some jazzy funk vamps and somestraight Chicago blues thrown in for goodmeasure. Harp lovers will be pleased that theharmonica remains front and center throughoutthe disc. For more information about Jason,visit www.jasonricci.com.

� ROB STONE andthe C Notes have signedto Earwig Music andwill release their newCD on July 22. Thoughsolidly rooted in post-warChicago tradition,spiced with a tendencytoward swing, Rob andhis band are exploringnew directions. The CD also features guestsSam Lay and Dave Myers. For touring and CDinformation, visit www.robstone.com. �

News from the USA (continued from page 17)

HARPIN’ HELP 2003 was held in South Belmar, New Jersey, on April 27 at BarAnticipation. This charity event just keeps growing, as East Coast harmonica playersshare their talents to benefit the food bank of Monmouth and Ocean Counties. The

event was presented by the Jersey Shore Jazz and Blues Foundation and co-sponsored byHohner Harmonicas.

SANDY MACK organized and hosted the day long event and gathered a stellar groupof musicians. In addition to his emcee duties, Mack got the chance to sit in with his oldbandmates — the Tonemasters.

This charitable event began when Hohner endorser DENNIS GRUENLING gave a bene-fit for WILLIAM CLARKE’S family. He said, “The first event went so well, I decided to makeit an annual harp event that benefits the community. It really gathered steam and this year’sevent is probably the seventh one.”

Jersey Shore Jazz and Blues Foundation President Nicky Coppola said, “We are learning aswe go to make Harpin’ Help a top-shelf event. This year we moved back the event date to capi-talize on spring weather and added a second stage. Also, two harmonica workshops with TOMFORAN and JASON RICCI were scheduled.”

On the outdoor stage Terraplane Blues appeared in a stripped down trio. Blowing somedelta style harp licks was PHIL PROCTOR. This band was a finalist in the 2000 BluesFoundation International Blues Competition. ROXY PERRY “New York Blues Queen” alsogave an energetic performance. She went from a song with a soft vocal caress to belting out theblues! Another jewel in her crown is her expressive harp playing.

At dusk, the electric vibe turned up a notch with the stylings of Ron Sunshine and FullSwing. These guys laid down a slick NYC swing that was an amped version of ‘40s jump swing.At times, it was hard to tell the harp from the horns as Ron mixed in and out of the groove.

A favorite of the evening was HAZMAT MODINE. Fronted by two harp players, WADESCHUMAN on diatonic and vocals, and RANDY WEINSTEIN on chromatic, this band isthe history of the harmonica condensed into a solid hour of American music from the ‘20sthrough the early ‘60s. Hazmat Modine blended elements of pre-war blues, Hokum and JugBand, Swing, Klezmer, New Orleans R& B, and Jamaican rock steady.

Later, Wade and Randy initiated a chrome and diatonic duet that split off in a “call andresponse” style. Randy played a Sheng, an Asian reed instrument that is the precursor to themodern harmonica. I don’t think I ever heard so many sounds come out of a harmonica. It wastruly an eclectic feast!

As the crowd thinned out, Sandy Mack capped off the evening in good fashion with a bluesjam. At last, Hohner Endorser Jason Ricci got his turn and it was worth the wait. Jason sang adriving version of I-55, an original tune from his new CD, Feel Good Funk. He showered hisset with his unique brand of runs and overblows from his Golden Melodies. His jazz and coun-try influences and vast amounts of varied harp runs are a refreshing change to the typical bluesstyled harmonica chops one hears so often. It is easy to see why Ricci won the Mars MusicNational Harmonica Contest beating over three thousand entrants.

Due to space constraints, it was impossible to include the entire line-up of top-notch per-formances at Harpin’ Help 2003. Suffice it to say that it was a great event for a great cause.Look for the date for the 2004 show at www.jsjbf.com. �

— JAMES DAY

Harpin’ Help 2003

Do you have news to contribute to EasyReeding's News from the US? If so, please e-mailit to Editor Johnna Cossaboon for the next issue at jcossaboon@hohnerusa.com

The Year of the Blues — 2003

19

C ongratulations to the Hohner Harmonica players who werenominated and/or won 2003 HANDY AWARDS! Here’sthe complete list of winners:

BLUES ALBUM OF THE YEAR: Shemekia Copeland, Talking to StrangersBLUES ENTERTAINER OF THE YEAR: B.B. KingBLUES BAND OF THE YEAR: Magic Slim and The TeardropsBEST NEW ARTIST DEBUT: Robert Randolph, Live at the WetlandsCONTEMPORARY MALE ARTIST OF THE YEAR: Charlie MusselwhiteCONTEMPORARY FEMALE ARTIST OF YEAR: Shemekia CopelandSOUL MALE ARTIST OF THE YEAR: Solomon BurkeSOUL FEMALE ARTIST OF THE YEAR: Etta JamesTRADITIONAL MALE ARTIST OF THE YEAR: R.L. BurnsideTRADITIONAL FEMALE ARTIST OF THE YEAR: Koko TaylorACOUSTIC BLUES ARTIST OF THE YEAR: John HammondBLUES INSTRUMENTALIST - GUITAR: Duke RobillardBLUES INSTRUMENTALIST - KEYBOARDS: Pinetop PerkinsBLUES INSTRUMENTALIST - HARMONICA: Charlie MusselwhiteBLUES INSTRUMENTALIST - BASS: Willie KentBLUES INSTRUMENTALIST - DRUMS: Willie “Big Eyes” SmithBLUES INSTRUMENTALIST - OTHER: Clarence “Gatemouth” Brown (Fiddle)BLUES INSTRUMENTALIST - HORNS: Roomful of Blues HornsSOUL BLUES ALBUM OF THE YEAR: Solomon Burke, Don’t Give Up on MeTRADITIONAL BLUES ALBUM OF THE YEAR: James Cotton, 35th Anniversary JamCONTEMPORARY BLUES ALBUM OF THE YEAR: Shemekia Copeland, Talking to StrangersACOUSTIC BLUES ALBUM: Big Jack Johnson with Kim Wilson, Memphis Bar-B-Que SessionsCOMEBACK BLUES ALBUM OF THE YEAR: Jody Williams, Return of a LegendHISTORICAL BLUES ALBUM OF THE YEAR: Albert King, Born Under a Bad SignBLUES SONG OF THE YEAR: “Let It Rain” by W.C. Clark, Bobby Boyd & John Gray Gregson

(from W.C. Clark’s From Austin With Soul)

This year has been designated THE YEAR OF THE BLUES by thenon-profit Blues Foundation headquartered in Memphis, TN. Youmay know the Blues Foundation for its annual W.C. Handy Awards

for blues excellence, but the foundation actually works all year long topromote the blues genre. Of course, the classic harmonica sound is a hugepart of the blues tradition, so Hohner helps support many of the foundation’sefforts.

As part of the Handy Awards celebration, blues artists visit children atnearby ST. JUDE’S HOSPITAL. Each year Hohner donates harmonicasfor the children, and various endorsers accompany the Blues Foundationrepresentatives to see the children.

The Blues Foundation also hosts a CHILDREN’S FESTIVAL inconjunction with the Handy Awards. Hohner helped to provide BeginnerHarmonica Packages for the younger tots and 10-hole harps for the older kids.

Above, pictured from left: Kim Wilson, Jody Williams, BobbyRush and Larry Fulcher play for thechildren at St. Jude’s. The visit ispart of the community outreachthat takes place during Handyweekend. Every child received aharmonica courtesy of Hohner.

At right: A boy at the Handy Children’sFestival really loved his Hohner!

Photos by Crissy Smith

For Further Harp ReadingIf you enjoy EasyReeding, perhaps you’ll want to check

out the following websites and harmonica publications:

Contact Harland Crain for moreinformation about joining Harmonica

Collectors International and thenreceiving The Trumpet Call newsletter.

The AHN is a leading printsource for monthly harmonica

information, featuring interviewswith top players, instructional

columns, record reviews and more.

A quarterly publication, TheHarmonica Educator contains

transcriptions for harmonica, tipsand interesting articles.

The Harmonica EducatorRichard Martin, EditorP.O. Box 340N. Hampton, OH 45349http://members.aol.com/heducator2/

The Trumpet CallPublished by HarmonicaCollectors InternationalHarland Crain, Editor741 Cedar Field Ct.Chesterfield, MO 63017www.harleysharps.com

The AmericanHarmonica NewsletterAl Eichler, Editor104 Highland AvenueBattle Creek, MI 49015e-mail: Philharpn@aol.com

20

P erhaps you’ve heard of Dream Camps orFantasy Camps for adults? These allowgrown-ups the experience of going away for

a week or two to study something they love and tomeet some of those who do it best. Blues Week atDavis & Elkins College in West Virginia offersprecisely that to harmonica players of all ages —a week to get away and concentrate on theirpassion — harmonica playing.

As an EasyReeding reporter, harmonica playerAndy Garrigue attended camp last summer. Here ishis first-person account of the experience.

The first stage of the transformational quality ofBlues Week, which happened long before I gotthere, was feeling family and work responsi-bilities and urban sprawl melt away as Idrove deeper and deeper into farm-land and majestic mountains dur-ing my four hours heading west.Eventually, I found my way tothe right building on the Davis& Elkins campus.

Blues Week is an offering ofthe Augusta Heritage Center,which presents instructionaltheme weeks throughout the sum-mer. Sharing the campus with BluesWeek last summer was Swing Week anda host of crafts. I dropped my things in mydorm room and took a deep breath. I hadn’t beento summer camp since I was a kid, and now here Iwas, in rural West Virginia, arriving to study har-monica for a week.

After a cafeteria dinner and an orientationmeeting, I found my way back to Halliehurst, theturn of the century mansion that serves as theBlues Week hub. Halliehurst houses a full com-plement of daytime classes and hosts jams outsideon its wraparound porches that go well into thenight. My ears perked up when I heard JohnCephas’ unmistakable voice from around one ofthe corners.

I went over and eased into a chair a few feetaway from Cephas and Rich Del Grosso, who washunched over a mandolin. Sweet Bitter Blues wasfollowed by One Black Rat and then GoodMorning Little Schoolgirl. A crowd started to form,

comprised of observers, other guitar players andharp players. I took a deep breath and joined in,quietly at first, feeling my way. Solos then gotpassed around with John or Rich nodding towhomever should go next and the songs ran theircourse in a homespun ramshackle way. By theend of the hour I looked around, and there were12 guitarists, six harp players, a double bass, awashboard, a couple of fiddles and an electricpiano. Later, I heard a strong, bright, well-articu-lated harmonica behind me. It stood out, so I turned around to see who this sharpshooter was.

It turned out to be Phil Wiggins. At first I wasexcited, then nervous, as I realized he was rightbehind me and could hear every note I played. Idecided to give in to the moment and relish thefact that I was in a jam circle with one of myharmonica idols. I had already gotten my money’sworth and Blues Week hadn’t even officiallystarted!

Classes began the next morning and I startedwith Joe Filisko’s advanced class. Across the hall,Gary Primich taught the intermediate class, anddown the hall Phil Wiggins led the beginners. Ihad never met Joe before, although I’d heard hisname uttered by many with reverence. Joe, injeans and tie-dyed t-shirt, had his blonde hairpulled back in a long ponytail. He glanced around

the room, found a familiar face and handed him amicrophone. In turn, each student played for acouple minutes, jamming to a slow blues in E,while Joe listened and provided a few commentsto each after they finished. This exercise immedi-ately got each of us to play in front of the classwhich helped quell any performance anxiety. Italso served to display the various abilities and stylesthat were present.

Some of my fellow players were Little Walterdevotees, others were jazzy or chromatic and somepreferred acoustic early country blues.

Joe was thoughtful and positive from the start,but honest too, and clearly not easily impressed.

He zoned in on each player, closely listenedto what they were playing, and then

offered careful and precise comments.Some points he shared with the

class, while others were kept pri-vate, based on an individual’splaying. For those he knew, hequickly sized up how hardthey’d worked since he last sawthem.

The class began with a discus-sion of tremolo versus vibrato. He

demonstrated the difference, then hadstudents show their chops, referring to

CDs to illustrate how some of the mastersused these techniques. Throughout the week, Joekept his CD binders at his fingertips, casually flip-ping through several hundred alphabetizedrecordings to find just the right solo to exhibit hispoint. Along the way, memorable statementsemerged, such as “Using a variety of tones is likegetting away from a black and white television andusing all the colors. Why wouldn’t you use all thecolors?”

The students then practiced second-hole-drawvibratos, which sounded like a menacing beeswarm. Joe worked his way around the room, lis-tening to each person’s version, then advisingthem and moving on. There was some Dylanchiding — as in “Dylan doesn’t do this.” I realizedthat I was now in the sanctum of serious harmoni-cadom.

Throughout the week, Joe had some tough

Harmonica Fantasy CampBlues Week 2002

BY ANDY GARRIGUE

continued next page

21

moments. When the class’s attention seemed tofade — or we just weren’t getting it — then hehad to be The Boss for a moment. This was fineand the change regained our attention. For themost part though, our instructor was serene andultra-focused, like some sort of slim harmonicaBuddha.

In the afternoons, I attended Gary Primich’sadvanced class, and noted with pleasure that Garyhad a different style. Joe, who kept his CDs in per-fect order and neatly coiled his mike cord, wasvery orderly overall. Gary’s kit bag was a mess —his harps piled randomly on top ofone another, some with loosecoverplates hanging. He dugthrough the box, often find-ing a harp “out of serv-ice,” then moved on insearch of one thatworked. Along theway, he tossed the badones back into the boxhaphazardly. By theend of the week, hewas down to a singleharp.

It brought me astrange joy to see Gary’sbanged up disorderly kit bag,knowing the state of my own. Irespect Primich as a world class play-er, and a real technician in terms ofhis playing and tone — not tomention a very strong songwriter— so I was thrilled to be part ofhis closed door session every dayfor the rest of the week. Despitehis casual appearance, when itcomes to harp playing, Gary isdeadly serious about it. He’s alsoserious about teaching harp.

Gary’s first point was aboutkeeping time. “Some of you havepretty good time, some have goodtime,” he began. “Some need to work onyour time. Let me introduce you to Mr.Metronome.” He fished one out of his kit bag.“These are cheap, maybe ten bucks. You can set itto 83 and practice your quarter notes. I want youto get that good sense of time drilled into yourhead, because playing in time is so important.”

Gary introduced other areas, such as first andthird positions and phrasing. He demonstrated,accepted comments and questions, then asked forvolunteers to play back the most recent lesson. He

was happy to oblige requests, such as how a cer-tain phrase on one of his songs was executed, orhow one of the masters did it on some long agorecording. While Primich didn’t have a CDbinder, it was clear that he had these things inmind and could reference and duplicate themquite easily. Like Filisko, concrete advice emergesin snippets from Gary: “Think about how youphrase things. Let the music breathe — don’tmake it one long phrase.”

He also pointed out similarities between crossharp and third position — where they overlap and

what you can do. When Gary demon-strated these things it was a price-

less lesson to help us under-stand his point as well as its

practicality. Later, he gavesome reasonsfor

using third position, andin typical Primich fashion was simple and direct. “Reason number one — it sounds good. Reasonnumber two — it offers variety with cross harp.Reason number three — it’s a new mode so itgives a different texture to the music . . . it’s comingfrom a different place. Reason number four —you can use lower harps in third position if you

want to avoid high-key harps — if they’re busted(like his own) or if you just don’t like the highkeys.”

He elaborated to point out examples of thirdposition harp, citing Junior Wells, Little Walter,and some of James Cotton’s work with MuddyWaters. The harp devotees nod as they hear intheir heads the solos Gary’s discussing, even beforehe demonstrates them.

Down the hall, Piedmont master Phil Wigginsworked with the beginners, from teenagers toretirees. Phil has taught at Augusta since the verybeginning (20 years ago) so he’s a big part of thesoul of the place, as is his partner John Cephaswhom he recruited a short while later to teachblues guitar. I didn’t take the beginner’s class, but Icould hear them whenever there was a lull in my

class. Upstairs at Halliehurst, where all theseclasses were held, there were people

working away in their offices. Ican only imagine trying to

concentrate with three har-monica classes going on

simultaneously onefloor below you!

Phil has done thislong enough to knowhow he wants to teachand he came prepared.

He handed out a packetof coursework to each stu-

dent, including songs, riffs,notes and writteninstructions. At the endof the course, Phil per-formed all the songs andriffs they worked on allweek, both in real timeand more slowly, so thestudents could recordthem. That way, theycould tape all the coursematerial together andPhil could concentrateall week on teaching,when he does not allowrecording. Phil feels theweek sets students on

the right track. “They go away with enough stuff tobuild on, and have fun with it — playing fivesongs and the 12-bar and 8-bar blues.” Not bad fora week, especially for those who just blew theirfirst notes on Monday.

Outside the classes, there were ampleopportunities to play and learn — whether you

continued on page 23

BluesWeek 2002 was

a harmonica player’sdream come true!Opposite page: Attendeespractice what they’velearned. At left (clockwise

from top): Primich conductshis advanced workshop,

Filisko demonstrates tech-nique & Wiggins teaches the

basics to the next generation ofblues harp players.

Photos by Gordon Blackley

22

“As far as the Chicago blues scene during itsheyday, there is this general feeling that it wasMuddy, Wolf and Sonny Boy — with Walteroften somewhat viewed as a secondary figure,”says Dirks. “I started looking deeper and foundthat Walter had number one hits on the charts,which none of those other guys had. He, in fact,ended up having more songs on the charts thanhis former employer, Muddy Waters,” he con-tinues, “So in a way, during that time, heeclipsed those guys. But historically, he hadkind of been ignored and his story was notinvestigated very deeply.”

In addition to the countless research hurdles,Dirks, Gaines and Glover were racing againsttime to interview as many of Walter’s aging con-temporaries as possible.

“We unfortunately didn’t get to JimmyRogers in time. Dave Meyers was initially veryresistant but opened up to Scott at the very endof his life,” says Gaines. “We also had somebeautiful interviews, such as with one ofWalter’s lifetime friends, suffering fromParkinson’s disease. I was able to interview himjust before he died, which was a real windfall.”

Blues with a Feeling offers fresh insights intoWalter’s life, exploring his ever-changing musi-cal playing styles — which kept every otherharp blower struggling to catch up to him. Thebook also explores his mercurial and often self-destructive personality.

One look at the close-up cover photo ofWalter on the Hate to See You Go album indi-cates he had more than his fair share of violentmix-ups. But the authors discovered anotherfacet to Walter’s personality.

“Many views on Walter over the years havegiven the impression that he was kind of a vio-lent thug who happened to have this brilliant,creative talent — there is some truth to that,”says Dirks. “However, I think we were able toexpose another side of Walter — a much gen-tler human side that previously had never beenrevealed.”

Glover tells the story about how bluesmanCarey Bell was living in Chicago during a freez-ing winter with no coat. Walter took him to astore and bought him 50 dollars worth ofclothes. “Walter could be a complete jerk and acomplete nice guy to some people,” says Glover.“Complex and contradictory would be a goodway to describe Walter’s character.”

According to Gaines, “Walter’s personalityhas seemed essentially one-dimensional to mostpeople — he was feisty, mean-spirited, jealous.True, he could be all those things, but he wasalso extremely generous to his friends. Just aseasily, he made and lost many friends in his life-time. Walter was a good time guy who reallydidn’t respect his talents enough.”

Perhaps most importantly, the book intrigu-ingly explores Walter’s phenomenal harmonicaprowess and dazzling style. He was a musicianconstantly reinventing himself to stay a step-ahead of the competition, always experimentingwith soaring harp riffs, jazzy lead runs and oftensaxophone-like tones.

“Walter invented many of the harmonicastyles that some people tend to take for grantednowadays — he was one hell of an innovator,”says Glover.

According to the book, Walter essentiallytransformed the harmonica from a rhythm styleaccompaniment instrument into more of a leadinstrument, first with the Muddy Waters bandthen with his own band.

“Before Little Walter, harp was played as arhythm instrument, for the most part. It wasplayed in a way that all the phrases were onebar or two bars long,” says Dirks. “And thosephrases would be based on the downbeat. That’sjust how the harmonica was approached, asJohn Lee Williamson would play.”

According to Glover, “Before Walter, har-monica was played in more of a ‘call andresponse’ style. But Walter started playingcounter melodies and playing behind the singer.He’d use the power of dynamics to get a real fatand round tone.”

Dirks says, “Walter’s band could be swing-ing, and he would kind of dance and dart andswoop around what everyone else was doing,rather than playing in unison with the rhythmsection. That’s the thing I think that really setshim apart.”

Gaines comments that “Little Walter’s musicis always creative, inventive and lyrical. Hissolos and instrumentals are works of art.”

Dirks had the opportunity to listen to unis-sued Little Walter recordings and out-takes atUniversal Music in Los Angeles, allowing theauthor to gain new insights into Walter’s record-ing style and his studio interaction with othermusicians and producers.

After spending hours listening to these raresession tapes, Dirks left with one major realiza-tion: “This musician was the most creativeimproviser, probably in the history of blues

music, across the board. Each take containslarge chunks of completely new, original music,that, after that take were left behind. It bogglesthe mind!” says Dirks. “There is enough musicin his out-takes to keep today’s harp playerslearning for the rest of their lives.”

So where did Walter’s improvisation geniusand seemingly endless creativity come from?

“Walter was exposed to music very early andrealized he could make a living playing musicat a young age. He was out on his own at age 11or 12. He had the same thing that was inside ofCharlie Parker, Jimi Hendrix and AndreSegovia and all the other really great, corner-stone artists,” says Dirks. “In terms of his innova-tions, it was a conscious thing for him to createsomething new, and then move on immediatelyto something else that was also new. By the timeanyone had caught up, he had already movedon to the next new style.”

Walter was listening to musicians like LesterYoung and Johnny Hodges who were improvis-ing horn leads over blues changes, according toDirks. “Walter applied that approach to the har-monica in a small blues band setting. It seemslike what he had done was absorb an approachto the music, and then invented his own licks.”

To this day, Walter is clearly the most influ-ential blues harmonica player who ever lived.“His influence is so pervasive that there is aneffort, or movement, to try not to play like him,”says Dirks. “But it’s almost impossible to do.” �David Massey is a Boston-based bluesmusician and freelance writer. He can bereached via e-mail atDavid_720@hotmail.com

And you’re a Hohner endorser. What do youthink about their harps?

Oh, I love the Marine Bands. I started on theSpecial 20s, but I still LOVE the Marine Bandsyou know? I’m kind of brutal with thembecause we play so much, but I can put replace-ment reed plates on them when they blow out.I’m not a wizard repairman (I flunked woodshop!), but I can do stuff like that. When I needsomething special tuned, Rick (Epping, productmanager for harmonicas and accordions atHohner) is good about that. He’s great. I cancall him up and whine. (laughs)

Mickey Raphael(continued from page 3)

Little Walter Jacobs(continued from page 2)

continued next page

23

EditorJOHNNA COSSABOON

Associate Editor &Graphic DesignerCAROL ANNE HERREN

PublisherHOHNER, INC.P.O. BOX 15035RICHMOND, VA 23227-0435(804) 515-1900WWW.HOHNERUSA.COM

Contributing WritersSTEVE BAKER

MICHAEL COBB

JAMES DAY

RICK EPPING

ANDY GARRIGUE

DAVID MASSEY

CATHI NORTON

JAINE RODACK

SubmissionsEASYREEDING WELCOMES APPROPRIATEARTICLES AND PHOTOS. PLEASE SENDTHEM TO THE ADDRESS BELOW ORVIA E-MAIL TO:

JCOSSABOON@HOHNERUSA.COM

EDITOR RESERVES THE RIGHT TODETERMINE CONTENT.

SubscriptionsTO SUBSCRIBE, WRITE TO:HOHNER, INC.P.O. BOX 15035RICHMOND, VA 23227-0435(USA & CANADA ONLY)

EasyReedingEasyReedingAnd he designed a new harp that I can’t waitfor! It’s like a Marine Band but on a bigger body.

Rick’s been involved with developing a lot ofharps. What’s the new harp called?

Yes, it’s great to have a musician in that seat. Idon’t know what it’s called; I just call it the“Frankenstein Harp” because it’s big and clunky.(laughter)

Editor’s note: Hohner’s new harmonica designedby Rick Epping is called the XB-40 and debutedin January 2003. Read more about it on page 10.

I was going to ask if there was anyimprovement you’d like to see.

Well, I usually can’t think of any other thansome way to keep them from going out of tune.If I had to pick one harp it would be the MarineBand, but I do like the Big Rivers too — theyhold up really well. I recommend the MarineBands, and the Special 20s — and the Big Riveris an affordable harp that lasts.

What learning advice would you givebeginners?

Listen to records: Butterfield, Kim Wilson,Jimmy Reed, Slim Harpo — all the old guys.And play ALL THE TIME. Bug your parents;keep one in the car; play ALL THE TIME!You have to develop an ear to know wherethe notes are.

Do you have any advice for those who wantto be professional?

(laughter) Learn a trade! �Cathi Norton is a music journalist,singer/songwriter and playwright whocan be reached via e-mail atcathi@bloomington.in.us.

chose Band Camp, jams or song circles. BandCamp was an afternoon class that matchedgroups of students on various instruments andthen the groups had to perform three songs as aband later that week. Jams started in late after-noon and stretched until the last Blues Warriorhung it up. Jams ran from blues and gospel stan-dards to pre-war country blues to Texas swing, rag-

time, and jugband material. Some jams had twen-ty or more people, others just two or three tuckedaway around a corner somewhere. Inside the IceHouse bar, next to Halliehurst, nightly jams wereheld around an old upright piano, which oftenincluded boisterous ensemble singing from vocalstudents and faculty.

By the end of the week an incredible amountof harmonica info was exchanged, and only atrue harmonica devotee could appreciate thedepth and dedication to which some of thestudents go in the pursuit of their passion. Anytrue harmonica lover would appreciate the extentof the teachers’ knowledge — in this instance JoeFilisko and Gary Primich. It was an intensiveweek of work, with five hours of classes or morea day, plus several hours more of concerts andjamming daily if your energy held out.

In the end, our deep, sincere delving into anart form that many don’t even consider art vali-dates everyone in the program. For the students— whatever their abilities and wherever they wereon their harmonica journeys — musical doorswere revealed throughout the week. Some wereeasily opened while others only beckoned if youwere ready to knock. Some were big and basicand some small and intricate. All these doorsallowed passage for the students, to new possibili-ties where their journey would continue.

In the end, I left focused more on what furtherwork remained and not on what I had learned ina few days of earnest and often brain exhaustingeffort. While my course now seemed longer andmore difficult than I’d ever imagined, it seemedlike a more worthwhile journey to take. As I droveout of Elkins, cradling some fries and nursing ahangover, I felt exhausted but transformed. Tostudy blues harmonica for a full week in themountains of West Virginia seemed an unusualroad to have taken. On further reflection, I viewedthe Augusta experience in the manner of RobertFrost: The road to Augusta is indeed one less trav-eled. But for my harmonica playing and the placeit holds in my life, it made all the difference. �For more information about Blues Week2003 (July 13 through 18), visitwww.augustaheritage.com or call(304) 637-1350.

Blues Week 2002(continued from page 3)

Looking to support the blues in yourcommunity? Visitwww.yearoftheblues.com/societyLinks.aspto find a blues society in your area.

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