Substance Abuse.

Not strictly Blues but please bear with me. I have just recently watched the full length documentary about Amy Winehouse ‘Amy’ AND an equally long documentary about Kurt Cobain ‘Montage of Heck’, both stunningly put together and equally heart-breaking. Not a joyous experience for me. But, glutton for punishment that I am, this also coincided with me finishing the autobiography of Art Pepper ‘Straight Life’ (mentioned in previous post.).

Conclusion (straight from a graduate of the University of the Bloody Obvious) doing drugs screws you up!

But really; Winehouse, Cobain, Pepper all terrific talents – the first two snuffed out prematurely at the magic age of 27 (I know, you can add to the list, Johnson, Joplin and Hendrix) and Pepper who arguably lost his best years doing time for drug offences; so, so sad.

I really don’t believe that indulging in mind-altering substances is a prerequisite for the nurturing of talent. In my mind there are a lot of ‘what-ifs’.

I’ll expand this to the world of Art –
My first visit to the Van Gogh Museum lead me to the conclusion that if dear old Vincent hadn’t fallen prey to his largely untreated malaise I’m sure he would have gone abstract! Someone says that Cobain would have probably veered heavily towards the Blues – who knows? Maybe Amy Winehouse would have escaped the grip of Sarah Vaughan, Nina Simone etc. and branched out into work that was truly groundbreaking?

Alcohol and weed were part of the Blues culture as well, look at Otis Spann and Jimmy Reed; watch on Youtube as Wolf berates Son House for his squandered talent through love of the bottle! But also think of those true great artists who had no need of substances.

Larry Garner.

I was talked into listening to Larry Garner as a contemporary example of where Blues is going. Dutifully I felt obliged to get a copy of his album ‘You Need to Live a Little’ 1996.

Initially I was impressed by the musical content, but after a while I found myself rapidly skipping tracks. The magic wore off very quickly.

But what was it that prompted me to eventually delete it from I-Tunes? I guess I was looking for a modern interpretation of Blues themes; I expected a rawness; something with grit – I just didn’t find it.

I fully accept that I would never get a sharecropper’s deep mournful lament, of the kind you can feel in the vocal style of Muddy Waters, even when Muddy was quaffing Dom Perignon and driving fine new Cadillacs. But, as an example, it was Garner’s track, ‘Four Cars Running’ that really puzzled me. The theme was bizarre; he was lamenting what I would consider a First World problem. Personally I run two cars and I think myself very fortunate, but to complain about four cars in your driveway seems a bit….spoilt! 

Maybe I’m being far too much of a purist but I was left scratching my head wondering if there is any deep Blues left in the world. There were other tracks whose narrative left me feeling a little queasy.  ‘Don’t Run Talking’ conjured up an image of John Travolta in ‘Urban Cowboy’. Maybe it’s wrong to make assumptions about cultures that are many thousands of miles away from my own, but surely music should be able to cross borders and cultural boundaries easily?

Somebody said I should check out the late Luther Allison.

Reading.

A quick posting on what I would recommend on reading at the moment.

Being a fan of biographies and autobiographies I enjoyed reading the Muddy Waters biography ‘Can’t be Satisfied’ by Robert Gordon. An exceedingly well written and researched book. I feel I understand much more now about what made Muddy tick. How he held on to some level of integrity after leaving the delta and how he was able to inject such feeling into his performance and composition despite changing times and circumstances. Muddy comes over as a good man but certainly no angel.

The other book I want to recommend is not Blues but Jazz related. Even if you don’t dig Jazz, even if you’ve never heard of one of the greatest saxophonists of the mid 20^th century American Jazz scene Art Pepper read this book! It’s called ‘Straight Life’ by Art and Laurie Pepper. I have trouble with autobiographies as you know there’s a good chance they’ll be a gloss job; this is the reverse. I found myself wondering why Art Pepper would confess so readily to so many weak and despicable acts. Brutally honest, a shocking account of extreme substance abuse and how this great talent was almost destroyed by his own demons.

Not for the faint hearted.

E Harp tracks.

I have been looking for an excuse to buy an E harp for a while now. But the first problem was that there are so few songs compatible with the E harp. I had collected together a few notes taken from a harp forum which gave me a few Sonny Boy II songs played in E.

I took the plunge and bought an E harp, while looking for an excuse to trial another Seydel product. I bought a Seydel  Soloist Pro and was not disappointed; though it did have a few odd features. I noticed that there was no hole numbering, and also where the comb comes into contact with the tongue the surface is heavily lacquered and has subtle chamfering, which I initially thought might be a problem – but no, in fact it was an improvement.

I collected to date 4 songs (see below)
Now to test the efficiency of Internet networking; anyone out there want to add to the list?

Don’t Lose Your Eye – Sonny Boy Williamson
Unseeing Eye - Sonny Boy Williamson
Cool Disposition - Sonny Boy Williamson
The Creeper Returns – Little Sonny

Harp Tracks in Bb.

Here are some tracks that harpists or wannabe harpists might find useful to work with. All of these tracks are played with a Bb harp; some of them are more challenging than others. All of the tracks are in the blues genre, if anyone out there would like to add to these tracks please contact me, it’s good to share. Enjoy:

Baby, Scratch my Back – Slim Harpo

Easy – Big Walter Horton

Pontiac Blues – Sonny Boy Williamson

Sitting on Top of the World (1958 single) - Howlin’ Wolf

Rockin’ with Reed – Jimmy Reed

You Don’t have to go – Jimmy Reed

Boogie in the Dark – Jimmy Reed

Quarter to Twelve – Little Walter

Crazy Legs – Little Walter

Little Boy Blue – Big Walter Horton

Fannie May – Buster Brown

Moody Blues – Slim Harpo

Rock me Baby – Slim Harpo

Help Me – Sonny Boy Williamson

Long Distance Call – Muddy Waters

Harp tracks to play along with.

The plan is to put some songs up that relate to various harp keys.

The hope is that some of you out there will be willing to share song titles that you have found useful to work along with.

New Beginning

Good news; the practice room is back in operation with new sound baffling, thicker carpet to absorb the echo. The drummer has returned and I have been approached to work with another bunch of musicians who seem to want harmonica and vocals.

The vocal bit is a scary departure. Here is someone who goes weak at the knees at the thought of karaoke and won't even sing in the shower! So, how did that all come about?

Here's how it happened.

A while back, when I was still practicing with the old line up, a discussion broke out about 'Key to the Highway', the bass player said, "I don't know that one, how does it go?" so out of frustration I warbled out the first line.... "hey, you should sing!" someone chirped up, and that was it.

As a novice, how does one even consider starting?

Reasons for not writing.

Well, everything was going so hunky dory, I had drummer, guitarist, bass player, embryonic playlist and then it all went tits up!

It started when the bass player decided that this was not fitting in with her (fair enough), now the practice room is out of commission for three months because of building works.

For about four weeks I hit a low, couldn’t get inspired, tried to get the bass player back on the programme – failed. Drummer has gone abroad for a month. Then I decided to re investigate Big Walter Horton, now I’m more optimistic and motivated again, back to more disciplined practice really listening to Big Walter’s style!

Steve Earle – 2015 blues album, ‘Terraplane’.

Another new discovery.

Now I’ve always liked Steve Earle. I loved the ‘Copperhead Road’ album (particularly ‘Johnny come lately’ with the Pogues). He seemed to be the rougher, grittier edge of what I understood as country music. Steve Earle also made a decent fist of trad Irish music by writing ‘Galway Girl’. Lots of people think it’s an old song but it was actually penned by Earle when he was living in Ireland and working with Irish musicians.

But this new ‘Blues’ album is a different thing altogether.

There is an obvious clue in the title ‘Terraplane’. Reference to the old Robert Johnson song ‘Terraplane Blues’, in fact “ol’ Bob Johnson” gets a name check on the album.

Earle is obviously a believer of the concept that to sing the blues you’ve got to know the blues. Wrapped into the lyrical content of the album it’s easy to discover regrets, hard times, relationships broken, which is a pretty close reflection of what Steve Earle has been through in these last few years.

There are some sparkling tracks on this album; the pace changes constantly; it’s not all gloom and doom and certainly not all traditional 12 bar. ‘The Tennessee Kid’ is a spooky hard hitting epic growl retelling the Crossroads legend using the language of an earlier age. ‘Go Go Boots Are Back’ is a foot tapping rocker with a meaty guitar solo. ‘Ain’t Nobody’s Daddy Now’ is a freedom anthem.

The album is also a showcase for his musicians, ‘The Dukes’, some really impressive stuff going on with this band.

Ian Siegal.

Sometimes listening to Tim Aves on Saint FM can yield some interesting stuff (thanks Tim). The Gary Clark Jnr. Live album he recommended has been a real treat. But my ears pricked up when I heard a track by Ian Siegal called ‘Only trying to survive’. I then stumbled upon the Siegal album ‘The Picnic Sessions’ on which the aforementioned track features.

Here is an interesting album, seemingly performed live and informally, almost campfire style, entirely acoustic, lots of banjo and excellent guitar playing from Siegal. His raspy raw singing style grows on you, but the songwriting skills and witty delivering are entrancing and engaging. But Siegal is a Brit, I wonder how that goes down across the pond? I intend to track down more work by Ian Siegal. I have one reservation in that I feel that he gravitates towards Country and what is often referred to as Americana; I have to struggle with my prejudices against country music, I groan when I hear twee overly sentimental Country crooning, one or two tracks on the ‘Picnic Sessions’ album lean dangerously close to these problem areas – ‘Gallo Del Cielo’ is one such track; Siegal didn’t write it, maybe American audiences like that brand of cowboy song?

There’s another track called ‘Talking Overseas Pirate Blues’, to me the addition of ‘Blues’ to the title is a tad misleading – every time I hear it I think of the title theme to that old American TV comedy series ‘The Beverly Hillbillies’, what was he thinking?

 I played my favourite track ‘Only trying to survive’ to a friend; I asked her what she thought? She dismissed it as sounding too much like Chas and Dave; a little unfair.

I don’t care what anyone say, I like it!

Ian Siegal.

‘Do the Hip Shake’.

Band members have been looking at this particular track. I really like it but it is a little more elusive than I originally thought it might have been.

The original is by Slim Harpo; it has all the Harpo trademark qualities, in that the lyrics are relatively simple, there are no hidden depths or profound messages in there, it’s pure hedonism, sheer indulgence.  In most versions and covers there’s a rattling, rapid fire drum intro and an equally fast harp riff. But it is the alternative versions and interpretations that make it elusive.

Th’ Shack Shakers Rockabilly version is a strong energetic piece. I found a live version on Youtube which I found great to listen to, but painful to watch. The front man’s antics were totally cringeworthy; stripping his shirt off and (I kid you not) ostentatiously picking fluff out of his navel and then shoving his hand down his pants! But I did like the song.

https://www.youtube.com/watch?v=vTBIWLvR8c8

Son of Dave version is also a winner.

https://www.youtube.com/watch?v=rrUyVE-iyzg

New Mic.

It was inevitable, I had to get a proper mic.

I have just bought a Superlux D112/C harmonica mic. I was struggling of the bog standard vocal mic and wanted something to give me ‘the sound’. The Superlux is not in the same price brand as the Shure or the Shaker mic but I have to say I am impressed.

As I mentioned before I have a soft spot for good design. For me the Superlux ticks many of the boxes. Before I get on to the functionality I must say the look and the feel of the mic is just right. One website reviewer commented that the all metal body made it heavy, I would disagree; it feels pleasingly substantial in the hands, like a real piece of kit. The finger grooves in the top suggest to me that the designers gave some thought to usability and it is the right size for cupping.

There is a volume knob fitted into a recess in the body of the mic, this gives an additional control element, although it is quite easy to accidentally knock the settings, but I suppose that comes with practice.

The cable is fixed to the body; I can think of certain advantages, but the disadvantages are minimal.

The sound difference between this mic and the bog standard mic is considerable. There is a deeper tone and resonance, closer to the Little Walter sound (although the playing is nowhere near).

In all, a good purchase.

Book Review – ‘Harmonicas, Harps and Heavy Breathers; the Evolution of the People’s Instrument’. Kim Field.

A hefty and detailed piece of history, Kim Field’s book methodically and almost obsessively catalogues the genres and influences of all the famous harmonica players.

So many anecdotes, suppositions and conclusions, I found myself highlighting text and note writing all over this book. Field throws so many ideas and observations into the text that the book deserves more than one reading. 

To give one example; Field expands on the idea of how the slurred chordal deliberate ‘mistakes’ made by the blues harmonica players relates to west African music where such qualities are admired; the perfect smooth notes are thought of as too sterile, lacking in expression. It’s a good point – to me it ranks alongside something I read recently about Little Walter’s harmonica style being close to a kind of Deep South New Orleans Cajun, Zydeco accordion playing - interesting.

I’m afraid I just couldn't warm towards Larry Adler or any of the ‘popularisers’ of the harmonica, it doesn't get me reaching for a chromatic harmonica in any kind of hurry. The novelty acts and harmonica troupes of the 1940’s and 50’s also made me feel slightly queasy, something a touch too desperate about these acts, earnestly wanting to be accepted as serious musicians, forever the poor relation. 

I had a certain sympathy with the Jazz harmonica players.  Won’t say they were welcomed with open arms by the Jazz fraternity but they were allowed to make their mark.

In all a book worth reading (and re-reading).

The Red Devils – King King.

I am so grateful to Fritz for putting me on to the Red Devils. Just when I was beginning to give up on any hope of finding inspiring blues music post 1969 I was introduced to the Red Devils (active between 1988 and 1994). This very short six year lifespan only produced one album ‘King King’, a totally live album recorded over three nights at the King King club in LA. The Red Devils were the house band at King King and their reputation as live performers spread far and wide attracting the attention of the likes of Brian May and Mick Jagger. Also Bruce Willis (as a harp player) and members of the Red Hot Chili Peppers joined in jam sessions with the band. The release of the album in 1992 unleashed this modern take on the blues.

Photo of the last performance the Red Devils did at King King.

Front man Lester Butler produced a unique Chicago style harp sound and added a raw edge to some classics with a gutsy vocal style. Their origin compositions have great flair and give a hint of what may have been to come. However, the age-old story was played out and front man Butler imploded through drug abuse and the band split. Butler was to eventually die of an overdose at the age of 38. Interestingly Butler seems not to have administered the lethal cocktail of heroin and cocaine to himself; his family thus claim it was murder and not death by misadventure. But whatever it was the passing of Lester Butler was a huge loss to the world of music.

Lester Butler.

Here’s a neat Youtube vid of Lester Butler talking ever so briefly about Little Walter; https://www.youtube.com/watch?v=zpjZFgbqPPo

The Red Devils also cut tracks with Mick Jagger on vocals, here’s ‘Checkin’ up on my baby’. https://www.youtube.com/watch?v=s3skWNeNrXE

Howlin’ Wolf, the London Sessions.

Wolf did a session in London in the 1960’s. I have no doubt that he acted as a magnet for all those Brit musicians who were heavily influenced by the Chicago bluesmen. So here we have Eric Clapton, Steve Winwood, Charlie Watts, Bill Wyman, even Ringo Star having a go! Hubert Sumlin, regular Chess label guitarist was given special dispensation to fly over to help out; but really this was Wolf and the Brits together.

It comes out okay, but there is definitely something missing. Is it over-produced? Is there too much ‘cleverness’ going on? Particularly with Clapton – sometimes less is more.

Almost a side note to this album is 19 year old American harmonica prodigy Jeffery Carp. He was given the green light by the Chess production team to cross the pond to give some 'Chess style' harp playing. Jeffrey Carp is somewhat of a mystery, even his death remains a puzzle (he is said to have drowned jumping off a boat in the Gulf of Mexico and his body was never found).

The recording is well worth having. I particularly like the Wolf doing ‘Sittin’ on top of the world’, in fact more than the original 1958 single version. The ’58 version has Wolf on a ‘Bb’ harp, on the London version I believe it’s Carp on the harp playing on an ‘A’; it’s a little more elaborated in the key riffs; adding more bounce than the more doleful ’58 version.

J. B Lenoir.

Here’s a real treat; J. B. Lenoir accompanied by Chess label stalwart Fred Below on drums.

This simple, cut-down performance had the little hairs on the back of my neck standing up.

https://www.youtube.com/watch?v=flJ8zUYAyrQ

Fred Below.

Jimmy Rogers.

The work of Jimmy Rogers came across my radar recently.

I had ‘Walking by Myself’ on a collection of Blues tracks and had instantly dismissed it. There was something about the jaunty swing of the number that I just couldn’t relate to; it was too damned….cheery, (despite the forlorn lyric theme).

https://www.youtube.com/watch?v=qhjDXXEcocg

But, listen to the harmonica backing.

 It hovers in the background, active and busy but subtly lurking underneath the main theme, and then when Rogers pauses for breath – in comes a harp solo that is breathtaking!

The story is that the regular sidesman was not available for the harp part and Big Walter Horton was parachuted in at the last moment. Horton is without a doubt one of the most accomplished, confident and coolly relaxed harp players on the Chicago scene, and here is Big Walter at his best.

Jimmy Rogers is probably better known for ‘That’s alright’.
 https://www.youtube.com/watch?v=NU0rBtYCIHg

Paul Butterfield on quiz show.

Who would have thought that Chicago blues harmonica player would have ever appeared on a quiz show? Yet here he is as a seemingly anonymous contestant placed in front of a panel of regular pundits whose job is to identify the real Paul Butterfield.

‘Will the real Paul Butterfield please stand up’!

 Butterfield is then invited to strut his stuff – well worth seeing through to the end. Butterfield performs 'Born in Chicago'. Not sure that the band they give him are fully aware of what he's doing.

https://www.youtube.com/watch?v=pw7lbGqc4x8

Practice Methods and Storage.

I am always looking for new ways to practice and improve my harp playing. I guess all musicians have their own methods of how to get the best out of their time. Mine is to play in twenty minute intervals as an absolute minimum. Sometimes, in a day I will have three or four of these micro practice sessions.

I also have various focus areas. Occasionally I will go back to some of the old tutor books I used when I first started playing; not the very basic ones, but the ones that still give me a bit of a challenge. Most of my current practice is to play along with some classic tracks; Sonny Boy Williamson, Little Walter, Howlin’ Wolf, Big Walter Horton,  Slim Harpo, etc.  But it’s how I organise my resources I want to comment on here.

All of the music I work from is digital downloads. I’ll either work from CDs played through a laptop or from downloaded tracks on a Kindle Fire HD. It’s the Kindle I find most useful as I have organised it so that there are a series of playlists all in the different keys (D harp tracks, C harp tracks, etc.). The playlists play through on shuffle which keeps me on my toes. The Kindle has a punchy little speaker and is very compact. Overall it is ideal for storage and keeping information together.

Adam Gussow book.

A little while back I read the autobiography of blues supremo Adam Gussow, titled ‘Mister Satan’s Apprentice, a Blues Memoir’.

Gussow earned his spurs on the streets of New York City under his mentors Nat Riddles and Sterling Magee.

This book fascinated me on many fronts. I enjoyed the honesty of Gussow and the boldness of his confessional approach. The descriptions of the music and the development of the young musician learning his craft were also fascinating. Although I would have loved to have heard more about his experiences as a street musician in Europe, he skimmed over that part too lightly. Maybe there was too much info on his experiences as part of the musical ‘Big River’, I found that part a real drag.

I thoroughly recommend this book.