FROM HOHNER, INC. SPRING/SUMMER 2003

Searching for Little2 Walter Mickey3 Raphael European News6 SPAH8 2002 Notes From Rick’s Bench Double 10 Darin’ New Releases deLay 14 US News Page 12 17 In Search of Little Walter Pioneer of Chicago Blues Harmonica BY DAVID MASSEY

ittle Walter remains a mystery. Perhaps skills and spent the last five years diligently work- and author of a harp instruction book in 1965) you own every immortal Chess/Checker ing on this massive project. Along the way, each and writer/musician Ward Gaines scoured L track the harmonica genius recorded, as author would help motivate the others to keep census records, police files, studio log sheets, well as the fascinating alternative tracks. Maybe the challenging and time-consuming research genealogical data. They also studied hours of you’ve studied liner notes discussing his Hohner and writing moving along. rare out-takes and interviewed more than 60 of Marine Band mastery and tragic “gone-too- Chicago-based writer/musician Scott Dirks, Walter’s cohorts and contemporaries — from soon” life story. If so, you’ve probably also rattled Tony Glover (of Koerner, Ray and Glover fame, Marshall Chess to Billy Boy Arnold. your brain working out the riffs “We thought the task of writ- to such classics as Juke and ing this book would be too Roller Coaster. daunting individually,” says Nonetheless, no full- Gaines. “But writing the scale biography of arguably book together with Scott the most inventive, and Tony was a lot of fun.” creative and lyrical blues The writers were all harmonica player of all somewhat surprised at the time, Marion Walter Jacobs, lack of written material on had ever been written. This Walter — and had to over- is surprising, as the oft-over- come many research road- looked pioneer single-han- blocks and obstacles. The dledly wrote the definitive challenges included several textbook on Chicago-style Walter contemporaries and blues harmonica. He died some family members who tragically in 1968 — only 37 were hesitant to share their years old. knowledge. In addition, at But all will be revealed times names and dates did in a new Little Walter not jibe, research leads and biography. tips fizzled out, etc. In fact, Three Little Walter the authors had to roll up fanatics embarked on the their sleeves and do a lot of daunting task of piecing old-fashioned detective together the complex trou- work. bled life and groundbreak- “The project was real ing music of Little Walter archeology,” says Gaines. — the first complete and “Our research was like exhaustive biography. forensics, finding a bone The result is Blues with a here and a shard there, and Feeling: The Little Walter building up from that. The Story (Routledge Press; 368 book was similar to fitting pages) which also includes together a mosaic or one the most complete Walter big jigsaw puzzle.” discography ever published, The authors learned that plus never-before-seen Walter essentially had been photos and promo ads, overlooked by history. They according to the authors. believe their biography will This triumvirate of co- help to give Walter his due authors (all blues harp play- as one of the true geniuses ers) pooled their respective of blues and modern music. research talents and writing continued on page 22 2 Highway Living Room Catching Up With Mickey Raphael BY CATHI NORTON

ickey Raphael has been playing musician most famous as the album cover pho- Butterfield, “‘It’s easy to play riffs all night; it’s harmonica in the same country band tographer for the Rolling Stones. Lenny Kravitz much harder to play the melody.’ If I play licks Mfor almost 30 years. Sure, it’s Willie actually produced the album and enlisted friends it’s for a solo. I’m not a fast player either; I’d Nelson’s band, but still, Mickey’s been playing to help on different tracks. “Lenny did a couple; rather hear one person play two wonderful notes Crazy since Mariah Carey was two and the war Gillian Welch; the Wallflowers; and Willie and I with great tone than machine-gun fire.” in Vietnam plagued us! From all I’ve learned, produced one.” Thirty years of working with Willie Nelson this band’s survival comes down to fierce loyalty, When not engaged in outside projects, has given Mickey a wealth of amazing experi- musical skill and the ability to grow together Raphael experiments with his stage work, ences, worldwide travel and incredible musical through challenges. adding echo and bass harp to develop different adventures. Though band members share tight For Raphael, this means he’s always on the ambient sounds. Yet he sticks with his basic quarters (“luxurious but close,” grins Mickey), lookout for ways to stay fresh and stimulate his playing philoso- they have clearly developed a touring lifestyle musical muse. Born in Dallas, Texas, in 1952 phy — that works. Nelson’s antics are legendary and his and gifted with a guitar at a young age, he advice he popularity and music continue to charm audi- quickly abandoned it. “I was terrible,” he first heard ences everywhere. Mickey Raphael is grateful laughed. Before long, however, the teenager from and not blind to the rarity of his 30-year gig. was playing gigs in a Dallas folk club and Paul “Willie’s a pretty loyal guy to work for!” working with folk singer B.W. Stephenson. One day a Dallas football coach and fan EZR: The Willie-gig amazes me Mickey, yet I invited him to a post-game party. Willie Nelson know you’re doing a lot of session work. was there. “He told me to come jam if I heard Mickey Raphael: they were playing around, so I did!” Yes. I really love studio work Though Willie works the band hard from because it’s such a challenge and I love the way February to November (last year they did 130 I sound in the studio! Maybe I’m jaded, but I’d cities), Mickey takes on session work whenever much rather do something great on record he can. He got his start as a session artist when because studio work is how you’re judged. At Rodney Crowell interested Brian Ahearn least that’s how I judge myself. (Emmylou Harris’ producer) in him. He I know Willie’s got a zillion soon moved from his home in Austin records out. What’s the latest? and remained in the Los Angeles area for 18 years before moving to The Great Divide, with Matt Nashville, TN (all the while tour- Serletic. Matt produces ing with Willie). He’s recorded Matchbox 20 and did the last with a huge list of stars: big Santana hit. Emmylou Harris, Elton John, Refresh me on your rig Rodney Crowell, Guy Clark, Mickey. I remember U2, etc. “Every now and then I you use a Beyer mic? need a curve ball,” he smiled. A recent project with Paula Yes, an M88, through a Cole and another with jazz pre-amp on stage into saxophone player Bill Evans the PA. It goes through (who Raphael saw play with an amp too. I have a Miles Davis as a kid) really compressor and a pumped him up. “Jazz was pre-amp on stage with a hard,” laughed Mickey, “but the volume control so when music really fit the harp.” He even I play quieter harp I can tried producing. “I produced a boost the level a little. track for Mark Seliger — a fledgling

continued on page 22 3 Pete Pedersen The Man Behind The Music BY JAINE RODACK

t’s funny how “I’ve been playing the harmonica since age 5. I the ‘little guy’ in feature movies as well as a count- things appear grew up in Chicago, and some of my early mentors less number of ‘shorts.’ I stayed with the ‘Rascals’ Iserendipitously. ... who even let the kid hang with them a little ... for about 8 years. Recently I was asked were Stuff Smith, J.C. Higginbotham, Red Alan On my own after Minevitch, I worked for a to write an article for and Fletcher Henderson. while in a group called The Don Henry Trio, a EasyReeding about My best friend, even to this day, is Jerry Murad. show group. We had a semi-hit on the Regent my far better half, Pete Together with two guys we met in the Parks, Al label in Sabre Dance, as well as some standards Pedersen. and Bob, we formed a Harmonica band called the that are now collector’s items among harmonica Pete passed away Harmonica Madcaps. Shortly after that, Jerry and players. Next step was to become a duo: the in May of 2002. Since I got an invitation to join the world famous Borrah Harmonic-Aires ... I hope you love all these names then, I’ve spent a good Minevitch Harmonica Rascals: the harmonica ... another show act, but now, with the credential bit of time sifting through old photographs and band that featured of eight appearances on the Ed Sullivan Show. souvenirs: a lifetime of achievements and memo- We even toured with him for Lincoln Mercury ries.There was so much to say about him. So Concerts. many things I wanted to write that I didn’t know Eventually I became a one-man show, where to start. kind of a poor-man’s Victor Borge with a I spent days writing and rewriting the 1500 harmonica. words allotted to me. I wanted every one to Three kids later I became a be perfect — to give those who didn’t jingle, industrial film and know him an idea of who he was and production music library writer what he had accomplished. At the at the worlds’ largest ‘Music same time, I wanted to give those Factory,’ located in who had known him something Memphis, Tennessee. more. Something they had not We’re not over yet! known before. ‘Cause ten years later But the words would not I’m producing Disco come. Then, last night, I came hits in Toronto, across a copy of a letter Pete had Canada, for a group written introducing himself and called Three Hat’s his new CD in April 1996. It Productions. was just after the completion of The day the disco Groovin’ High, long before he died I moved back to took ill or his good friend Jerry Memphis and started Murad had passed away. In the writing jingles again, letter Pete encapsulated his life’s only this time I owned work, lacing it with his own special the company. brand of humor. Here was his story The thing that ties this as no one but Pete could tell it. I whole story together is the decided to put aside my own recollec- harmonica and my love of tions and let Pete do the talking. jazz. As the saying goes, I’ve I will admit to adding a few final been there and back (even thoughts of my own: the “something more” bought their T-shirt). But for the I mentioned earlier. For in his letter Pete had most part, what I did was what I do: said nothing of his character:, the man behind something for someone else. the music. So Groovin’ High is the life work of a And so we begin with Pete’s story, in his own first timer ...” words, just as he wrote it on that April day in 1996.

continued on next page 4 “ ... for the most part, what I did request to play or write something for lack of of his life, a sturdy soul: strong and tall and ‘able money. The joy of performing was always enough to leap tall buildings with a single bound.’ He was what I do: something for for Pete. My grandmother would have said that could walk for miles, rise early and turn in late. someone else.” he was a “mench,” a gentle man who never took a Write all night and work all day. I was nearly To me, that statement says it all. Although cheap shot and always took the high road. twenty years his junior and never could keep up Pete didn’t mean it in a personal way, I never met Through the years I watched as people sought with him. anyone who spent so much of his time doing him out and coveted his advice. He was a great These past few years were not easy for Pete. things for others. It was also very much like Pete listener, extremely patient and extraordinarily fair. The trials he faced would have broken the spirit to think of himself as a poor man’s version of I can’t tell you how many times someone would of even the strongest among us. And yet he met someone he admired. He just couldn’t see him- say “I’ll never forget when you said such and such . . .” every challenge with tremendous grace. Even self as an original, despite the fact that there was a statement that always gave him pause. He was when he could not help himself, he continued to no one else quite like him. help others. He was the most courageous, inspir- The first time I saw him, he was ing, and decent person I have ever known. And I standing on the porch of one of a miss him terribly. dozen clapboard bungalows that If you have never heard his music, it’s not too housed the musicians of Diana late. Pete’s recordings, arrangements and perform- Street. The place he referred to as ances are still available for all to see and hear. His “the world’s largest music factory.” last work, When Spring Comes to Town, was writ- The year was 1969, and he had ten just weeks before his passing, and stands as an just made the move from Dallas to enduring tribute to his genius. Memphis, to write singing commer- I remember years ago, he wrote a short piece cials for what was then known as he entitled Jaine Rodack’s Doorbell. It was a mar- Pepper Sound Studios. velous mix of train whistles, bells, trombones, and In the thirty-plus years that fol- chirping birds, a Spike-Jones-like affair, that made lowed, our relationship would evolve you laugh without saying a word. It was pure Pete. from co-worker to friend to long-time And so were his more serious pieces. Among companion. I was a lyricist — the my personal favorites: his awe-inspiring take on words to his music. Pete would An American In Paris, the test pieces and an explain it this way: “First we wrote amazing arrangement of I’ve Got Rhythm that he together. Then we played together.” wrote for a hundred-plus Tattoo He was the love of my life: quick (encompassing everything from a of wit and warm Navy Steel band to a gospel of heart. choir, swan trumpets to a pop Back in the orchestra, an African ensemble 1980s, just about the and toy xylophone contingency). time we were Vintage Pete (clock- It was incredible. But then, so writing our own wise from top): in the was he. disco album for studio writing for films, The passion he put into with the Harmonica Three Hats, a lyric every note — his signature and Rascals (far right) and line in a Broadway singular talent for weaving posing for a Hohner songs throughout his arrange- musical called promotional shot. They’re Playing ments, all of these things con- Our Song caught Photos courtesy of Jaine Rodack & Hohner file tinue to warm the heart and my attention. It fill the soul. was written about a genuinely amazed that Certainly no one ever musician so tied to his music, something he said could loved the harmonica more you couldn’t tell where one ended and the other have that kind of impact. or asked for less. He was began who asks, “Does the man make the music, Since his passing, so my hero. or does the music make this man?” many people have Pete Pedersen’s music can be heard on When it came to Pete, I never could decide. remarked, “I don’t know anyone who knew Pete, three CDs: Music & Memories, Groovin’ Pete and music were one and the same, as much who didn’t like him.” Me neither. I think it was because we knew we could trust him to keep High and Some Of These Days & Some of a part of the other than if he had been born with Those Days. Selected sheet music is also our confidences, feel our pain, and cheer our a harmonica in his mouth. available. For more information visit Pete used his music and natural wit to make triumphs. PETE-PEDERSEN.com or via e-mail at people feel good. Seldom did he turn down a Of good Norwegian stock, Pete was, for most [email protected]. 5 European News Harmonica Events Abound

BY STEVE BAKER HarpOnline Blues Shacks, one of the top European blues days of excellent harmonica music. Brendan bands, with the excellent Michael Arlt on harp Power was most impressed by the high standard Gipfel and vocals. Saturday saw the German debut of of the French players. People are starting to com- This year has seen a an interesting Polish band, Beata Kossowska and bine their own musical heritages with the number of interesting Le Blue. Beata fronts the band and plays very African-American harmonica tradition and new European harmonica accomplished folk-jazz harmonica. The music styles are emerging as a result. events. Last summer isn’t really blues at all, more Michael Timler (owner like jazz rock with a Harmonica Masters of the online harmonica distinct Slavic touch. shop HarpOnline) and There are some fine Workshops 2003 Klaus Rohwer organized musicians emerging In cooperation with the Trossingen Cultural the HarpOnline Gipfel (summit) 2002 featur- from the former Eastern Office, I am planning a four-day educational ing overblow master Howard Levy and classical bloc and it’s great to see event September 3 - 7, 2003, to coincide with chromonica virtuoso Franz Chmel in Ulm, them making names for the 2nd Trossingen Blues Factory Festival. This Germany. The two-day event consisted of work- themselves. I was booked will consist of seminars, sessions and concerts shops and concerts by both artists and was con- to play after Beata with my featuring some of the finest players on the scene partner Abi Wallenstein ceived to bring together the very best of modern Beata Kossowska today. In contrast to the World Harmonica diatonic and chromatic har- but the heavens opened Festivals held at the same location every four monica. It was attended by while the band was con- years, there will be no competitions. The plan is harmonica fans from ducting their soundcheck on the open air stage to present four parallel courses taught by myself, Belgium and Holland as and everyone got very wet. The phone rang Joe Filisko, Carlos Del Junco well as from all over asking if we could come over and play inside and Brendan Power, plus a Germany and went a while the band rescued their equipment, so we couple of larger seminars long way toward estab- played first. The festival ended on Sunday with a for all participants on lishing common ground blues brunch and session on the (now dry) out- topics of general inter- between players of both door stage. Photos of the Blues Factory and also est. The four instructors types of instrument. of the HarpOnline Gipfel can be viewed at will then perform full Howard and Franz had www.harponline.de/Kunstler/Beata_Kossowska/ length concerts for the Howard Levy never met in person Hohner/hohner.html Blues Factory Festival. and both were deeply All the above players have impressed with the other’s performance. Harmo’Liege 2002 agreed to participate, so this Congratulations to the organizers on success- Another annual harmonica event is the promises to be an exciting Joe Filisko fully building bridges between what can still Harmo’Liege in the French speaking Belgian event and is certainly the sometimes be antagonistic factions in the city of Liege. Run by the amiable Emile first of its kind in Europe. The Cultural Office harmonica community. Gregoire and his delightful family, this is a small will be taking care of registration and accommo- festival created by true enthusiasts who always dations, details are available on their website, First Trossingen Blues manage to put a quality program together. This www.kultur-trossingen.de. Factory Festival year they invited Celtic harp specialist Brendan Power and his partner Geoff Castle, French dia- Blues Harmonica At the beginning of September, the former tonic jazz expert Michel Herblin and Belgian site of the Hohner production facilities hosted virtuoso Thierry Crommen (both accompanied Playalongs Volume 2 the First Trossingen Blues Factory Festival. Set by their respective trios), traditional blues artists I’m in the middle of writing the sequel to the around the fully renovated works power station, Elmore D. & Big Dave, one man band Philippe CD/book package Blues Harmonica Playalongs this three-day festival showcased a number of Menard and the well-known Dutch harmonica Vol. 1, available in the US from Mel Bay acts featuring Hohner harmonica endorsers. trio Fata Morgana. That’s quite a program for a Publications. For this project, I recorded 12 Headlining on Friday night were B.B.& the private non-profit organization and ensured three instrumental titles in a wide range of styles

continued next page 6 including bluegrass, country blues, Chicago blues, rockabilly, rock and funk. Each will be found in two versions on the CD, with and without harmonica. Half New BEST BLUES Compilations of the titles feature acoustic accompaniment, from Raw Records the other half are electric. Fortunately I was able to BY MICHAEL COBB (PRESIDENT, RAW RECORDS) persuade my old friend and musical partner Dick San Francisco Bay’s BEST BLUES Bird to play guitar (Dick will be known to anyone Back to my roots, the San Francisco Bay Area music scene is still the heart and soul of all that is good about who has attended one of music. It was a thrill collecting the tracks for this com- the Trossingen harmonica pilation. Credit for recruitment of most of the artists on festivals as the guitarist in the backing band). this collection goes to one of my musical heroes, John His concise and tasteful picking on acoustic and Lee Sanders. It is also poetic that my all-time favorite electric guitar made it possible to cover such guitar player & the best teacher I’ve ever had, Garth diverse material. The book will contain tran- Webber, would put a track on this CD. This is truly a scriptions and step-by-step explanations of the compilation of masters of their craft. My deepest grati- harp themes as well as useful practicing tips. In tude goes out to all the artists on this CD — you are the spice of my life. response to numerous requests from readers of the first volume, we have included transcriptions Vancouver, B.C.’s BEST BLUES of many of the harp solos, so students can check Vancouver may be on the edge of the world, but it’s definitely on top of the Blues. Each and exactly what went down. every submission we received was excellent and deserved a track on one of our BEST BLUES compilations. It’s great having too much good material. Abi Wallenstein CD As always, our aim was to give regional artists the credit Despite his extremely busy touring schedule, and exposure they deserve while giving a wider cross- Abi found time last summer to record a new section of the public a chance to enjoy the local masters performing a broad spectrum of styles of this CD in Hamburg. This is possibly his best pure North American art form. Vancouver, B.C.’s recording ever and convincingly demonstrates BEST BLUES has a first — we have a number of why he occupies such a unique position among nationally and internationally known acts that European blues artists. It combines a rawness stepped up and agreed to contribute. Our humblest seldom heard today with some top-line playing thanks go to them as well as the rest of the artists. and showcases Abi’s deeply personal interpreta- tions of a mix of originals and obscure covers. I Seattle’s BEST BLUES, Vol. 2 had the pleasure of playing on more than half Two years ago I did my first blues compilation, the titles and all of them feature Martin Röttger Seattle’s BEST BLUES, Volume 1. I’m now on on cajon (Peruvian drum box). We are doing my fifth and I’m happy to report it’s anything but routine. Musicians are an entirely unique breed — typically working graveyard quite a number of trio gigs in this line-up, as it hours and possessing a distinctive view of the world and the people who fill it. Not necessarily fits Abi’s music perfectly. The CD will probably judgmental, just colored by a life experience unlike the one most of us are presented with. So be entitled Step In Time and will be released on what? So that’s what makes working in this middle 040 Records. ground, between the creative (and sometimes twisted) perspective of the artist and the often logic-based (and Hohner Factory, sometimes pedantic) world of business, so much fun. Germany It’s not news that artists are severely underpaid — the 1857 good news is, they get rewards most of us can only dream of. Getting to reach deep down inside and create music and an environment that stirs audiences in ways that can’t be measured has got to be one of the greatest experiences there is. The artists who provided the tracks for this compilation have great material to share. Look through the complete song lists at www.rawrecords.com, pick your favorites and order these excellent anthology CDs. 7 An Exciting Harmonica Experience SPAH Convention 2002

BY JAMES DAY

hat an experience! Here I was, The musicianship is tops and the artistic nightly SPAH showcases. The Dan McKelvy hunkered down for five days in a stylings are many. A large part of the SPAH Trio gave a spirited performance with a great Whotel with a harmonica convention membership is composed of harmonica band rendition of the Orange Blossom Special, the happening downstairs. All over the hotel, there music — which is usually performed by a trio Bliss Harmonica Gang traveled from Germany were plenty of accessible professional and with bass and chord harmonicas supplying the to treat the SPAH crowd to one of the great amateur harmonica players from all over the rhythm and the chromatic as part of the melody. performances that has been satisfying the world! This was the one event to meet At one time these trios, and even entire harmon- European public for 50 years. The Harmonica harmonica manufacturers, take workshops, view ica orchestras, were the rage. They reached their Classics, who individually are proficient in jazz antique harmonica collections, attend nightly zenith in the early ‘50s. Several trios played the and diatonic playing, performed a tight set with showcases, learn to repair your harps, talk to just the right touch of comedy. other “harmaniacs,” Bill Barrett and Damien participate in jam Masterson, both astoundingly sessions, buy harps versatile players, represented and rare recordings, the jazz contingent. Barrett plus hear the SPAH highlights has been active in the avant- harmonica played in include (clockwise garde jazz scene, developing from top): The every musical style new techniques for the chro- Harmonica imaginable. Classics with guest, matic by creating “bizarre This was the 2002 Hohner’s Rick sounds and sonic events.” SPAH Convention! Epping & Hohner’s Masterson played with so The annual con- Sissi Jones. much Latin-inspired soul that vention of the Society it was a delight to hear him Photos by Everet “Grif” Griffin for the Preservation perform, not only on the and Advancement of chromatic, but vocally and on the Harmonica, tenor sax as well. (SPAH) was held in SPAH Columbus, Ohio, from President August 13 to 17, 2002, in Douglas Tate cooperation with the performed Buckeye Harmonica chromatic Club. Founded in 1963 classical music and now nearly four and also decades old, SPAH’s mis- presented a sion has always been to seminar about unite the harmonica world. utilizing your SPAH is a crystallization of PC for fun and everything harmonica in performance. the North American Later, the English-speaking countries. versatile Susan Membership is more than Rosenberg 3,000. Convention atten- lent her dees in 2002 came from as expressive far away as a harmonica trio harmonica from Malaysia, to a young voice to Frenchman who was a many huge Sonny Terry fan. classical and

continued next page 8 classic selections, ably accompanied by ‘master’ chromatic class to rootsy gospel player Carolbeth True on piano. Buddy Greene, who displayed his Nashville At the Saturday dinner showcase, Frederic influence. In addition, an informative workshop Yonnet played his eclectic diatonic harmonica about reading music was offered by the Hotshots combining jazz, fusion, country, reggae, gospel, of Simpson/Smith. hip-hop and classical styles. SPAH is an event that every player should Joe Filisko played in the pre-war acoustic experience at least once during his or her style and did a nice DeFord Bailey tune, harmonica journey. It is a crystallization of all followed by a droning Amazing Grace that things harmonica, where musicians check in sounded like several bagpipes. Dennis with each other and learn about the versatility Gruenling rounded out the diatonic perform- of the instrument. ance by accompanying vocalist Gina Fox on several jump blues tunes that had the fat tone SPAH’s 40th Anniversary Convention will of a honking baritone saxophone. be hosted by HOOT (Harmonica Those who wanted to advance their harmon- Organization of Texas) August 19-23, ica know-how in a short time could attend 2- 2003 in Irving, Texas. For more Which Hohner hour-long “teach-ins” organized on three information, visit www.SPAH.org or convention days by master customizer Joe www.hoottexas.com. bluesmen won? Filisko. Where else could one learn from so much concentrated talent and expertise at one James Day fronts the Fish Fry Swingers Find out in News from the USA time? There were consistently about eight in Philadelphia. round tables full of players and technicians. on page 19 Participants could slide into Jimmy Gordon’s session about tweaking your harmonica, then pop-in and learn tongue switching and fiddle phrasing on your “Mouth Box” in the Irish style from James Conway, or bop into Winslow Yerxa’s theory chalk talk. Still want more? Vintage Hohner Ok, then ask Hohner’s Rick Epping or Sissi Chrometta Assembly, Jones some chromatic questions, learn some Hohner Germany modern jazz from Allen Radcliffe-Holmes and circa 1954 finish up with Nashville session man, Kirk “Jellyroll” Johnson. The vibe of SPAH is friendly and one is able to learn and speak with professional players. Walking down the hotel’s hallways there are harmonica 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 jams where players could try their improvisational skills with a cobbled together blues band that shuffled you into the wee small hours. Jazz jams with Michael Polesky were held in the hotel’s foyer, and many trios and groups performed daily concerts at the open mic in the lobby. Many of the performers also led seminars to showcase their particular virtuosity. These were held throughout the day, affording the many sleep-deprived attendees the opportunity to further advance their harmonica skills. Seminars ran the gamut from Alan “Blackie” Schackner’s 9 Taking Bending to the Extreme Notes From Rick’s Bench BY RICK EPPING

t has long been the back of your tongue is raised up against the somewhat above that of the lower pitched reed. dream of blues harp palate in the same way you change the mouth’s For example, the 4-blow C reed on a regular Iplayers to bend every vowel shape to make the sounds from AHH to key of C harmonica, being two semitones note. However, the EEE, without actually vocalizing. The tongue below the 4-draw D reed, enables the D draw limitations of the stan- is then slid backward or forward to a position note to be bent down a little more than a semi- dard diatonic harmonica that will pull down the pitch of the unbent tone. The 5-draw F note, however, cannot be restrict that instrument’s note being played. High-pitched notes are bent bent a complete semitone, because the 5-blow note-bending capability with the back of your tongue placed toward the E reed is only one semitone lower than the 5- to the extent that only front of the mouth and lower notes are bent draw F reed. Furthermore, the notes of the eight of the 20 notes on a with your tongue farther back. The bending lower pitched reeds in any reed cell, that is, 1 10-hole diatonic can be technique may take some time to master, but is through 6 blow and 7 through 10 draw, are pre- bent a semitone or more. For as long worth the effort to expand the artistic vented by the higher pitched reeds in their cells as harp players have been bending reach of your diatonic from significantly bending at all. Thus, on a notes they have had to accept instrument. standard diatonic harmonica, only certain notes this limitation, avoiding or may be played through bending [see CHART 1]. working around musical pas- The chart below shows that, even with the sages containing chromatic help of note bending, playing a complete chro- notes or slurs not available on matic scale is impossible within the standard their chosen instrument and diatonic harmonica’s range. passing on lines that guitarists The XB-40 overcomes this limitation by or horn players manage with ease. incorporating an additional set of reeds, tuned The overblowing technique has helped to so that all twenty of the harmonica’s notes can overcome the diatonic harmonica’s chromatic On a be bent using the standard blues harp bending limitations but is found by many players to be regular 10-hole diatonic technique. Using a system of patented valve somewhat problematic and difficult to master. harmonica, the standard blues chambers, these auxiliary reeds come into play Partially valving the reedplates can extend dia- note-bending method involves an interaction only during note-bending. In addition to con- tonic bending capabilities, but it affects the between two reeds, one blow and one draw. trolling the operation of the auxiliary reeds, the tone on the valved reeds and can likewise be With this type of harmonica, only the higher valve chambers serve as tone chambers, which difficult to control. pitched of the two notes from any given reed amplify the fundamental frequency of the reeds This situation changed this year when cell can be bent and then only to a point to create a warm, rich tone. Hohner introduced the XB-40 Extreme Bending Harp, a revolutionary new model that CHART 1: Standard diatonic harmonica, Key of C offers the player total bending freedom — every note, blow and draw, can be bent using the HOLE12345678910 same standard, diatonic bending technique. What is note-bending, why is it limited on Blow bend a#3 the standard diatonic harmonica and how does the XB-40 overcome this limitation? Note- Blow bend d#3 f#3 b3 bending, as popularized by blues harp players, is a technique heard today in many styles of Blow note c1 e1 g1 c2 e2 g2 c3 e3 g3 c4 diatonic harmonica playing. As well as adding to the number of notes you can play on the Draw note d1 g1 b1 d2 f2 a2 b2 d3 f3 a3 diatonic harmonica, bending improves the instrument’s expressive capability by making Draw bend c#1 f#1 a#1 c#2 g#2 possible the use of slurs and glissandi. Bending is accomplished by partially isolat- Draw bend f1 a1 ing the air in your mouth cavity from the rest of the vocal tract and adjusting its resonant Draw bend g#1 frequency to that of the desired bent note. The 10 continued next page The valve chambers also produce an even complete chromatic scale, it offers you multiple can be produced with a half-bend on the 5- playing response throughout the instrument. ways to play most notes. The player can, for blow or with a full-bend on the 5-draw. This The XB-40 is tuned so that every note can instance, play a g2 note in the standard man- feature significantly increases the expressive be bent a whole tone, with an additional semi- ner, with the 6-blow unbent, include a sliding capability of the XB-40 in a way never before tone bend on the 3-draw to complete the chro- bend up to it from f2, or play a g2 as a bent possible on any other harmonica. matic scale in the first octave [see CHART 2]. note on the 6-draw, adding a sliding bend down The result of more than 10 years of develop- The XB-40’s design not only creates a to it from the unbent a2. Similarly, a d#2 note ment, Hohner’s XB-40 offers the player a har- monica that is uniquely rich in tone and consis- CHART 2: XB-40 harmonica, Key of C tent in response, with the capability to perform HOLE12345678910with unlimited freedom of expression through total bending power. The blanks in the scale Blow a# d1 f1 a#1 d2 f2 a#2 d3 f3 a#3 are now filled to the extreme. bend Blow b f#1 b1 f#2 b2 f#3 b3 bend 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 e3 Editor’s Note: Hohner’s new XB-40 bend c#1 g#2 G#3 model will soon be available in all keys Draw c1 f1 a1 c2 g2 a2 c3 g3 from a harmonica dealer near you. bend d#2 d#3 Designed by Hohner’s own Rick Epping, this instrument will astound you with its Draw revolutionary playing capabilities! bend g#1

11 Double Da BY CATHI NORTON

verything about Paul deLay seems larger than life: his of which was a “livin’ large” drug era, for which he history, his challenges, his size, musical creativity and, paid heavily with a 41-month prison camp sentence E maybe best of all, his attitude. Born the last day of in the ‘90s. “I highly endorse the clean and sober January 1952 in Portland, Oregon, deLay grew up in a musi- thing. That whole drug thing is a tremendous cally inclined family. “My dad plays the best musical saw in shortcut to the small time.” There’s little the world and my mom played piano and guitar. They had a doubt, however, that the experience lot of crazy, drunken piano players that would come by in the catapulted Paul into a new creative age middle of the night.” Harmonica became a staple thanks to of heartfelt songwriting and style. gasoline Green Stamps. “I used to play a harmonica with one Plunging into frenetic writing and hand while I rode my bike.” recording, he released two albums (The It wasn’t until deLay hit high school that he began to jam Other One, 1990, and Paulzilla, 1992; both around in bands. “I had a great jug band that did a very oper- on his own Criminal record label), and then atic version of Thunder Road that had the cops there in no spent his sentence perfecting his writing time — without any amplification whatsoever!” he laughed. style. “I had the time to avoid a lot of A friend suggested he listen to some Chess recordings and the predictable rhymes and got out of that habit, blues knocked him out. While learning thank God,” he smiled. “I think I’ll proba- about Sonny Boy Williamson and Little bly be using material I wrote in that Walter, deLay also heard Paul camp for the rest of my life.” Butterfield. “There were a couple In 1996, he burst forth with of cuts on Folksong ‘65 that I two more impressive record- used to come home from ings — Oceans of Tears, 1996 school and play with my and Nice and Strong, 1998 head stuck into the speakers — both on the Evidence as far as I could go.” label with whom he still In the late ‘60s, he works today. A side-trip to joined Brown Sugar, a local Chicago in 1999 initiated blues band that remained deLay Does Chicago popular for nearly 10 years. (Evidence) which also featured Between Brown Sugar and Rockin’ Johnny Burgin, Jimmy performing with his own band, Dawkins and Zora Young. deLay toured with Sunnyland Health problems were Slim. He still chuckles at that the next major challenge memory: “They didn’t like my playing for Paul. Struggling with well enough to even complain about a pituitary tumor, depression, it for a couple of weeks, but then and a leg infection, he was seriously they were kind enough to straighten slowed down which drove his weight up. Just me out in several areas about how this year he feels his strength returning. “I think the Chicago blues are played.” trick is to do as much as you consciously can and then With his old band’s guitarist, Jim Mesi, kick your brain out of trying to force things. Like read- Paul soon formed his new “authentic blues” band. Now in ing a book — give it a chance to digest and then things existence nearly 13 years, his current group features Peter come jumping out all in one piece sometimes.” It seems Dammann on guitar, Dan Fincher on sax, Louis Pain on he’s right, for his 2001 Evidence release, Heavy Rotation, keyboards/bass and drummer Kelly Dunn. Over the course of was hovering persistently on the charts, right on the heels an evening they do about 80 percent originals and lean of two nominations in ‘99 for W.C. Handy Awards toward an “uptown” sound. “We do it all really — it’s blues, (“Best Song” and “Best Harmonica”). but there’s quite a bit of gospel, R&B and jazz influence in it. Daring to dream big, deLay brings new Then I also like to throw down with a complete sense of textures to harmonica blues and a personal, immediacy and just blow nice Chicago style blues.” unabashed writing style that reflects both deLay has survived several of life’s major challenges, one struggle and compassion.

12 EasyReeding S arin’ deLay

As Peter “Madcat” Ruth commented: “Of all the harp players out there, he’s one of my favorites. He has such a fresh I love doing lessons. I’m hoping I can figure out a way to do approach and does things his own way ... it’s beautiful.” them over the Internet with video hookups. Lately I’ve been occasionally playing late ‘30s, early ‘40s country blues with a EZR: Paul, tell me a little about your harmonica world-beater keyboard player, Janice Scroggins, and my tone. drummer Kelly. I would love to work on things that involve ‘call and response’ too, rather than just Paul deLay: Well, I think one soloing like crazy. good thing is I don’t smother my mic completely, but operate So you’re experimenting! Do you play from more of a semi-backed-off more chromatic than diatonic? position which is brighter. Then if I add more bass I can About half and half. I tend to play dia- really get on it, or back off for tonic about half in second position and a a whole lot of bright, treble whole lot of third position because I sounds as well. I try not to get think there’s so much territory there that bogged down on the low end hasn’t been abused. I’m still refining my of the harp. For a blues guy sound. I also enjoy effects like chorus I tend to use more blow and the octave sounds you get through a notes and I really don’t like harmonizer. It’s fun to mix it up! playing cliché blues harp. One of the sounds I’m try- Well, I gotta ask about ing to get is a Dixieland or harps of course. I know jazz trumpet sound. I’m not you’re a Hohner exactly sure how, but people endorser. have said that I am one of Yeah. I might as well have a Hohner tattoo! the more lyrical and melodic I’ve never liked any others nearly so well. I munch them players. right out of the box and whole-heartedly endorse the Big Did you teach yourself? River line. They are big, loud, durable, and CHEAP! I’m very grateful for that! (laughs) Other than the Big River diatonics, I Yes, but I don’t recommend that approach. use the 280s and very much like the new CX12 chromatic. (laughs) I usually tell people starting out to Also for a chord around a lot rather than trying to get four-octave one I used the Super 64. I really dig that CX12. your bearings by playing single notes. I used I wish they made a four-octave chromatic the way they make to just play four holes and block two in the that son of a gun, because, God, it’s so bright, flexible and middle to play chords. I think the riffs I’ve comfortable to play. ended up with used to be chord patterns that eliminated the bottom note. Got any advice for players in general? Gradually, I’ve pieced it together. Perhaps Capitalize on your own strengths; develop your own style. I’d be farther along if I’d learned by the The world needs another harp player doing Little Walter licks book and played scales, but a passionate as much as it needs another Elvis impersonator! delivery counts too. (laughs) I guess it’s the gene pool whether or not you have For more information on deLay, visit what it takes to knock a solo off the www.pauldelay.com top of your head.

Do you give lessons?

PRING/SUMMER 2003 13 New Releases

COMPILED BY CAROL ANNE HERREN

Carey Bell Norton Buffalo & Clayton Miller Buddy Greene GOOD LUCK MAN Roy Rogers Blues Band “RUFUS” Alligator Records ROOTS OF OUR NATU R E GOTTA HAVE LOVE Rufus Music Company 14 T RACKS Blind Pig Records Independent Recording 12 T RACKS To every song, original and cover RACKS RACKS 13 T 10 T On his latest CD, Greene revisits tune alike, Carey brings his decades In Buffalo's harp-cupping, wah- To find this much passion, presence his formative years, weaving blue- of experience, his taste, humor and wahing hands and mouth, there are and powerful skill in one family is a grass, blues and the Beatles into a subtlety, and the kind of roots that single note runs, improvisational rare gem. The bond of blood between celebration of acoustic music. can't be learned sitting at home opportunities and plenty of chances Clayton, Cole, [9-year-old Hohner Joined by Jerry Douglas, Sam Bush, studying records. He learned from to run rings around the expressive endorser] L.D. and their dad Larry Ron Block, Kenny Malone, Byron the masters, and has become one power of every other instrument on Miller transforms raw musical talent House and Ashley Cleveland, himself. — BRUCE IGLAUER the album. into a tight melting pot of blues among others. CONTACT: www.alligator.com CONTACT: www.blindpigrecords.com — NAO CONTACT: www.buddygreene.com CONTACT: www.claytonmillerbluesband.com

The Brothers William Clarke Smoky Greenwell Figaro Orchestra NOW THAT YOU’RE GONE Wallace Coleman SMOKIN’ CHRISTMAS Watch Dog Records IVE T OE S OLD TIME CHRISTMAS L A J ’ Greenwell Records PBR Records 12 T RACKS Pinto Blue Music 11 T RACKS 12 T RACKS 11 T RACKS Clarke blows the doors off straight- Greenwell's fifth album has great ahead Chicago blues on this Inspired by Big Band recordings by Capturing the ‘50s style and feel of spirit and will definitely put you in collection of 1981-83 studio Chicago’s electric blues, Live At Tommy Dorsey from 1939 — with a the holiday mood! Christmas blues, recordings. Compiled posthumously Joe’s provides the listener with an very young crooner named Frank overlaid with jazz, seasoned with by his wife Jeanette, Now That You’re audio snapshot of Coleman’s Sinatra — this collection of Louisiana hot sauce and shot Gone showcases the amazing talent presence onstage. Real blues done straight from the hip and from Christmas favorites has a haunting, of this award-winning bluesman and right! nostaligic flavor that will surely the heart. features five previously unreleased CONTACT: www.wallacecoleman.com infuse your holiday season with songs. CONTACT: www.smokygreenwell.com sacred mystery. CONTACT: [email protected] CONTACT: www.brosfig.com 14 New Releases

Paul Harrington T.J. Klay Mississippi Heat Rod Piazza HARMONICA SOUL SERENADE RIGHT ON TARGET MODERN MASTER — THE BEST FOOTPRINTS ON THE CEILING Seduction Records Sporting Klay’s Music F OD IAZZA CrossCut Records O R P 1968-2003 14 T RACKS 9 TRACKS Tone-Cool Records 14 T RACKS Harrington’s latest — mostly instru- TJ Klay offers harmonica at its finest 2 DISKS, 29 TRACKS TOTAL Footprints on the Ceiling encom- mental and covering R&B, jazz, on his latest release of instrumentals. passes a huge body of very diverse Harmonica ace and vocalist Piazza blues and swing classics as well as a Ranging in tone from whimsical to work indeed, drawing from a wide has perfected his craft over the last few originals — simply smokes. melancholy, from TV theme songs to and deep range of influences within 35 years. This career retrospective Harrington employs his full arsenal spirituals, he speaks to the heart and that great musical family of the paints a portrait of Piazza's legacy of harmonicas, sometimes even over- soul of each listener. that approaches legendary status Blues. — MICHAEL FREEMAN dubbing them to ear-pleasing effect. CONTACT: www.tjklay.com and hightlights the artistry and — PETER HUND CONTACT: www.missippiheat.net dedication required to be a CONTACT: www.harpwizard.com ‘Modern Master.’ CONTACT: www.rodpiazza.com

Paul Orta Mark Hummel Delbert McClinton Jerry Portnoy OBJECTIF LUNE GOLDEN STATE BLUES ROOM TO BREATHE DOWN IN THE MOOD ROOM (DESTINATION THE MOON) Electro-Fi Records New West Records TinyTown Records Blues International Records 12 T RACKS 12 T RACKS 13 T RACKS 11 T RACKS ‘Golden State Blues’ continues the Like all masters, Jerry has his own Witty lyrics laced with Detroit blues Every lover of good-rockin'-Texas- legacy of the thriving Oakland and Texas honky-tonk rhythms are distinct style ... an economical blues scene of the late ‘60s and Blues will want to have a copy of approach to note selection, sure to make McClinton’s latest an this recording for their collection. early ‘70s. A mix of originals and brilliance of sound, richness of American classic. Showcasing strong Orta is assisted by the finest of cover tunes range from slow-burning tone, huge vibrato and the rare musicianship and uncluttered blues musicians: Little Ray Ybarra, ability to speak directly through to jumping, all with the mark of arrangements, the variety of song Uncle John Turner, Pierre Pelegrin, Hummel’s distinct harp style. styles ensures this album has Alberto Storo, Jessica Buchheit, the instrument. — TOM ELLIS III CONTACT: www.markhummel.com something for every ear! Keven Gassert, Roger Ward, Lazy CONTACT: www.harpmaster.com CONTACT: www.delbert.com Lester and the late Ervin Charles. CONTACT: www.great-recording.com 15 New Releases

Gary Primich Trick Pony Mark Wenner DOG HOUSE MUSIC Gary “Alaska” Sloan ON A MISSION MAMA TRIED Antone’s Records DOWN SOUTH Warner Brothers Records Right On Rhythm 10 T RACKS Independent Recording 12 T RACKS 11 T RACKS 17 T RACKS Primich’s signature style is marked For those who thought this contempo- Those looking for polished perfec- by versatile musicality and colorful Sloan’s latest release is not focused rary country trio would be just a one- tion certainly won't find it here ... and potent harp playing. His latest on jamming but on the songs Trick Pony following its self-titled blues fans are forewarned that melds the sweaty feel of an inspired themselves, each one different from 2001 debut, think again. Their playful there's as much country in Mark's nightclub set with the sharp sonic another. His band, together for tone gives an upbeat vibe to even the rollicking, roadhouse-ready sound atmosphere of the studio. three years, plays very well off each more somber songs. — RALPH NOVAK as there is blues. But it's real, and other with his wife and sons CONTACT: CONTACT: www.trickpony.com heartfelt, and the harp work is www.garyprimich.com pitching in on both songwriting absolutely killer. and performing duties. — JOHN TAYLOR CONTACT: [email protected] CONTACT: www.blackdogweb.com

Snooky Pryor Toots Thielemans Various Artists Sandy Weltman SNOOKY PRYOR & HIS TOOTS THIELEMANS & INSPIRATION: 22 GREAT MISSISSIPPI WRECKING CREW KENNY WERNER THE KLEZMER NUTHOUSE HARMONICA PERFORMANCES Electro-Fi Records Verve Records Wildstone Audio Universal Music 10 T RACKS 13 T RACKS 14 T RACKS 22 TRACKS The impetus behind this album is a Thielemans specializes in wringing joy Weltman has again stretched his A harmonica listener's dream come musical celebration of the 80th and nostalgia from the most personal musical boundaries with this foray true! Milteau compiled this birthday of [Snooky Pryor,] one of of instruments. He's joined by pianist into Klezmer music. Klezmer is collection of 22 classic harmonica the founding fathers of modern Werner, who's attuned to Thielemans' described as Jewish Gypsy Jazz and performances to illlustrate the blues harmonica. The wit, wisdom every nuance and impulse. They originated in Eastern Europe. The ingenuity and vision captured by and collective mojo of [these] explore a moving collection of use of the banjo and harmonica as these imaginative harp players. gentlemen transform the blues melodies that ranges from Bach's lead instruments results in a beauti- Artists include DeFord Bailey, into a living, breathing thing of ‘Sicilienne’ to medleys of songs associ- fully unique tapestry of music. Jimmy Riddle, Big Walter Horton, immeasurable beauty. ated with Sinatra, Michel Legrand, CONTACT: www.sandyweltman.com Toots Thielemans and Stevie — ANDREW GALLOWAY and Disney. — STUART BROOMER Wonder to name a few. CONTACT: www.electrofi.com CONTACT: www.tootsthielemans.com CONTACT: www.planetharmonica.com 16 News from the USA BY JOHNNA COSSABOON

Longtime harmonica player, teacher, author Gains opened the show with some full deep- CDs in 2003. The first is a duo recording with and book publisher, JON GINDICK is now toned classics. HUGH FEELEY was next with pianist Anthony Molinaro that features originals investing his talents, his energetic, original, audience moving, cool as well as very unusual interpretations of time, energy, knowledge shoes blues thing. Edsal came on next, bringing standard tunes. The second CD is with the and money in new Sherman and KEVIN WHISMAN up to the Latin/Jazz band Chévere, in which Howard lessons, new music and bandstand for a killer set of tight rockin' blues. has played for more than 20 years. Finally, the new technology on his After TONY FASIO and DOUG KELLY music beloved by Chicago audiences for website at showed up, a BUZZ suddenly went through the decades will be available to global listeners. www.gindick.com. room ... STEVE JACOBS then walked in with Howard composed and arranged most of the The site offers free CAREY BELL, who was in town! music and plays both piano and harmonica lessons, many examples, with Chévere. MIDI files, original MARK HUMMEL'S For Howard's complete touring schedule go songs, plus two downloadable lessons on BLUES HARMONICA to www.levyland.com. bending and chugging. BLOWOUT 2003 was Jon's revised Rock ‘n’ Blues Harmonica held seven evenings last DAMIEN MASTERSON recently graced Triology along with other instructional materials January at various Raw Record's compilation, San Francisco Bay's plus Hohner Harmonicas are available on his California venues. The BEST BLUES. Among website. In addition, Gindick performs, teaches, Blowouts are always spe- the other Hohner artists writes and records in the Los Angeles area. cial, featuring different featured on this CD are harmonica heroes each MARK HUMMEL and HARMONICAS ACROSS AMERICA is a year. The 2003 shows MICHAEL non-profit organization started last year by starred HUEY LEWIS & JOHN CLIFTON, PELOQUIN. PATRICK STEWART of St. Louis. He has been JAMES COTTON, PAUL DELAY, JAMES The cut featured is teaching harmonica in elementary schools in HARMAN, MARK HUMMEL & THE Joe's Fried Chicken from Missouri, Texas and other areas. The BLUES SURVIVORS and DAVE BARRETT. Damien’s first recording, organization’s goal is to get children over age Mark also released Golden State Blues, his Intercambio (1996). For eight involved in making music by using the first CD with ElectroFi Records (see New more information about this and other exciting harmonica, particularly kids who would not Releases). blues compilations by Raw Records, go to normally have an opportunity to learn any www.rawrecords.com. musical instrument. HOWARD LEVY had a very active 2002. He premiered in On The Other Side... for har- PAU L ORTA is now The Metropolitan Washington, DC, area monica, clarinet, accor- living and playing in blues community exploded with talent and dion and orchestra by France. He has recently energy, during Harmonicathon 2 held in a Adriana Hoelsky with performed in Holland, small smoky blues room called the Bangkok the Bavarian State Radio Spain, England, Ireland, Blues last summer. Orchestra in Munich Italy, Switzerland, BRIAN MCGREGOR, and toured England and Denmark, Germany and BROOKS TEGLAR Ireland with Rabih Abou Austria — playing festi- and PETE KANARAS Khalil. Howard also vals, concerts and clubs. were the house band. played concerts with He’s also been conduct- WARD GAINS (who Bass Clarinetist Michael ing harmonica seminars released a book on Little Riessler in Germany, and several solo concerts as well and released two new CDs, Objectif Walter) and CHARLEY there as well. He played concerts with the great Lune (see New Releases) and Shuffling with SALES were talking Jewish Cantor Alberto Mizrahi in New York, Lazy Lester. while ROGER EDSAL, Chicago, and California, and performed his DAVE SHERMAN and HUGH FEELEY Harmonica Concerto with several symphonies Piano/guitar duo LIZ PENNOCK and Dr. Kanaras were setting up. The room was full of across the country. Blues released a new CD, Live from St. Pete. It people ready for a show. Headliner DOUG JAY He also performed with Trio Globo, The was recorded at Caspy's Waterside Restaurant in came in after a direct flight from Germany and Howard Levy Quartet, Anthony Molinaro and St. Petersburg, Florida, last November with a he was ready to play! others. In addition, Howard will release two standing-room-only audience. 17 News from the USA (continued from page 17)

The CD features 14 original songs and 4 covers. About half have a Florida theme, and include an original song about blues singer Harpin’ Help 2003 Diamond Teeth Mary ARPIN’ HELP 2003 was held in South Belmar, New Jersey, on April 27 at Bar Queen of Diamonds, Anticipation. This charity event just keeps growing, as East Coast harmonica players their boogie woogie H share their talents to benefit the food bank of Monmouth and Ocean Counties. The arrangement of Swanee event was presented by the Jersey Shore Jazz and Blues Foundation and co-sponsored by River, two songs from Hohner Harmonicas. the late harmonica play- SANDY MACK organized and hosted the day long event and gathered a stellar group er Rock Bottom, Gator of musicians. In addition to his emcee duties, Mack got the chance to sit in with his old Tail and St. Pete Boogie, bandmates — the Tonemasters. and one penned by Roy This charitable event began when Hohner endorser DENNIS GRUENLING gave a bene- Bookbinder Goin' Back fit for WILLIAM CLARKE’S family. He said, “The first event went so well, I decided to make to Tampa. Liz plays rack harmonica on some it an annual harp event that benefits the community. It really gathered steam and this year’s tracks along with her piano. event is probably the seventh one.” This is Liz & Doc's fifth album on Upright Jersey Shore Jazz and Blues Foundation President Nicky Coppola said, “We are learning as Records and their first live release. This month we go to make Harpin’ Help a top-shelf event. This year we moved back the event date to capi- they celebrate their 20th Anniversary. Go to talize on spring weather and added a second stage. Also, two harmonica workshops with TOM www.lizpennock.com or write to Upright FORAN and JASON RICCI were scheduled.” Records, P.O. Box 60667, St. Petersburg, FL On the outdoor stage Terraplane Blues appeared in a stripped down trio. Blowing some 33784. delta style harp licks was PHIL PROCTOR. This band was a finalist in the 2000 Blues Foundation International Blues Competition. ROXY PERRY “New York Blues Queen” also JASON RICCI has concluded his touring gave an energetic performance. She went from a song with a soft vocal caress to belting out the with Big Al and the Heavyweights and is now blues! Another jewel in her crown is her expressive harp playing. working and recording with his band Jason At dusk, the electric vibe turned up a notch with the stylings of Ron Sunshine and Full Ricci and New Blood. Their CD, Feel Good Swing. These guys laid down a slick NYC swing that was an amped version of ‘40s jump swing. Funk was released early this year. The songs are At times, it was hard to tell the harp from the horns as Ron mixed in and out of the groove. an eclectic blend of North Mississippi A favorite of the evening was HAZMAT MODINE. Fronted by two harp players, WADE (Kimbrough/ Burnside) influenced grooves, as SCHUMAN on diatonic and vocals, and RANDY WEINSTEIN on chromatic, this band is well as some jazzy funk vamps and some the history of the harmonica condensed into a solid hour of American music from the ‘20s straight Chicago blues thrown in for good through the early ‘60s. Hazmat Modine blended elements of pre-war blues, Hokum and Jug measure. Harp lovers will be pleased that the Band, Swing, Klezmer, New Orleans R& B, and Jamaican rock steady. harmonica remains front and center throughout Later, Wade and Randy initiated a chrome and diatonic duet that split off in a “call and the disc. For more information about Jason, response” style. Randy played a Sheng, an Asian reed instrument that is the precursor to the visit www.jasonricci.com. modern harmonica. I don’t think I ever heard so many sounds come out of a harmonica. It was truly an eclectic feast! ROB STONE and As the crowd thinned out, Sandy Mack capped off the evening in good fashion with a blues the C Notes have signed jam. At last, Hohner Endorser Jason Ricci got his turn and it was worth the wait. Jason sang a to Earwig Music and driving version of I-55, an original tune from his new CD, Feel Good Funk. He showered his will release their new set with his unique brand of runs and overblows from his Golden Melodies. His jazz and coun- CD on July 22. Though try influences and vast amounts of varied harp runs are a refreshing change to the typical blues solidly rooted in post-war styled harmonica chops one hears so often. It is easy to see why Ricci won the Mars Music Chicago tradition, National Harmonica Contest beating over three thousand entrants. spiced with a tendency Due to space constraints, it was impossible to include the entire line-up of top-notch per- toward swing, Rob and formances at Harpin’ Help 2003. Suffice it to say that it was a great event for a great cause. his band are exploring Look for the date for the 2004 show at www.jsjbf.com. new directions. The CD also features guests — JAMES DAY Sam Lay and Dave Myers. For touring and CD information, visit www.robstone.com. Do you have news to contribute to EasyReeding's News from the US? If so, please e-mail it to Editor Johnna Cossaboon for the next issue at [email protected] 18 The Year of the Blues — 2003

his year has been designated THE YEAR OF THE BLUES by the ongratulations to the Hohner Harmonica players who were non-profit Blues Foundation headquartered in Memphis, TN. You nominated and/or won 2003 HANDY AWARDS! Here’s may know the Blues Foundation for its annual W.C. Handy Awards T the complete list of winners: for blues excellence, but the foundation actually works all year long to C promote the blues genre. Of course, the classic harmonica sound is a huge BLUES ALBUM OF THE YEAR: Shemekia Copeland, Talking to Strangers part of the blues tradition, so Hohner helps support many of the foundation’s BLUES ENTERTAINER OF THE YEAR: B.B. King efforts. BLUES BANDOFTHEYEAR: Magic Slim and The Teardrops As part of the Handy Awards celebration, blues artists visit children at BEST NEW ARTIST DEBUT: Robert Randolph, Live at the Wetlands nearby ST. JUDE’S HOSPITAL. Each year Hohner donates harmonicas CONTEMPORARY MALE ARTISTOFTHEYEAR: Charlie Musselwhite for the children, and various endorsers accompany the Blues Foundation CONTEMPORARY FEMALE ARTIST OF YEAR: Shemekia Copeland representatives to see the children. SOUL MALE ARTISTOFTHEYEAR: Solomon Burke The Blues Foundation also hosts a CHILDREN’S FESTIVAL in SOUL FEMALE ARTISTOFTHEYEAR: Etta James conjunction with the Handy Awards. Hohner helped to provide Beginner TRADITIONAL MALE ARTISTOFTHEYEAR: R.L. Burnside Harmonica Packages for the younger tots and 10-hole harps for the older kids. TRADITIONAL FEMALE ARTISTOFTHEYEAR: Koko Taylor ACOUSTIC BLUES ARTISTOFTHEYEAR: John Hammond BLUES INSTRUMENTALIST - GUITAR: Duke Robillard BLUES INSTRUMENTALIST - KEYBOARDS: Pinetop Perkins BLUES INSTRUMENTALIST - HARMONICA: Charlie Musselwhite BLUES INSTRUMENTALIST - BASS: Willie Kent BLUES INSTRUMENTALIST - DRUMS: Willie “Big Eyes” Smith BLUES INSTRUMENTALIST - OTHER: Clarence “Gatemouth” Brown (Fiddle) BLUES INSTRUMENTALIST - HORNS: Roomful of Blues Horns SOUL BLUES ALBUM OF THE YEAR: Solomon Burke, Don’t Give Up on Me TRADITIONAL BLUES ALBUM OF THE YEAR: James Cotton, 35th Anniversary Jam CONTEMPORARY BLUES ALBUM OF THE YEAR: Shemekia Copeland, Talking to Strangers ACOUSTIC BLUES ALBUM: Big Jack Johnson with Kim Wilson, Memphis Bar-B-Que Sessions COMEBACK BLUES ALBUM OF THE YEAR: Jody Williams, Return of a Legend HISTORICAL BLUES ALBUM OF THE YEAR: Albert King, Born Under a Bad Sign BLUES 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)

Above, pictured from left: The Harmonica Educator Kim Wilson, Jody Williams, Bobby Richard Martin, Editor A quarterly publication, The Rush and Larry Fulcher play for the P.O. Box 340 Harmonica Educator contains children at St. Jude’s. The visit is N. Hampton, OH 45349 transcriptions for harmonica, tips part of the community outreach http://members.aol.com/ and interesting articles. that takes place during Handy heducator2/ weekend. Every child received a harmonica courtesy of Hohner. The Trumpet Call Published by Harmonica Contact Harland Crain for more At right: A boy at the Handy Children’s Collectors International information about joining Harmonica Festival really loved his Hohner! Harland Crain, Editor Collectors International and then 741 Cedar Field Ct. Photos by Crissy Smith receiving The Trumpet Call newsletter. Chesterfield, MO 63017 www.harleysharps.com For Further Harp Reading The American Harmonica Newsletter The AHN is a leading print source for monthly harmonica If you enjoy EasyReeding, perhaps you’ll want to check Al Eichler, Editor 104 Highland Avenue information, featuring interviews out the following websites and harmonica publications: Battle Creek, MI 49015 with top players, instructional e-mail: [email protected] columns, record reviews and more. 19 Harmonica Fantasy Camp Blues Week 2002 BY ANDY GARRIGUE

erhaps you’ve heard of Dream Camps or comprised of observers, other guitar players and the room, found a familiar face and handed him a Fantasy Camps for adults? These allow harp players. I took a deep breath and joined in, microphone. In turn, each student played for a Pgrown-ups the experience of going away for quietly at first, feeling my way. Solos then got couple minutes, jamming to a slow blues in E, a week or two to study something they love and to passed around with John or Rich nodding to while Joe listened and provided a few comments meet some of those who do it best. Blues Week at whomever should go next and the songs ran their to each after they finished. This exercise immedi- Davis & Elkins College in West Virginia offers course in a homespun ramshackle way. By the ately got each of us to play in front of the class precisely that to harmonica players of all ages — end of the hour I looked around, and there were which helped quell any performance anxiety. It a week to get away and concentrate on their 12 guitarists, six harp players, a double bass, a also served to display the various abilities and styles passion — harmonica playing. washboard, a couple of fiddles and an electric that were present. As an EasyReeding reporter, harmonica player piano. Later, I heard a strong, bright, well-articu- Some of my fellow players were Little Walter Andy Garrigue attended camp last summer. Here is lated harmonica behind me. It stood out, so I devotees, others were jazzy or chromatic and some his first-person account of the experience. turned around to see who this sharpshooter was. preferred acoustic early country blues. The first stage of the transformational quality of Joe was thoughtful and positive from the start, Blues Week, which happened long before I got but honest too, and clearly not easily impressed. there, was feeling family and work responsi- He zoned in on each player, closely listened bilities and urban sprawl melt away as I to what they were playing, and then drove deeper and deeper into farm- offered careful and precise comments. land and majestic mountains dur- Some points he shared with the ing my four hours heading west. class, while others were kept pri- Eventually, I found my way to vate, based on an individual’s the right building on the Davis playing. For those he knew, he & Elkins campus. quickly sized up how hard Blues Week is an offering of they’d worked since he last saw the Augusta Heritage Center, them. which presents instructional The class began with a discus- theme weeks throughout the sum- sion of tremolo versus vibrato. He mer. Sharing the campus with Blues demonstrated the difference, then had Week last summer was Swing Week and students show their chops, referring to a host of crafts. I dropped my things in my CDs to illustrate how some of the masters dorm room and took a deep breath. I hadn’t been used these techniques. Throughout the week, Joe to summer camp since I was a kid, and now here I kept his CD binders at his fingertips, casually flip- was, in rural West Virginia, arriving to study har- It turned out to be Phil Wiggins. At first I was ping through several hundred alphabetized monica for a week. excited, then nervous, as I realized he was right recordings to find just the right solo to exhibit his After a cafeteria dinner and an orientation behind me and could hear every note I played. I point. Along the way, memorable statements meeting, I found my way back to Halliehurst, the decided to give in to the moment and relish the emerged, such as “Using a variety of tones is like turn of the century mansion that serves as the fact that I was in a jam circle with one of my getting away from a black and white television and Blues Week hub. Halliehurst houses a full com- harmonica idols. I had already gotten my money’s using all the colors. Why wouldn’t you use all the plement of daytime classes and hosts jams outside worth and Blues Week hadn’t even officially colors?” on its wraparound porches that go well into the started! The students then practiced second-hole-draw night. My ears perked up when I heard John Classes began the next morning and I started vibratos, which sounded like a menacing bee Cephas’ unmistakable voice from around one of with Joe Filisko’s advanced class. Across the hall, swarm. Joe worked his way around the room, lis- the corners. Gary Primich taught the intermediate class, and tening to each person’s version, then advising I went over and eased into a chair a few feet down the hall Phil Wiggins led the beginners. I them and moving on. There was some Dylan away from Cephas and Rich Del Grosso, who was had never met Joe before, although I’d heard his chiding — as in “Dylan doesn’t do this.” I realized hunched over a mandolin. Sweet Bitter Blues was name uttered by many with reverence. Joe, in that I was now in the sanctum of serious harmoni- followed by One Black Rat and then Good jeans and tie-dyed t-shirt, had his blonde hair cadom. Morning Little Schoolgirl. A crowd started to form, pulled back in a long ponytail. He glanced around Throughout the week, Joe had some tough continued next page 20 moments. When the class’s attention seemed to was happy to oblige requests, such as how a cer- want to avoid high-key harps — if they’re busted fade — or we just weren’t getting it — then he tain phrase on one of his songs was executed, or (like his own) or if you just don’t like the high had to be The Boss for a moment. This was fine how one of the masters did it on some long ago keys.” and the change regained our attention. For the recording. While Primich didn’t have a CD He elaborated to point out examples of third most part though, our instructor was serene and binder, it was clear that he had these things in position harp, citing Junior Wells, Little Walter, ultra-focused, like some sort of slim harmonica mind and could reference and duplicate them and some of James Cotton’s work with Muddy Buddha. quite easily. Like Filisko, concrete advice emerges Waters. The harp devotees nod as they hear in In the afternoons, I attended Gary Primich’s in snippets from Gary: “Think about how you their heads the solos Gary’s discussing, even before advanced class, and noted with pleasure that Gary phrase things. Let the music breathe — don’t he demonstrates them. had a different style. Joe, who kept his CDs in per- make it one long phrase.” Down the hall, Piedmont master Phil Wiggins fect order and neatly coiled his mike cord, was He also pointed out similarities between cross worked with the beginners, from teenagers to very orderly overall. Gary’s kit bag was a mess — harp and third position — where they overlap and retirees. Phil has taught at Augusta since the very his harps piled randomly on top of what you can do. When Gary demon- beginning (20 years ago) so he’s a big part of the one another, some with loose strated these things it was a price- soul of the place, as is his partner John Cephas coverplates hanging. He dug less lesson to help us under- whom he recruited a short while later to teach through the box, often find- stand his point as well as its blues guitar. I didn’t take the beginner’s class, but I ing a harp “out of serv- practicality. Later, he gave could hear them whenever there was a lull in my ice,” then moved on in some reasons class. Upstairs at Halliehurst, where all these search of one that for classes were held, there were people worked. Along the working away in their offices. I way, he tossed the bad can only imagine trying to ones back into the box concentrate with three har- haphazardly. By the monica classes going on end of the week, he simultaneously one was down to a single floor below you! harp. Phil has done this It brought me a long enough to know strange joy to see Gary’s how he wants to teach banged up disorderly kit bag, and he came prepared. knowing the state of my own. I He handed out a packet respect Primich as a world class play- of coursework to each stu- er, and a real technician in terms of dent, including songs, riffs, his playing and tone — not to notes and written mention a very strong songwriter instructions. At the end Blues — so I was thrilled to be part of Week 2002 was of the course, Phil per- his closed door session every day a harmonica player’s formed all the songs and for the rest of the week. Despite dream come true! riffs they worked on all his casual appearance, when it Opposite page: Attendees week, both in real time comes to harp playing, Gary is practice what they’ve and more slowly, so the deadly serious about it. He’s also learned. At left (clockwise students could record serious about teaching harp. from top): Primich conducts them. That way, they his advanced workshop, Gary’s first point was about Filisko demonstrates tech- could tape all the course keeping time. “Some of you have nique & Wiggins teaches the material together and pretty good time, some have good basics to the next generation of Phil could concentrate time,” he began. “Some need to work on blues harp players. all week on teaching, your time. Let me introduce you to Mr. Photos by Gordon Blackley when he does not allow Metronome.” He fished one out of his kit bag. recording. Phil feels the “These are cheap, maybe ten bucks. You can set it using third position, and week sets students on to 83 and practice your quarter notes. I want you in typical Primich fashion was simple and direct. the right track. “They go away with enough stuff to to get that good sense of time drilled into your “Reason number one — it sounds good. Reason build on, and have fun with it — playing five head, because playing in time is so important.” number two — it offers variety with cross harp. songs and the 12-bar and 8-bar blues.” Not bad for Gary introduced other areas, such as first and Reason number three — it’s a new mode so it a week, especially for those who just blew their third positions and phrasing. He demonstrated, gives a different texture to the music ... it’s coming first notes on Monday. accepted comments and questions, then asked for from a different place. Reason number four — Outside the classes, there were ample volunteers to play back the most recent lesson. He you can use lower harps in third position if you opportunities to play and learn — whether you continued on page 23 21 According to Gaines, “Walter’s personality music, across the board. Each take contains Little Walter Jacobs has seemed essentially one-dimensional to most large chunks of completely new, original music, (continued from page 2) people — he was feisty, mean-spirited, jealous. that, after that take were left behind. It boggles True, he could be all those things, but he was the mind!” says Dirks. “There is enough music “As far as the Chicago blues scene during its also extremely generous to his friends. Just as in his out-takes to keep today’s harp players heyday, there is this general feeling that it was easily, he made and lost many friends in his life- learning for the rest of their lives.” Muddy, Wolf and Sonny Boy — with Walter time. Walter was a good time guy who really So where did Walter’s improvisation genius often somewhat viewed as a secondary figure,” didn’t respect his talents enough.” and seemingly endless creativity come from? says Dirks. “I started looking deeper and found Perhaps most importantly, the book intrigu- “Walter was exposed to music very early and that Walter had number one hits on the charts, ingly explores Walter’s phenomenal harmonica realized he could make a living playing music which none of those other guys had. He, in fact, prowess and dazzling style. He was a musician at a young age. He was out on his own at age 11 ended up having more songs on the charts than constantly reinventing himself to stay a step- or 12. He had the same thing that was inside of his former employer, Muddy Waters,” he con- ahead of the competition, always experimenting Charlie Parker, Jimi Hendrix and Andre tinues, “So in a way, during that time, he with soaring harp riffs, jazzy lead runs and often Segovia and all the other really great, corner- eclipsed those guys. But historically, he had saxophone-like tones. stone artists,” says Dirks. “In terms of his innova- kind of been ignored and his story was not “Walter invented many of the harmonica tions, it was a conscious thing for him to create investigated very deeply.” styles that some people tend to take for granted something new, and then move on immediately In addition to the countless research hurdles, nowadays — he was one hell of an innovator,” to something else that was also new. By the time Dirks, Gaines and Glover were racing against says Glover. anyone had caught up, he had already moved time to interview as many of Walter’s aging con- According to the book, Walter essentially on to the next new style.” temporaries as possible. transformed the harmonica from a rhythm style Walter was listening to musicians like Lester “We unfortunately didn’t get to Jimmy accompaniment instrument into more of a lead Young and Johnny Hodges who were improvis- Rogers in time. Dave Meyers was initially very instrument, first with the Muddy Waters band ing horn leads over blues changes, according to resistant but opened up to Scott at the very end then with his own band. Dirks. “Walter applied that approach to the har- of his life,” says Gaines. “We also had some “Before Little Walter, harp was played as a monica in a small blues band setting. It seems beautiful interviews, such as with one of rhythm instrument, for the most part. It was like what he had done was absorb an approach Walter’s lifetime friends, suffering from played in a way that all the phrases were one to the music, and then invented his own licks.” Parkinson’s disease. I was able to interview him bar or two bars long,” says Dirks. “And those To this day, Walter is clearly the most influ- just before he died, which was a real windfall.” phrases would be based on the downbeat. That’s ential blues harmonica player who ever lived. Blues with a Feeling offers fresh insights into just how the harmonica was approached, as “His influence is so pervasive that there is an Walter’s life, exploring his ever-changing musi- John Lee Williamson would play.” effort, or movement, to try not to play like him,” cal playing styles — which kept every other According to Glover, “Before Walter, har- says Dirks. “But it’s almost impossible to do.” harp blower struggling to catch up to him. The monica was played in more of a ‘call and book also explores his mercurial and often self- response’ style. But Walter started playing David Massey is a Boston-based blues destructive personality. counter melodies and playing behind the singer. musician and freelance writer. He can be reached via e-mail at One look at the close-up cover photo of He’d use the power of dynamics to get a real fat [email protected] Walter on the Hate to See You Go album indi- and round tone.” cates he had more than his fair share of violent Dirks says, “Walter’s band could be swing- mix-ups. But the authors discovered another ing, and he would kind of dance and dart and facet to Walter’s personality. swoop around what everyone else was doing, Mickey Raphael “Many views on Walter over the years have rather than playing in unison with the rhythm (continued from page 3) given the impression that he was kind of a vio- section. That’s the thing I think that really sets lent thug who happened to have this brilliant, him apart.” creative talent — there is some truth to that,” Gaines comments that “Little Walter’s music And you’re a Hohner endorser. What do you says Dirks. “However, I think we were able to is always creative, inventive and lyrical. His think about their harps? solos and instrumentals are works of art.” expose another side of Walter — a much gen- Oh, I love the Marine Bands. I started on the Dirks had the opportunity to listen to unis- tler human side that previously had never been Special 20s, but I still LOVE the Marine Bands sued Little Walter recordings and out-takes at revealed.” you know? I’m kind of brutal with them Universal Music in Los Angeles, allowing the Glover tells the story about how bluesman because we play so much, but I can put replace- author to gain new insights into Walter’s record- Carey Bell was living in Chicago during a freez- ment reed plates on them when they blow out. ing style and his studio interaction with other ing winter with no coat. Walter took him to a I’m not a wizard repairman (I flunked wood musicians and producers. store and bought him 50 dollars worth of shop!), but I can do stuff like that. When I need After spending hours listening to these rare clothes. “Walter could be a complete jerk and a something special tuned, Rick (Epping, product session tapes, Dirks left with one major realiza- complete nice guy to some people,” says Glover. manager for harmonicas and accordions at tion: “This musician was the most creative “Complex and contradictory would be a good Hohner) is good about that. He’s great. I can improviser, probably in the history of blues way to describe Walter’s character.” call him up and whine. (laughs) 22 continued next page And he designed a new harp that I can’t wait time, and jugband material. Some jams had twen- for! It’s like a Marine Band but on a bigger body. ty or more people, others just two or three tucked away around a corner somewhere. Inside the Ice EasyReeding Rick’s been involved with developing a lot of House bar, next to Halliehurst, nightly jams were harps. What’s the new harp called? held around an old upright piano, which often Yes, it’s great to have a musician in that seat. I included boisterous ensemble singing from vocal Editor don’t know what it’s called; I just call it the students and faculty. JOHNNA COSSABOON “Frankenstein Harp” because it’s big and clunky. By the end of the week an incredible amount (laughter) of harmonica info was exchanged, and only a true harmonica devotee could appreciate the Associate Editor & Editor’s note: Hohner’s new harmonica designed depth and dedication to which some of the Graphic Designer by Rick Epping is called the XB-40 and debuted students go in the pursuit of their passion. Any in January 2003. Read more about it on page 10. true harmonica lover would appreciate the extent CAROL ANNE HERREN of the teachers’ knowledge — in this instance Joe I was going to ask if there was any Filisko and Gary Primich. It was an intensive improvement you’d like to see. week of work, with five hours of classes or more Publisher Well, I usually can’t think of any other than a day, plus several hours more of concerts and HOHNER, INC. jamming daily if your energy held out. some way to keep them from going out of tune. P.O. B OX 15035 If I had to pick one harp it would be the Marine In the end, our deep, sincere delving into an art form that many don’t even consider art vali- RICHMOND, VA 23227-0435 Band, but I do like the Big Rivers too — they (804) 515-1900 hold up really well. I recommend the Marine dates everyone in the program. For the students Bands, and the Special 20s — and the Big River — whatever their abilities and wherever they were WWW.HOHNERUSA.COM is an affordable harp that lasts. on their harmonica journeys — musical doors were revealed throughout the week. Some were What learning advice would you give easily opened while others only beckoned if you Contributing Writers beginners? were ready to knock. Some were big and basic STEVE BAKER and some small and intricate. All these doors Listen to records: Butterfield, Kim Wilson, MICHAEL COBB allowed passage for the students, to new possibili- Jimmy Reed, Slim Harpo — all the old guys. ties where their journey would continue. JAMES DAY And play ALL THE TIME. Bug your parents; In the end, I left focused more on what further RICK EPPING keep one in the car; play ALL THE TIME! work remained and not on what I had learned in You have to develop an ear to know where ANDY GARRIGUE a few days of earnest and often brain exhausting the notes are. DAVID MASSEY effort. While my course now seemed longer and CATHI NORTON Do you have any advice for those who want more difficult than I’d ever imagined, it seemed JAINE RODACK to be professional? like a more worthwhile journey to take. As I drove out of Elkins, cradling some fries and nursing a (laughter) Learn a trade! hangover, I felt exhausted but transformed. To Submissions study blues harmonica for a full week in the Cathi Norton is a music journalist, mountains of West Virginia seemed an unusual EASYREEDING WELCOMES APPROPRIATE singer/songwriter and playwright who road to have taken. On further reflection, I viewed ARTICLES AND PHOTOS. PLEASE SEND can be reached via e-mail at the Augusta experience in the manner of Robert THEM TO THE ADDRESS BELOW OR [email protected]. Frost: The road to Augusta is indeed one less trav- VIA E-MAIL TO: eled. But for my harmonica playing and the place it holds in my life, it made all the difference. [email protected] EDITOR RESERVES THE RIGHT TO Blues Week 2002 For more information about Blues Week DETERMINE CONTENT. (continued from page 3) 2003 (July 13 through 18), visit www.augustaheritage.com or call (304) 637-1350. chose Band Camp, jams or song circles. Band Subscriptions Camp was an afternoon class that matched TO SUBSCRIBE, WRITE TO: groups of students on various instruments and Looking to support the blues in your then the groups had to perform three songs as a community? Visit HOHNER, INC. band later that week. Jams started in late after- www.yearoftheblues.com/societyLinks.asp P.O. B OX 15035 noon and stretched until the last Blues Warrior to find a blues society in your area. RICHMOND, VA 23227-0435 hung it up. Jams ran from blues and gospel stan- (USA & CANADA ONLY) dards to pre-war country blues to Texas swing, rag- 23 PAID STANDARD PRESORTED US POSTAGE PERMIT #304 RICHMOND, VA RICHMOND, FROM HOHNER, INC. SPRING/SUMMER 2003

Pete Pedersen: The Man Behind The Music HOHNER, INC. HOHNER, P.O. Box 15035 23227-0435 VA Richmond, Page 4