Sunday morning started out with another of David Barrett's instructional classes, this one being Tongue Blocking. Also covered were various TB'ing techniques, such as tongue slaps, octaves, pull-offs, flutter-tongue, and more. David agrees with others who believe that in order to play good, one must be relaxed. This is the reason he recommends tilting the harmonica upward to a 45 degree angle, allowing the embouchure to fall open over the harp. This allows a greater volume of air into the chamber of the player. He believes that if you hold the harp straight in your mouth, a smaller embouchure occurs, and a whole series of constrictions takes place, beginning at the embouchure, then the upper and lower throat, and on and on. I would imagine that it would work itself up to the point where you would look like some kind of shriveled up prune, jerking on the floor in uncontrolled spasms, trying desperately to eek out that last bit of vibrato held deep in your belly...
Later in the morning, our own Winslow "93Urksa", as described in the workshop program, made his appearance. Mr. Yerksa's presentation on chromatic harmonica was enlightening (and entertaining, due to some uncooperative teaching props), as he pulled out several different types of chromatics, including his pride and joy, a 16-hole Herring, and compared them, in certain circumstances, to the diatonics he also had on hand. Referring to a chart showing note layout for both chromatic and diatonic harps, Winslow nonetheless strayed little from the blues path in his successful attempt to de-mystify the chromatic harp for the mostly blues diatonic crowd. I was impressed at his ability to do this, to remain within the boundaries of the major interest of the crowd, for he is without doubt well-versed in many different styles of music and musical tools. But Winslow never lost focus, and many, myself included, find ourselves a little less intimidated by the chromo.
Although his class was simple and straightforward, he did manage to loose some of us near the end of the class with elevated discussion on the chromatic, but one must appreciate Winslow's ability to recognize and cater to all the needs of his audience. Bravo, Winslow.
Next up was Lee Oskar with David Barrett, and after a spirited duet, Lee testified to the crowd his philosophy of expression and choice of tools. He believes that many diatonic players make the excuse that they "really don't want to play that particular traditional tune", when in fact, they find it frustrating to play on a major diatonic harmonica. That is why he's come up with so many different tunings. Lee's anxious and animated personality kept us all on the edge of our seats, and his enthusiasm for the instrument that bears his name seems as fresh today as the day he blew his first note as a little boy.
Lee also talked about tuning harps, and a fellow harper that I had met had the opportunity to receive some "up close and personal" tuning exercises with Lee after he left the stage. Remembered only as John, he later told me, "Man, all these years I've had a Lee Oskar tuning kit, but was afraid to really try anything like tuning. But when Lee showed me what to do, well, it's all so simple now!"
Those of us not as fortunate as John were still allowed to pick up the instruction manual to Lee's harp tuning and maintenance kit. Thanks, Lee, and may all harpers and musicians as artists settle their sometimes petty differences and live in harmony and respect of one another, with the ability to create freely.
"Whew..." gasped Paul DeLay.
"Now it's time for the low-tech talk; we're goin' the other way", in reference to Winslow's in-depth, but much needed, discussion near the end of his class.
Paul played a duet with a guest guitar player, and the spirit and soul flowing from his diatonic was truly infectious. Every note is an expression, as he strolls, skips and weaves his way down a path followed obediently by all who witnessed his playing.
He talked about many subjects, including how, as he puts it, "There's not enough OUCH in much of the blues playing today". He feels we must play each note as if were our last, and that with all of the emphasis on equipment, tone, technique, etc, let us not forget the real purpose behind it all...
Paul discussed drinking while playing: "Anything that gets between you and your instrument in going to be a hinderance". Just a moment's hesitation, the blink of an eye, is enough to inhibit the creative process.
A mistake many harp players make, especially newer ones, he said, is getting a "death grip" on their mic. His preference, and personal style, is to texture his sound by opening up the cup around his mic and pulling the mic away from his harp during most high end harp work, and accentuating the bass buy using a tight cup when down low on the harp. Rather than just one deep, muddy sound, he's able to create different textures to his sound. But when he wants to get down, he grabs hold of that mic just like the others, and has killer tone. Interesting technique, and one I'm sure to experiment with.
Paul also explained how important songwriting is, and how others can be faster, cutier, etc., but one thing that they can't take away from you are your lyrics. I, for one, love his songwrighting, and he says that he draws from everyday experiences and conversations to help him write.
A self-confessed frustrated dixieland trumpet player ("I love Bix"), he then pulled out his chromatic and did another duet with the guitar player, much to the delight of the audience. This seminar was truly delightful, and Paul is an honest, down-to-earth guy. I managed to ask him the story behind "Oat Bran", one of my favorite instrumentals. He
told me that at the time he wrote it, Oat Bran was all the craze in the grocery stores. He had wanted a sticker on each of the CD's that announced simply that - OAT BRAN. But the record company was not too keen on that, so he settled for naming the instrumental that.
After he left the stage, those interested could take a peek at his 007 briefcase. It holds all his harps, mics, and effects (he uses a harmonizer from time to time, saying it's a real kick in the pants), and even has a cut-out for his water bottle! All he has to do is set it up on a table, pop the top, and plug his cords into the side of the briefcase (!) and, voila! He's ready to go!
We had a chance to check stuff out in the lobby for the last time that weekend, and the "Blues Tools" guy made an appearance. (Sorry, I've
misplaced your name, but we all know who you are). Got a chance to take a look at his harp rack holder, and it is one nice piece of equipment. Then I thought, "Hey...what's he doin' with my harp case!" No, wait a minute...I left mine inside. His "Ultimate Harp Case", a Pelican case with custom cutouts, is definitely hi-tech, and built to last the test of time. I know...I've had mine for about 2 years now, and it's been through hell. I first saw how durable this case was when we'd ship removable media back and forth across the country in this thing. I thought, "what a perfect case for my harps and mic!" Although mine is a size or two down from the Blues Tools version (I don't carry my mic cord in it, and I found it to be the best size when considering price/performance), it's the perfect case, and even has holes for padlocks. (If you're interested in what model I have, e-mail me...dang those copyright laws).
Once back inside, we got to listen to Rod Piazza...talk. The audience nudged him to play his harp. "I'm not gonna sit up here and play a whole bunch of harmonica, cuz if you don't have some of my records, it's your own fault...Paul already played everything there is to play anyway", he'd say with that bright California sunshine smile of his. This brought chuckles from the audience, but he did bring along that nifty looking Silvertone. Would he play, one wondered?
"The harmonica is an elusive instrument...easy to play, a lifetime to master."
His philosophy on playing-play your own thing. Everybody's got their own way. What do you like to listen to...what do you like to do? Whatever it is, go ahead and do it, but focus in on it. Grab hold of it, play what you can, and play it to the best of your ability. "You'll never get all the harp has to offer. Someone else is always gonna do this or that part better than you."
He contends that blues is but a tiny bit of the harmonica..."I don't profess to know anything about anything else but that segment...I've been doin' it for the last 30 years".
Rod echoed the sentiments of Paul regarding drinking, and as far as tips for practicing...one of the best gifts he ever received was a little tape deck. Record yourself, play it back, and practice. Keep your good parts, cuz you sure ain't gonna remember them once you get on stage!
One of the biggest mistakes made by most harp players, he feels, is that they play too much. "Don't drive it into the ground...it's like Paul says, it's a limited instrument to begin with!"
He spoke of the modified JT-30 mic he sells, and his still-being-tested Harp King amp which has been described in detail by others on this list. And he said something interesting about being able to hear himself and adjusting his sound. He explained how he doesn't like to hear himself in the monitors, therefore he plays with lots of power, so that "when I'm eq'ing with my hands to get a certain tone..." Hmmm, wait a minute. Eq'ing himself? Sounds somewhat familiar to the technique Paul DeLay uses, although somewhat different and perhaps a bit more subtle - if Rod's playing can ever be described that way.
Rod was finally convinced to play a small number at the end of his seminar, and he did not disappoint. He made that little Silvertone sing, man.
Thus ended the formal conference, followed that evening by the second half of the jam "contest", and the Paul DeLay band. My hat's off to
David Barrett and the gang. Loads of useful information, although I still maintain that a good portion of the information that was discussed was not something you could easily explain. Certain techniques and exercises could only be described, not shown. Sorry, Winslow...your class was a different type altogether, and definitely not what I am writing about here. And again, this inability to accurately communicate these things is not the fault of any of the instructors or speakers. Like I said, simply the nature of the beast.
Hope you enjoyed the report. I'm looking forward to contributing more to this list. I owe a great deal to all of you who've posted useful, and sometimes amusing, information.
Ray "Rayman" Beltran "I play the blues for a livin', even though I live to sing the blues."
