Thanks Garry for this great video. Handheld camera could't come out better.
Jason is really on fire here.

Harri

> Date: Tue, 1 May 2007 20:37:38 -0400 (EDT)
> From: Garry Hodgson <garry@...>
> Subject: [Harp-L] jason ricci video
> To: Harp-L@...
> Message-ID: <2007050120371178066258@...>
> Content-Type: text/plain; charset="us-ascii"
>
> i shot a little video this weekend at a JRNB show.  it was done
> handholding my wife's digital camera, but it came out ok.  it's
> the solo between "driftin' blues" and "i'm just a playboy", and
> it's on youtube at: http://youtube.com/watch?v=0m18rLUlQGo
> kinda cool to see him, vs. just hearing it.
>
> ----
> Garry Hodgson, Senior Software Geek, AT&T CSO

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>
The guy is amazing. Pure and simple. Jason will be here in S.F. next
week - my first chance to see him since he was at JJ's two years ago.
Can't wait.

I have to confess - I thought it was very cool to see him reach down
and adjust his BlowsMeAway Productions volume control several times
during the video..

/Greg

http://www.blowsmeaway.com
http://www.bluestateband.net


> From: Garry Hodgson <garry@...>
> Date: May 1, 2007 5:37:38 PM PDT
> To: Harp-L@...
> Subject: [Harp-L] jason ricci video
>
>
> i shot a little video this weekend at a JRNB show.  it was done
> handholding my wife's digital camera, but it came out ok.  it's
> the solo between "driftin' blues" and "i'm just a playboy", and
> it's on youtube at: http://youtube.com/watch?v=0m18rLUlQGo
> kinda cool to see him, vs. just hearing it.
>
>





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I write occasionally for a local bluesmag and in reviewing gigs always make a
point of getting all the names right, including the five piece horn section. I
realise this list is not too official but my point is that if you scratch more
than the surface in a gig report you might as well take two minutes to ask the
names during a break or after the gig.

Harri

PS. Lucky those of you who are in the vicinity of Ospel, Netherlands this
weekend. Rod and the Flyers are performing there as is another harp great, James
Harman.


BostonMoeJo@... wrote:
> Perhaps he was introduced as "Henry C"   :::shrugging  shoulders:::
>
> In a message dated 5/1/2007 5:08:37 P.M. Eastern Daylight Time,
> harri.haka@... writes:
>
> A good report by Richard but especially  in the case of such
> great musicians
> I would add the full names of everybody if  you mention their
> roles in the
> band. Henry Carvajal plays guitar in The Mighty  Flyers
> (never heard him
> nicknamed See but could be wrong) and David Kida is on  drums.
>
> Harri
>
>
>
> Richard  Hunter <turtlehill@...> wrote:
>
> > He fronted a band  with Henry See on guitar and vocals, Piazza's
> > wife Honey on piano and  keyboard bass, and a great drummer
> > whose name I
> > didn't  catch.
>

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"Jonathan Metts" wrote:
<The ART Tube MP is a vacuum tube microphone preamp
<that can also function as a "direct box".  It has some nice features
<that I'll probably never use, but the most important things are:
<1. I can plug my Green Bullet into it, then run a line to the PA, and
<it sounds like I'm playing through an expensive harp amplifier.
<(Breakup, distortion, etc. but without ruining the harp tone.)

I own one of these, and it's certainly a very useful preamp for
recording--much better than its price would imply, and great for
recording electric guitar and bass direct as well as harp. But I've
never had good results with it as an amp substitute.  After I read
Jonathan's message, I tested my Tube MP with my Astatic JT-30--a pretty
common blues mic--into my Peavey KBA-100 keyboard amp, which is
essentially a self-contained PA amp.  I got a very harsh "barking"
sound" on notes that were hit hard, not very usable.

Jonathon, what settings are you using on your Tube MP, and have you made
any mods to the device for the harp--for example, replacing the stock
12AX7 tube with something else?

Thanks, Richard Hunter
hunterharp.com
latest mp3s always at http://www.broadjam.com/rhunter
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b2becom@... wrote:

> Does anyone know what jason's microphone set up is in this
> amazing video? Hard to get a good look at it.

from:
http://blog.myspace.com/index.cfm?fuseaction=blog.view&friendID=45122033&blogID=\
241988763

"I'm running a AKG wireless system (WS-40) out of a regular Shure 57
mic into Greg Heuman's custom XLR volume control into a Kinder Anti
Feed Back pedal then a Boss OC-2 pedal for compression/drive...by
using the direct level knob (Octaves off always)."

----
Garry Hodgson, Senior Software Geek, AT&T CSO

nobody can do everything, but everybody can do something.
do something.

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Brendan Power wrote:
> Hello Everyone, I'm pleased to announce that from May 1st I have
> been engaged by Suzuki Musical Inst. Mfg. Co. Ltd. as their
> Harmonica Specialist.

Congratulations, Brendan!

> One of the main briefs of the job is to make myself available to
> online harp discussion groups to respond to anything concerning
> Suzuki harmonicas of all types. Any feedback on Suzuki harmonicas
> (positive or negative) is of interest, and if you have specific
> queries I will either answer them directly where I can, or pass
> them on to the company for reply.

I'll re-pose a question I asked a while back.  I got a couple of off-
list responses, but would like the company's position.  There was
discussion a while back about a revision of the design of the reed
plates of the Fire Breath and Pure Harp to use longer reeds.  Is
there any plan to introduce those changes, or has that idea been
abandoned?

Thanks, and again, great news!

-tim



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Hello Everyone, I'm pleased to announce that from May 1st I have been
engaged by Suzuki Musical Inst. Mfg. Co. Ltd. as their Harmonica
Specialist.

As some of you will know, I've had a long-term informal association with
the company. It dates back to the late 80's, when Suzuki incorporated
the half-valved concept I proposed to them in their ProMaster MR350V
diatonic. For many years I've used their harps and parts for my own
playing and custom harmonicas, because I think they make stuff that
lasts and sounds good. This new role is an extension of that friendship,
a reflection of my high regard for Suzuki and their trust in me.

One of the main briefs of the job is to make myself available to online
harp discussion groups to respond to anything concerning Suzuki
harmonicas of all types. Any feedback on Suzuki harmonicas (positive or
negative) is of interest, and if you have specific queries I will either
answer them directly where I can, or pass them on to the company for
reply.

If you want to contact me off-list about anything Suzuki-related, my
email address is bren@...

Brendan
WEB: http://www.brendan-power.com
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Hey Brad,

I believe Jason was playing all of that on an Eb
diatonic harp. The bulk is in 2nd position (Bb).

The Bach section is played in 1st position (Eb).

Harpin' in Colorado,
--Ken M.


--- Bradford Trainham <btrainham@...>
wrote:

> So...  Come all ye seers and tell me about the
> video on that audio...
> It sounds like he's essentially in B but for his
> homage to Bach... but
> how does he get the feeling of those occasional
> low notes that seem to
> extend beneath the range of any e harp I'm aware
> of?
> Thanks for making that available!!
> Brad Trainham
> P.S.
> I !!love this list!!
>  On Tue, 01 May 2007 20:37:38 -0400 (EDT), you
> wrote:
>
> >i shot a little video this weekend at a JRNB
> show.  it was done
> >handholding my wife's digital camera, but it
> came out ok.  it's
> >the solo between "driftin' blues" and "i'm just
> a playboy", and
> >it's on youtube at:
> http://youtube.com/watch?v=0m18rLUlQGo
> >kinda cool to see him, vs. just hearing it.
> >
> >----
> >Garry Hodgson, Senior Software Geek, AT&T CSO
> >
> >nobody can do everything, but everybody can do
> something.
> >do something.
> >
> >_______________________________________________
> >Harp-L is sponsored by SPAH, http://www.spah.org
> >Harp-L@...
> >http://harp-l.org/mailman/listinfo/harp-l
>
>
> _______________________________________________
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>


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Speaking of which ...

I recall some on the list not happy with their Hering Vintage 1923 harps. If
anyone has these harps in the key of G or Ab (or even lower) that they don't
want, I'm ready to take them off your hands - lots of stuff to trade ..
let's talk.

Cheers,
Staggerin' Jim
Listen to Roots Harmonica at http://www.live365.com/stations/staggerinjim

----- Original Message -----
From: "Bobbie Giordano" <bogio@...>
To: <Harp-L@...>; <conruth@...>
Sent: Tuesday, April 24, 2007 11:11 PM
Subject: [Harp-L] Re: Hering harmonicas

> And he also once said:  "It ain't what you don't know that gets you into
> trouble.  It's what you know for sure that just ain't so."
>
> Mea culpa!!
> Bobbie
>

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I want to thank Sloppy Joe for giving me a tip on this excellent little
piece of electronics.  The ART Tube MP is a vacuum tube microphone preamp
that can also function as a "direct box".  It has some nice features that
I'll probably never use, but the most important things are:

1. I can plug my Green Bullet into it, then run a line to the PA, and it
sounds like I'm playing through an expensive harp amplifier.  (Breakup,
distortion, etc. but without ruining the harp tone.)

2. It costs less than fifty dollars at Musician's Friend, including
shipping!

Tonight was my first time playing at the blues jam with this thing, and it
impressed several people in the audience.  I've never played with the Harp
Commander, but the ART Tube MP seems to offer the same core functionality
(minus a lot of bells and whistles, naturally) for a fraction of the cost.

Jonathan Metts

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Thanks, and glad to hear it, Peter.  I knew I could count on you for
this!  :-)

On 4/24/2007 8:03:30 AM, Peter and Connie Ruth (conruth@...) wrote:
  > The Hering Harmonica company is doing just fine.  I assure you all that
  > they are still making high quality harmonicas.
  >
  > Check out the brand new Hering website:
  > http://www.heringharmonicas.com.br

Hopefully, it will eventually be translated into other
languages.  Meantime, I must say you get an interesting link by dropping
the .br domain extension!

http://www.heringharmonicas.com

And, perhaps a bit of the rest of the story by clicking on the links at
the very bottom.  I believe you were acquainted with this sort of thing
at one time, eh, Madcat?  ;-)  Sorry!!!

  > Mark Twain once said:  "The reports of my death are greatly
exaggerated."

And he also once said:  "It ain't what you don't know that gets you into
trouble.  It's what you know for sure that just ain't so."

Mea culpa!!
Bobbie

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So...  Come all ye seers and tell me about the video on that audio...
It sounds like he's essentially in B but for his homage to Bach... but
how does he get the feeling of those occasional low notes that seem to
extend beneath the range of any e harp I'm aware of?
Thanks for making that available!!
Brad Trainham
P.S.
I !!love this list!!
  On Tue, 01 May 2007 20:37:38 -0400 (EDT), you wrote:

>i shot a little video this weekend at a JRNB show.  it was done
>handholding my wife's digital camera, but it came out ok.  it's
>the solo between "driftin' blues" and "i'm just a playboy", and
>it's on youtube at: http://youtube.com/watch?v=0m18rLUlQGo
>kinda cool to see him, vs. just hearing it.
>
>----
>Garry Hodgson, Senior Software Geek, AT&T CSO
>
>nobody can do everything, but everybody can do something.
>do something.
>
>_______________________________________________
>Harp-L is sponsored by SPAH, http://www.spah.org
>Harp-L@...
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i shot a little video this weekend at a JRNB show.  it was done
handholding my wife's digital camera, but it came out ok.  it's
the solo between "driftin' blues" and "i'm just a playboy", and
it's on youtube at: http://youtube.com/watch?v=0m18rLUlQGo
kinda cool to see him, vs. just hearing it.

----
Garry Hodgson, Senior Software Geek, AT&T CSO

nobody can do everything, but everybody can do something.
do something.

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Good comment!
I've been playing harp since I was 8 years old. I'm now 58
The harmonica is UNIQUE... How many musical instruments can one carry in
ones pocket?
I've played with several orchestras... A couple of years ago, a viola  player
came up to me and said "What instrument do YOU play" "The harmonica"...  "No,
really.. What INSTRUMENT do you play" "The harmonica".
OK
After hearing me she agreed!
LOL
OK So I  carry a case with about 40 harps for gigs together  with a fender
guitar amp and a Shure Unisphere and  a  couple of JT-30  Crystal Balls Mics to
gigs.. So perhaps it's not so "portable".... Just my  working kit of
harmonicas cost me more than £6,000... And I have dozens of spare  instruments,
collected over the years.
But one CAN make music with that little "tin sandwich"..
John Walden
London
England

PS... "Overnight success is just around the  corner!"




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Is it because...
Maybe when we first start carrying harps around, we're not as yet sure
of their status as "real" musical instruments.  We treat them more
like personal affectations, extensions of our appearances?
I'm roughly describing what happened to me about twenty-two-ish years
ago when, having finally figured out the most basic of bends, I
suddenly had an urge to show somebody, but didn't quite have the urge
nor the technique to last me through even the simplest of songs.
I was most fortunate that my baby daughters, when crying were somehow
soothed by my (equally baby) blunderings/wanderings-around on the
harp.

Some time around 1990, I somehow crossed some real musician's line
with both the harmonica and the acoustic guitar and somehow became
someone... someone else... would actually listen to.
Then the harmonica was no longer a novelty and my daughters made their
feelings known with words which novelty or not, no harmonica could
stop.
Once I began to habituate myself to accompanying my guitar playing
with a harmonica on a neck rack, the guitar's real-ness, plus the
slowly emerging possibility of my being a song-writer made the whole
thing more (strictly to me) profound and I was then not likely at all
to pull out a harmonica in public as I once had.

Veering off from the question, (like we do) I now see the harmonica
almost in competition with the guitar as "the real instrument" and I
wonder how that'll all shake out... or blow out.
Brad Trainham

On Tue, 01 May 2007 08:01:22 -0400, you wrote:

>Sounds like you're falling into the "I don't play anything for free"
>category! :o)
>
>John Balding
>Tallahassee, FL
>
>-----Original Message-----
>From: harp-l-bounces@... [mailto:harp-l-bounces@...] On
>Behalf Of Cljdm@...
>Sent: Tuesday, May 01, 2007 7:17 AM
>To: rlaughlin@...; harp-l@...
>Subject: [Harp-L] Harp Flashing- was fav key
>
>Hi all,
>
>  I too years ago would take out my harp and play almost anywhere
>anytime.
>People would dig it most of the time. Now I flash my harp very seldomly,
>and
>with much more inhibition. I just can't put my finger on to as why I
>hesitate to
>pull my harp out. I am a much better player than I was years ago, and
>have
>many more ideas and songs to that I can entertain with. But i just don't
>pull my
>harp out of my pocket like I use to.  Wondering if anyone has any
>similiar of
>reverse feelings about this.
>
>                      Getting shy in my old age?
>
>                                    Chris Mastakas
>
>
>
>************************************** See what's free at
>http://www.aol.com.
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Rod Piazza is a great harp player... But he is also a fantastic  PERFORMER...
Anyone out there who gets a chance to see him on stage,  DON'T  MISS IT!
John Walden
London
England




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Perhaps he was introduced as "Henry C"   :::shrugging  shoulders:::

In a message dated 5/1/2007 5:08:37 P.M. Eastern Daylight Time,
harri.haka@... writes:

A good report by Richard but especially  in the case of such great musicians
I would add the full names of everybody if  you mention their roles in the
band. Henry Carvajal plays guitar in The Mighty  Flyers (never heard him
nicknamed See but could be wrong) and David Kida is on  drums.

Harri



Richard  Hunter <turtlehill@...> wrote:

> He fronted a band  with Henry See on guitar and vocals, Piazza's
> wife Honey on piano and  keyboard bass, and a great drummer
> whose name I
> didn't  catch.

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Richard Hunter <turtlehill@...> wrote:

> He fronted a band with Henry See on guitar and vocals, Piazza's
> wife Honey on piano and keyboard bass, and a great drummer
> whose name I
> didn't catch.

A good report by Richard but especially in the case of such great musicians I
would add the full names of everybody if you mention their roles in the band.
Henry Carvajal plays guitar in The Mighty Flyers (never heard him nicknamed See
but could be wrong) and David Kida is on drums.

Harri

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In a message dated 5/1/2007 2:17:37 P.M. Eastern Daylight Time, Jeff  writes:

Something about the responsiveness of an E harp. They always feel   nice and
tight,......Not a lot of tunes based in B  though.


Ron says:
  I too like my E harps and often times guitarists I play with like  to capo
up for their vocals, so the song gets played in B.

But it got me to thinking, which is generally dangerous: Is a
well-customized harp going to give me that same sort of response in other  keys?
I know
this is a bit subjective. Any insight here?

Ron says:
Imho, it's not subjective.  It's fact - a well setup harp will  enable u to
play better.  If it's response u are looking for, it will be  more responsive.
   Embossing is a simple procedure to decrease tolerances between the  reed
and the edges of the slot.  This alone will make your harp more  responsive.  If
u are going to try it, research it in the archives and on  the harp websites
and don't practice on your best harps.
   I give the slot a few strokes, then plink with my feeler  gauge.  This will
help avoid going too far, which will then necessitate a  pain in the ass
remedial procedure. I observe the tolerance with reading  glasses or magnifier
in
good light against a white background.  If I  don't hear any buzzing when u
plink, and if I can still see lots of  tolerance, I give it a few more strokes
and plink and look again.
   I'd better stop here before i start another thread called  "embossing".  ha
Ron






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As long as they are in tune and reasonably air tight I haven't met a
standard diatonic harp I didn't like. The only exception was that Steve
Baker Special in A that I bought last year but then again that isn't a
standard diatonic anyway!



I find great joy in the "crispness" of the D's, E's, F's & high G's and I
can also embrace with joy the "depth" of the lower keys, especially the low
D's, Eb's & F's. The 364 Marine Bands in C a lower octave down are great fun
too!



I can see why people like the Bb. The first Sonny & Brownie album I bought
had a lot of Bb in 2nd position. There is certain warmth in the Bb. And as
has been discussed it lies just below the middle of the pack of the standard
12 keys. If I had to pick one for the desert island I think it would be an
Ab. That seems to be my favorite as of late for playing by myself and not
accompanying something else.



I recently bought one of those 42 slot harp cases from Hetrick. It is
awesome! I now have it stocked full with what I consider the optimum
assortment to be prepared for any gig with back-ups for the most important
keys in case of blowouts. Here is what's inside:



One of each of the (12) Lee Oskar Natural Minor keys.

The rest are all Special 20's: 2- Ab, 3-A, 2-Bb, 1-B, 3-C, 2-Db, 1-low D,
3-D, 2-Eb, 1-low Eb, 1-E, 3-F, 1-low F, 1-F#, 3-G, 1-high G.



"My name is Warren Bee and I am a harpaholic"









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No need to explain!!!



   Michael Fugazzi said:  (regarding Pakastani Qwalli singer)

   "Nusrat Fateh Ali Khan....PHRASING!!!!  I steal from
him, but then find it hard to use in a blues context."









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Funny this should come up today. I was playing with a new pitch shifter  last
night, with "1 octave up", "1 octave down" etc., trying out low-pitched
harps with a tone above and high-pitched harps with a tone below....
I got so caught up just playing the E harp in cross position, I turned  off
the effect and just had my own little E-party for awhile.
Something about the responsiveness of an E harp. They always feel  nice and
tight, with a quick response and a satisfying bark coming off a  bend. I get
that (in the best sense) "squealin' feelin'....Not a lot of tunes  based in B
though.

But it got me to thinking, which is generally dangerous: Is a
well-customized harp going to give me that same sort of response in other keys? 
I know this
is a bit subjective. Any insight here?

Thanks,
Jeff G
Denver

A Rocker in the Rockies....can't  wait.



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Bob Laughlin <rlaughlin@...> wrote:
   I wonder if you could shoot us a couple of links,,for convenience sake.
One to your website, another to the press release, if it's online.  Sorry about
that... I thought they were in there as hyperlinks.  Here you go:

   CD and digital download ordering page: www.scottalbertjohnson.com/sounds.htm
   myspace page (audio streaming of 5 songs): www.myspace.com/scottalbertjohnson
   Grammy event press release:
http://www.governorbarbour.com/firstlady/press_releases/070410_grammy.html

   Thanks!
   SAJ




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Ah, my very first harp was a Marine Band in E, bought at the local music
store in small town Wyoming in 1973.  I bought an E harp because I wanted to
play in a band and I thought guitars were tuned to E, or something like
that...

Great harp.  I, too, love the way you can pop the reeds.  I always keep one
around, even though I don't think I have ever been asked to play in that
key.

-Spec20


On 5/1/07, Blueharp1@... <Blueharp1@...> wrote:
>
> Funny this should come up today. I was playing with a new pitch
> shifter  last
> night, with "1 octave up", "1 octave down" etc., trying out low-pitched
> harps with a tone above and high-pitched harps with a tone below....
> I got so caught up just playing the E harp in cross position, I
> turned  off
> the effect and just had my own little E-party for awhile.
> Something about the responsiveness of an E harp. They always feel  nice
> and
> tight, with a quick response and a satisfying bark coming off a  bend. I
> get
> that (in the best sense) "squealin' feelin'....Not a lot of tunes  based
> in B
> though.
>
> But it got me to thinking, which is generally dangerous: Is a
> well-customized harp going to give me that same sort of response in other
> keys?  I know this
> is a bit subjective. Any insight here?
>
> Thanks,
> Jeff G
> Denver
>
> A Rocker in the Rockies....can't  wait.
>
>
>
> ************************************** See what's free at
> http://www.aol.com.
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> I have been grinning from ear to ear pretty much nonstop since Thursday
night, and I am very grateful to have been part of this wonderful show.  You
can read more about the evening in this press release.
>
>
>   The CD can be ordered from my website (digital downloads available too)
or CDBaby.  Thanks all...
>   SAJ

Bob says:

Sounds great. Musical heaven indeed.

I wonder if you could shoot us a couple of links,,for convenience sake.

One to your website, another to the press release, if it's online.


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Add me to the list of guys who don't listen to much
harp.  I haven't "studied" a harp song in a long
while.  I think the last one was actually Michalek's
"Little Wing".

Recently, I have been "studying" vocalists and
stealing their lines.  That's harder for me then
trying to take riffs from a harp or guitar player.

I have also noticed that I tend to absorb pieces of
what I casually listen to.  I enjoy listening to some
harp.  I am on a Kim Wilson kick.  I noticed at my
last gig I was definelty borrowing some of his
vocabulary although I never tried to learn any of his
riffs.

Just listening to music often does more for my harp
playing then sitting down and figuring stuff out.

The music that most inspires and influences me right
now are the following:

Derek Trucks....more then anybody.  Almost every lick
I have mastered in the last year has been something he
has played.

Miles Davis....I only know a couple of "riffs" and a
couple of solos, but his attack is where its at.

Nusrat Fateh Ali Khan....PHRASING!!!!  I steal from
him, but then find it hard to use in a blues context.

Freddie King...one of the best soul singers ever!

David Barrett...I've used licks from all three of his
position books.  I tend to learn then in all three
octaves with overblows and in different keys.  So
that's one harmonica player.

A couple of years ago, I really tried to study Jason
Ricci's "Feel Good Funk".  I'd have to admit to only
learning one or two licks to mastery.  However, I've
heard his playing so much that bits and pieces have
seaped in.  I think I phrase differently, but I use a
lot of the same ornamentations.

***I've been playing about 4.5 years.  Even from day
one, I've always found myself spending more time
playing along with the vocals of a song rather then
the insturmental parts.  Whenever I hit the "zone", I
hear singing in my head...I never hear riffs.  Even
when I am sucking on stage, I try not to think of
lines.  I try to pick just the first note and then go
on auto-pilot.  Every time I think of a riff to play,
I play it wrong.

Mike




> --- In harp-l-archives@yahoogroups.com, "Michael
> Peloquin"
> <peloquinharp@...> wrote:
>
> >From: "Chris Michalek" <chris@...>
> ... I am however trying to help everybody be a
> better musician as an
> aside
> to being a harmonica player.
>
> Whether or not you like the messenger, the message
> is a good
> one-strong and
> maybe even painful.
> I wholeheartedly concur.
>
> Michael Peloquin
> http://www.harpsax.com
> Come check me out on MySpace at
> http://www.myspace.com/harpsax
>
>
_________________________________________________________________
> Mortgage refinance is Hot. *Terms. Get a 5.375%* fix
> rate. Check savings
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>
> _______________________________________________
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>
> --- End forwarded message ---
>
>
>


Mike Fugazzi
http://www.myspace.com/mikefugazzi
http://www.niterail.com

"Music should be healing; music should uplift the soul; music should inspire.
There is no better way of getting closer to God, of rising higher towards the
spirit, of attaining spiritual perfection than music, if only it is rightly
understood."
-Hazrat Inayat Khan

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>
> I concur, if I was stuck on a desert island I would do just fine with my
> Renny - until it went out of tune.  Then I would need Pat Missin and his
> workshop to fix the reeds . . . and Ginger . . . and Mary Annne . . .
>
> Michael

Bu,,but I didn't know Ginger and Maryanne could "fix reeds",,hmmm,,,

(sings)

"Hey little school-girl,,,hey little school-girl,,,"


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Hi everyone... just a couple of things... one is that this past Thursday night,
I had the incredible good fortune to take part in "Mississippi -- Birthplace of
American Music", a concert that celebrated Mississippi's incredible 50-year
Grammy legacy.  Sponsored by the Recording Academy, Peavey Electronics, and the
Mississippi Development Authority, the show featured headliners Jerry Lee Lewis,
Marty Stuart, the Williams Brothers, the North Mississippi Allstars, and Carola,
as well as up-and-comers like Soulfire and Sweetwater Jade.  Also part of the
festivities, and a special treat for me, was guitarist James Burton, a member of
the Rock and Roll Hall of Fame (he was inducted by Keith Richards) and guitarist
for Elvis Presley, Ricky Nelson, and many, many others.  The show was a benefit
for the Blues Foundation and was hosted by Mississippi Governor Haley Barbour.

I got to perform as part of a show-closing medley saluting Mississippi's musical
tradition... Soulfire did a few R&B numbers (including "I'll Take You There", on
which I joined them for a brief harmonica solo), and Sweetwater Jade sang a few
country tunes, including Faith Hill's "Mississippi Girl."  I then sang and
played harp on Howlin' Wolf's "Howlin' for My Darlin'" and B.B. King's "Why I
Sing the Blues."

Then, everyone came back out for the grand finale and Marty Stuart led us in a
rendition of "Will the Circle Be Unbroken"... then we did "Turn On Your
Lovelight" and I got to sing a verse of that, with Stuart and James Burton
standing alongside me.  It was truly musical heaven and an enormous privilege to
be among such great performers, from the headliners to the "up-and-comers" to
the "unknown" amazing musicians in the band.

I have been grinning from ear to ear pretty much nonstop since Thursday night,
and I am very grateful to have been part of this wonderful show.  You can read
more about the evening in this press release.

   The other thing is that my CD hits stores today.  It's being played on more
than 65 stations nationwide, and the early review buzz is very good... the
Jackson Free Press said: "On Umbrella Man, Scott Albert Johnson displays the
confidence of a seasoned musician... With never a dull moment, the album takes
the listener on a ride... It has taken Johnson three years to bring Umbrella Man
to fruition. It has definitely been worth the wait."

   The CD can be ordered from my website (digital downloads available too) or
CDBaby.  Thanks all...
   SAJ
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All Seydel harps have "long" reeds(long slots)   up to C....C# and higher
keys have short slots...
except for our new Seydel 1847 in D !!!

Ben Bouman
www.seydel1847.de
www.marbletones.com
www.marble-amps.com
www.harmonicainstituut.nl
----- Original Message -----
From: "David Fertig" <drfertig@...>
To: <harp-l@...>
Sent: Tuesday, May 01, 2007 6:47 PM
Subject: Re: [Harp-L] Seydel,,to meditations on the Bb diatonic


>I think it was harp tech/harp meister Nicolas "Froggy" Fouquet who told me
>the Hohner Bb, and lower, used longer reeds and thus had greater sustain,
>or residual vibration.
>
> This could explain some of Bb's appeal as compared to, e.g., the
> ubiquitous C, if it has a shorter reed set and thus arguably shorter
> sustain.  I seem to recall Nico tuned a Bb up to C to get a deeper tone
> due to its ostensibly longer reeds.
>
> I dunno whether the Seydel also uses different length reeds starting with
> the Bb and down, but the theory "resonates" with me.   (And so does my
> Seydel low Bb which Ben Bouman sold me, it's beeyootiful!)
>
> Dave "ain't no techie" Fertig
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John writes:

"Again yes.
A tune will sound VERY different depending on the key it is played in.
I know that sounds obvious.

But the great classical composers knew a thing or two about keys.… For
example, Ludwig van Beethoven's Symphony No. 5 in C Minor Op. 67  (for example)
would sound very different if played in any other key.

Best wishes,
John Walden
London
England"

Bob responds:

I've noticed this principle, and used it in my playing at times. Sometimes a
tune can be played at, say, half-speed, and/or a lower key, and sound
terrifically more "down and dirty", in a "bluesier" sort of way.

But I wouldn't do that with Beethoven, granted, out of respect for old Ludwig.
It just wouldn't be right.

But I like trying it. Frequently I find that the world is in too much of a hurry
to say too much in too short a time,,so I "decompress" it a bit, musically
speaking. It's not as much in what's being said, as in how what's being said is
being said, you see.

Bob
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