This is friggin' awesome! Great way to approach a cover and fantastic to see it live with a terrific band. I bet LW himself would be impressed! ---------- Mike VHT Special 6 Mods Quicksilver Custom Harmonicas - When it needs to come from the soul...
Dennis is NATURAL SHOWMAN, he is just sooooooooooo comfortable doing his thing with the bright lights on him...This version is a lot better sounding then another one that is on the web, BUT I could assure you -if you'd of heard that LIVE it would have knocked you OUT COLD!!! He knows how to throw a right hook (WINK) :)
Dennis is fantastic as always. He never fails to impress me with his energy and showmanship. He is a monster player with huge tone, who is right at the top of his game.
The thing I don't like about this clip is that the audience were sitting down. This music is made to dance too and the audience should have been allowed space by the promoters to dance. This not only enhances the audiences experience, it also gives the musicians a better connection with the audience.
Plus they don't have anywhere near enough amps on the stage. There's a tiny gap over on the right where they could have stacked at least a couple more vintage awesome collector amps.....I'm just saying.. :)
MBH Webbrain - a GUI guide to Adam's Youtube vids FerretCat Webbrain - Jason Ricci's vids (by hair colour!)
Last Edited by on Feb 17, 2012 9:51 AM
@Kingley- "The thing I don't like about this clip is that the audience were sitting down. This music is made to dance too and the audience should have been allowed space by the promoters to dance. This not only enhances the audiences experience, it also gives the musicians a better connection with the audience. " This show just happened to be at The Palladium Theater is St. Pete,Florida. It makes it tough for dancing,what with the folding theater seats and all. It's your typical old school American theater-not very condusive to dancing. As for the amps.I believe they had 4 harp players besides Dennis,all wanting to use their own rigs. Just sayin'- My HarpKing amp never sounded so good!!
Last Edited by on Feb 16, 2012 11:28 AM
Really impressive performance by Dennis who has great tone and impeccable time among other superlative attributes. The drummer is speeding up at certain points instead of holding a steady groove, but except for that, this is really a kick ass performance.
Does anyone here Know Dennis in a personal way? He is married, kids, ETC....Is there anything that would be of interest ot his fans - Let's play "Entertainment Tonight" and get the lowdown on the GREAT and POWERFUL Mr. Gruenling...
I know Dennis personally-not married-yet. No kids. Just very,very serious about his music. His record collection is the most impressive I have ever seen-it covers many decades and genres-Jump Blues,Swing,Jazz,Chicago Blues,Piedmont Blues-just listen to his live radio broadcast every thursday on WFDU -http://bluesandthebeat.com/ you'll get an idea of just how extensive and impressive his collection is-all the tunes he spins come from his personal colection. If you want and additional info-feel free to contact Dennis-he loves to chat about anything harmonica or music related. Master microphone tech,teacher and player-and one of the nicest human beings I have ever had the pleasure to befriend.
Awesome stuff. Big bad tone! He's definitely at the top of his game. Love it. Go New Jersey! (In other words, take THAT, Chicago.)
Last Edited by on Feb 16, 2012 4:22 PM
Thank You tmf...He accepts questions from players about all things harmonica and such on his "BADASSHARMONICA" site...And he was kind enough to answer mine. It was about tounge blocking - I was newish to it and did'nt know if I should concentrate mostly blocking to the "right" or to the "left"...Well here is what he said and I must say, he set me straight and helped me put my focus where it was needed the most as far as TBing is concerned.
Q: “I’ve been concentrating on working on playing tongue-blocked recently, and I want to know what is ‘normal’ – a ‘left-side block’ or a ‘right-side block’? And is one more commonly used or more useful than the other?“
A: To start off, let’s clear up these terms that are being used. Generally the term “left-side tongue-blocking” refers to the technique where you use your tongue to block holes/notes to the LEFT of the single hole/note you want to play, as in blocking holes 2 & 3 while playing hole 4.
Therefore a “right-side tongue-block” is the exact opposite – using your tongue to block holes/notes to the RIGHT of the single hole/note you want to play. As far as what is more “useful” or more “used” – the normal way is to block to the LEFT or LOWER SIDE of the hole/note you are playing, having the chord you play (when your tongue is removed from the harp) being made up of the single note PLUS the next few lower notes on the harp (either 2 or 3 notes are usually blocked).
Some people play “upside down” (as have some great players in the past including Sonny Terry, Paul Butterfield, William Clarke, etc…) with the numbers on the harp coverplate facing downwards, or on the underside of the harp, as opposed to having the numbers on the top coverplate of the harmonica visible & facing upwards.
If you play “upside down” (no offense meant, it’s just that what’s meant as the harp’s top coverplate is now on the bottom…) then playing with the “right-side tongue-block” would be the “correct” way since the LOWER holes/notes are now on the RIGHT side.
In addition to this, sometimes there is an advantage to executing a musical passage while utilizing the opposite/higher side block (normally being the left-side tongue-block) for part or all of the passage. For instance on hole 1, there are NO lower holes to block, and if you want to do some chording along with the note, you will want to block to the higher side – which is normally the right-side.
His Cupping Technique is PERFECT and ADDS immensely to his SUPERSONIC sound!!! You could have the "notes" down and even the "swing" BUT without MASTERY of (cupping) those other things can be severely lacking in Depth and Dynamics...I personally struggle with this problem all the time and it is really obvious when I tape myself where I can hear that I have a LONG way to go in achieving SOLID cupping abilities!
Another thing so daunting is...The exact execution of "Breathe Control" Dennis exhibits... The harmonica obeys the commands of his breathe with great pleasure. He is in complete control of the sound he envisions in his mind to come out of the harp with powerful precision.
Great video - I totally agree with you Frank about his command of all the techniques. There're a hell of a lot of subtleties in Dennis' playing. Based on all the recent YouTube footage, his next album should be a killer. Here's an example - a real masterclass in how to build a solo:
Now I LOVE the solo in that second video. The first half of the solo is where Dennis is veering decisively away from the obvious stuff. It's minimalist, in a sense. Very limited selection of notes, then a bunch of variations--versionings--that say, "Here are a bunch of subtly different things you can do."
I like it in part because it's a form of improvisation that I'm also trying to work at times, but also because this specific line of attack separates Dennis from his peers on the Chicago/West Coast side of things. I can't imagine Kim or Rod or Rick or any of the current Chicago guys playing that many small variations for that long, working it like a jazzman. It's actually closer to the staccato way that Jason phrases. It's possible that he's signifying on that--saying, in a way that only we hardcore nerds might pick up, "See, I can play all that staccato tongued stuff that you lip pursers think you own." Whether or not that's the case, I'm impressed. Bravo, Dennis! I need to steal some licks. And I'll know it's you when I hear you on the radio.
Last Edited by on Feb 17, 2012 9:03 AM
I agree - he keeps the lid on it for the longest time and you can hear the crowd love it when he moves up to the 6 draw (I swear I hear Steve Guyger saying "Yeah, baby!") And then, on top of that, he does the hand tremelo effect and changes up the rhythm. Very cool.
I love this whole song also. Here is another version so you can get an idea of how much is improv and how much per-arranged licks. His approach is well planned here.
I believe with the cupping and the tremelo effect, both are combined mouth/ throat effects and cupping effects
Good comparison, walterharp. Cool to hear different versions like this. The approach on both is similar: keep it restrcited for a couple of choruses, then shift gears.
As far as breath control goes,Dennis has a true feel for it. I was recently invited to join Dennis onstage at BB Kings in Orlando,Fl. Dennis and Doug were performing an instrumental number,with a Little Walter swing to it. When I was invited to the stage,I started playing in my normal fashion-meaning way too much breath force. Dennis and I were handing the mic back and forth,when he leaned over and said "don't blow so hard-let the amp do the work"- Once I eased up on the amount of breath force,the playing came so much easier. My sound improved immedialtely-I also found that posture lends a lot to technique as well. All in all,a great onstage lesson in technique and breath force. P.S>Dennis should absoultley be in the Top Ten list--
So I have a question. When, in that second video, Dennis goes up to that (very effective!) 6-draw (around 3:45), what is the second note that he bleeds into it to get that slightly distorted effect? I'm sitting here trying it acoustically and the closest I can come is bleeding in a little of the 4-hole draw (making an open fifth, I guess), but it doesn't sound quite right. Any help would be greatly appreciated.
I feel so emotionally connected to those solos that I have a fever after listening!! So inventive, so cliche-free!! ---------- Facebook
Last Edited by on Feb 17, 2012 6:24 PM
bigd- I'd guess you feel that because he is such a remarkable trailblazer...And what he plays is so drastically FRESH and NEW, making his style of playing so influential across the world today, Just a MASTERFUL approach to playing the harp unlike any other on the scene today.
the other thing that really grabs me about the "put it down" versions is how Dennis uses the microtonal approach.. it is key to funk, and takes the "blue third" that adam takes so much time talking about in his lesson series much further into other notes.
maybe it is just the music when i grew up, and the feeling that comes from miles davis, but damn, that stuff sends shivers down my spine.
To be perfectly honest Brendan, I find that last post somewhat uncharitable. Dennis & Jason have such different styles & approaches, just about the only thing they have in common is the instrument they play. They are so diverse in my ears, so as to make comparisons meaningless, neither is in "competition" with the other, nor trying to steal each others mojo. It would perhaps be more apt to start a thread identifying what you like about Jason, rather than post a negative comment about Dennis in this one?
Paying a compliment to one player can simply be just that, it doesn't necessitate "taking sides" with another. It's a big old world. ---------- www.myspace.com/markburness
Last Edited by on Feb 19, 2012 11:58 AM
if theres a top 10 for 'living' harmonica players, he'd be in it as far as Im concerned... ---------- Kyzer's Travels Kyzer's Artwork "Music in the soul can be heard by the universe." - Lao Tzu
@5F6H The thread wasn't titled "Post your Praise of Dennis". Presumably a clip gets posted to prompt discussion. I was surprised by Brendan's opinion, but I didn't read it as a personal attack on Dennis, just an expression that he finds Jason's playing more interesting. I don't agree with him, but the comment certainly got me thinking about what I heard, and contrasting it with others. That's useful input.
Is there a particular reason that you choose a PRO's opinion on music taste over a raw beginners? ---------- Kyzer's Travels Kyzer's Artwork "Music in the soul can be heard by the universe." - Lao Tzu
@ Easyreeder. No, but it's not called "Here's another player I don't think is as enjoyable as Jason" either. Brendan's post says that he finds Jason more interesting, no it's not an attack & I have no problem with Brendan's personal opinion...but does it really have a place in a thread about Dennis? Especially when Brendan apparently has nothing positive to say and he is well known & in a position of some influence.
It just strikes me as irrelevant & somewhat impolite, irrespective of who the players in question are. These kinds of responses are all over this & other forums, they seem to me to simply encourage adversarial opinions/behaviour. It's tiresome.
I trust anyone to be able to know their own mind as to their preferences, if you tell me that you like a certain player, mic, harp, amp, pizza topping...whatever, then good for you. Comments like Brendan's imply that previous posters aren't capable of appreciating, or assessing the clips under discussion. I don't believe for a minute that was Brendan's intention, but a thread extolling Jason's skills would be a better place for such a post.
Both players have an outstanding grasp of the instrument, I'm sure that both achieve precisely what they set out to execute, but obviously come from different places...there are things to be learnt from both and each will have avid fans. The majority of people, however, are undoubtedly entertained & inspired by both guys...it's not a turf war, we don't need to pick sides. We can appreciate whoever we like & should be able to expect to have our opinions treated with respect. Not everyone will share those opinions but there are no restrictions on being able to post, reflecting on what you DO like...if you don't agree, it's just as easy to move on. We could all spend copious amounts of time publicly running down things we aren't keen on & when the mud slinging starts...well, everyone just ends up muddy. ;-) Hmmm, perhaps not as eloquent as, "an eye for an eye leaves the whole world blind", but you get my drift. ;-)
I guess my post was a bit cryptic, and therefore open to misinterpretation. I should explain what I meant.
I was more referring to a whole school of blues harp orthodoxy rather than Dennis' particular abilities (which I respect a lot). It's a reactionary school that has many restrictive rules. The adherents tend to lay down the law on what's "authentic" and "allowed" based on a narrow reverence for how past harmonica heroes played (eg. the two Walters).
They therefore rule out techniques or approaches that have appeared since those guys (such as overblowing or use of alternate tunings) in a similar way that fundamentalist religions damn forbidden behavior as blasphemous.
Within the blinkered world of the traditional blues purists Dennis is indeed coming up with some fresh licks and ideas, and fair play to him. He's a tasty player whose skills and passion are obvious to anyone.
But I fail to understand why there is such suspicion amongst the blues purists of contemporary advances in harmonica technique, let alone elementary musical understanding.
For example a tune like "When the Saints" cries out for the use of the major third on the dominant chord. In cross harp that's the major seventh. You can get it as 5 overblow on a Richter harp, or retune to 5 draw up a semitone in Country tuning.
Dennis plays an energetic solo over the song, but sticks to the blues scale throughout - with a minor third (5 draw) on the dominant chord. As a flavour some of the time that's great, but its use ALL the time just shows the unfortunate limitations of the Blues purist approach.
Without those self-imposed restrictions on the use of overblows or alternate tunings, he could have augmented his wonderfully soulful playing with some extra harmonic sophistication that would suit the material he's playing over. It would lend him extra ways to achieve tension and release, elements he's very good st using. He could retain the soul but add more smarts.
To me it's a pity when people close their minds to easily-available and effective tools that will afford them greater freedom of expression. That's a trait of all fundamentalist orthodoxies, and blues harmonica purists constitute such a group.
I find it curious that they should choose to place such limitations on themselves. Why? I think that's an interesting and legitimate topic for debate on a forum such as this.
@ Brendan "But I fail to understand why there is such suspicion amongst the blues purists of contemporary advances in harmonica technique, let alone elementary musical understanding."
Personally I find it tends to be the other way around, accompanied with a fairly elitist attitude.
There's plenty of room for players who love blues and want to play in a traditional way with a trad sound, and room enough for "modern" style players too.
Dennis, can o/b and does play them when he chooses. He's one of the few trad style pro's that does.
Brendan: Limitations are self defined. From what I have heard of your music much of your focus is pushing the harmonica boundries. That is great because it obviously turns you on and most likely you have a different definition than Dennis with technical limitations. IMO as long as one is satified with their music they are music gods-let them be as technically versed as you or as simple as me. The goal for me is to enjoy my own music over all others. This is much more complicated and deep than it sounds. On the surface it sounds like an ego trip but if one goes deeper it means that one can listen to their own music and feel completely satified by it. No criticism, thinking, what ifs, should haves. It just feels good to hear it. I will always enjoy hearing others I admire but when it comes time to pick between those players and my own, it is a no brainer. If one is truly letting their inner self come out unfiltered it will be complete in every possible way, nothing to add to it, or take from it- a perfect reflection of that moment in time. Others will praise, bash, be indifferent to it. That is of no importance to me. IMO if one allows their creativety instead of their mind to run free there are no limitations, but like I said we all percieve limitations differently and endless debates will result with little gained from it. Art is a totally subjective thing and I well understand firsthand how ones own passion can get in the way when seeing how others approach music. I easily fall into- why doesn't everyone spontaneously create their words and music as they go along........ I am growing more at peace with this everyday and realize it will be a lifetime journey to not to react this way. Much congragulations to you for finding your passion and I wouldn't wish you to change a thing with your playing because you got passion! Walter
for the record Dennis is a technically sound player but his music does nothing special for me. I will listen to the old records before his music. but that is of no importance in response to your post. I just wanted to share about limitations but figured I better say something on dennis's playing because most people lump me in old school. I am not in any school. If it moves me it moves me, and if it doesn't it doesn't, regardless of what kind of music it is.
---------- walter tore's spontobeat - a real one man band and over 1 million spontaneously created songs and growing. I record about 300 full length cds a year. " life is a daring adventure or nothing at all" - helen keller
@Brendan-You are of course aware that Dennis uses overblows and draws,correct? If not,I could take your views as curiously inept,or slightly misconstrewn-. Which brings me to the obviously blatent disregard,or quite possibly purposeful malcontent you seem to have with the video- Well then,heres to you mate-enjoy!! P.S-Check Jason's comments on this video-he says it all!
Dennis is great at communicating his feelings and his TONE production and intonation is unparalleled among players today! He is just so artistically COMPETENT and his musical concepts just reek INNOVATION...He has developed HIS SOUND and has honed it to such a high degree that HIS own unique STYLE is easily apparent.
I love listening to Dennis's stuff. I find it really inspiring. He is technically very accomplished and yet he communicates it in its simplest terms emotionally and groove wise.
I love how a lot of what he plays is very brass section, and he swings hard.
He should certainly be on the list as a modern master, if he's not, it's because people have lost touch with the pulling power of understatement.
He is a master of building tension and releasing it in my opinion. ---------- Shane,
@ Brendan "But I fail to understand why there is such suspicion amongst the blues purists of contemporary advances in harmonica technique,"
Ha ha, showing your age there Brendan, those "contemporary" advances date back to the late 60's/early 70's...which makes them about as contemporary as the Beatles, disco & glam rock...virtually predating reggae & probably the births of both Jason & Dennis? :-O
Yep, those advances are the bees knees daddio! Now if you don't mind, I'll go back to listening to the latest popular beat combos on my wireless, whilst I respond to my telegrams... :-D ---------- www.myspace.com/markburness
I Agree... "modern blues" isn't as big of deal any longer, YES, it's AWESOME...But for me personally - When I here something that I heard many,many times already over the years, ex: "the OB/OD" or fast playing on a high keyed harp, my reaction is wow that's cool - not "WOW is this player a musical ALIEN"! Back to Dennis Gruenling...His playing has developed into something MUCH DEEPER then those things I mentioned and I believe what he is doing is going to be a lot harder for the young aspiring harmonica players to replicate.
