looking to intently listen to some albums that have superb comp, i have some Muddy Waters and Jimmy Rogers albums but are there any else i should look out for?
If you´re into some very active backing then Jimmy Rogers "Ludella", live album from 1990, is worth a look. Kim Wilson on harmonica. (KW is regarded as a sort of God-like creature by quite a few people, and I don´t subscribe to that at all, but here he is on top of his game.)
Try 'the blues never die', Otis Spann. It's James Cotton playing accompaniment. There are great examples all over. I like the examples on jimmy rogers' blues blues blues, which are Carey Bell and KW. Another Jimmy Rogers album I like for the comping is 'Chicago Bound' with Big Moose Walker. Note this is NOT the very famous album of the same name released by Chess.
This an album recorded in the 70s (edit: as Joe points out below, actually recorded October 1989) with a session band, with Jimmy Rogers as leader on some cuts and Big Moose Walker leading others. Harp player is a young guy called Billy Branch. But that Spann album is a must-have I reckon.
Last Edited by SuperBee on Aug 07, 2017 4:58 PM
It's complex. Muddy and Jimmy probably have the best and most blues recordings with an accompanying harp - and they're the best harp players. But how often will you play with bands with that kind of sound, song selection, and instrumentation?
If you play with guitar centric bands, guitarists who play B.B., SRV, Albert King, T-Bone Walker, etc., are not looking for the kind of fills Muddy's guys played or ANY playing while they're soloing.
So...you may need to listen to those guitarists and learn to accompany by learning the horn or piano fills.
Another issue - who do you aspire to sound like? Because when you listen to Muddy you can tell if the harp player is Little or Big Walter, Cotton, Jr., Jerry Portnoy, or George Smith. Each brought his tone and chops and that was an integral part of how their backing was defined. So you need to listen to ____ (your idols), practice along with their recordings, and work on developing your tone and chops. That will also help define your backing.
And listen to some soul and R&B. The horn parts behind singers like Bobby Bland, Little Johnny Taylor, and Johnny Adams are great for harp players - a different feel and groove. Learning those riffs will help when jammers are calling songs like Further On Up the Road, Midnight Hour, Mustang Sally or Open House at My House. ---------- BnT
Last Edited by BnT on Aug 03, 2017 12:44 AM
That is some of the best advice I've read here. Thanks, makes so much sense. Very well-expressed. Not a problem for me right now, but was when I was trying to find people to play with. And will be good for future no doubt. So obvious now you point it out
Last Edited by SuperBee on Aug 03, 2017 4:11 AM
One of the first compliments I received from an established musician with whose band I played on a couple songs was that they appreciated a harp player who knew when NOT to play.
The busy style that works so well on those classic recordings of bands that interweave groove with every instrument going most of the time will NOT be accepted by most bands, unless they are specifically recreating that style. The horn line idea is a good one. ----------
Doug S.
Last Edited by dougharps on Aug 03, 2017 11:45 AM
Billiy Branch played on several albums on the Wolf label. I own most of them and I dig all of those records were recorded in the 1990's section n Chicago. Billy wasn't recording extensively until the 80's when he formed the SOB's and was playing with Willie Dixon.
BnT's advice is spot on. It always is.
If you have Internet access, just start searching for Muddy Waters' harp players and start digging through their recorded history. If you want to sound like everyone else, study Kim Wilson, Rod and Butterfield. If you want to sound somewhat different, study the guys on the list that you've never heard of. Lots of guys played with Muddy.
Hello EJ, I have read some of your other threads about mentoring ,gear, and also listened to your jam recording.
I believe something that could help you is to listen to the masters and classic style players till it is coming out of your ears.
You will develop a better sense of timing and phrasing .
I would avoid too many modern players at this point and develop a strong foundation.
Listen to the Walters,the sonny boys,junior wells and James cotton . If you want to throw in something more modern, maybe Kim Wilson,William Clarke ,Rod piazza,Gary primich etc
You might ,for now,want to avoid the great modern players like Jason Ricci ,Adam Gussow,sugar blue,etc
I believe if you listen to classic blues 24/7 you will develop as a harmonica player.
Then,when you're ready ,add modern advanced players in.
(Dear harmonica fellows,I have listened to the OP's recordings,and this is sound advice.otherwise I would NOT say to avoid the modern advanced players) ---------- www.shakeylee.com
I listen to Chicago blues harmonica players all the time already, I was asking because i needed to put new songs on my Spotify playlist because believe me, i listen to and memorize blues songs everyday at work. My recordings are bad even i know this haha, i can barely stand them myself and I only post them on here so Professional blues harp players can roast me and tell me the same things i tell myself so i know im not lying to myself. the harp players in my city suck but they have confidence which is what i dont havr
EJ, I wasn't trying to insult you at all. I stand by my advice,even if you already do it .
I think you are doing all the right things to be on the road to improving your harp playing .
For me personally,one of the most important aspects of comping is dynamics. If I am in a situation wherein it is appropriate for me to provide the rhythm and chords on harmonica,I play very quietly compared to how I solo.
You're only sixteen. By the time you are my age,you might be the best harp player there is ! ---------- www.shakeylee.com
there are too many to name,really, but I will mention The Muddy Waters Woodstock album, featuring Paul Butterfield . It is a superb, really excellent disc featuring insanely talented musicians backing Waters, but Butterfield is easpecially fantastic, not just in soloing, but also being a part of the part, accentuating the music, wonderfully falling out and coming back with a special kind of intuition. For all his genius as a soloist, demonstrated aplenty on this fine record, Butterfield also stands out when he holds back. ---------- Ted Burke tburke4@san.rr.com
I love this album, Butterfield was out there indeed, idk how he can play so fast and have it in tune and fit with a 12 bar, Doesnt he worry about blow notes on the IV chord? and Muddys slide solos make me want to pick up the electric slide guitar again. Know any else?
Last Edited by ejakon on Aug 06, 2017 4:11 PM
Also from Waters/Butter is the earlier Fathers and Sons, also featuring Mike Bloomfield, Otis Spann and geniuses. Butter kills ,again, as a lead instrument but, just a important , as a player behind the headliner. Very fine work. I also like Norton Buffalo and guitarist Roy Rogers on their records R and B and Travelling Tracks. Those two mesh better than anyone you might name. ---------- Ted Burke tburke4@san.rr.com
Big Walter, Kim Wilson, and James Cotton are good guys to listen to as sidemen.
I'm sure that when Shakeylee tells you to stay away from the great modern players Jason Ricci and Adam Gussow, he means that we both tend to be busier than the guys I've just mentioned. Although we're less busy, for the most part, than the great player Little Walter when he was playing amplified as a sideman with Muddy Waters.
I know theyre pretty good sidemen to listen too, im just asking for specific albums they star in like Ludella or Blues Blues Blues. i dont understand what you mean by "busy" though. You mean playing fast?
I just think ,say ,Adam Gussow and Jason Ricci ,for example, are a bit advanced in technique before you build a solid foundation.
I have heard both of you play great,simplistic grooves and comp incredibly . BUT, very few beginners are going to be able cop your licks without frustration.
You have to crawl before you can walk,and it helps to walk before you run. Dancing is something else altogether.
Although definitely buy their albums and watch their YouTube videos!! ---------- www.shakeylee.com
Last Edited by shakeylee on Aug 06, 2017 6:45 PM
A modern guy, who plays a very old school style, who I think is an amazing and tasteful comp guy is Bob Corritore. Two relatively recent records I love that display this are one he did with Big Jon Atkinson called "House Party at Big Jon's", and another with Henry Gray titled (I think) "Blues Won't Let Me Take my Rest." Awesome subtle tones woven throughout and his solos always fit perfectly and are never over the top.
Right you are Joe! Edited my post to correct. Dunno why I had '70s' in mind for that record, I was scratching my head about the BIlly Branch connection even as I wrote that, and I still put it down. Mixed up with the Gold Tailed Bird album I think
I love how Little Walter played accompaniment. It's a roots but if you are looking for a little bit modernized approach please check Pierre Lacocque. His material is close to tradition but he plays a very interesting stuff in accompaniment. Norton Buffalo is another example of the solid and interesting accompaniment playing. ---------- Konstantin Kolesnichenko(Ukraine) http://kolesnichenko-harmonica.com/
