What really prevents any modern day player from being highly influential and revolutionizing not only music, but their instrument much like Little Walter did?
To "revolutionize" the use of an instrument means, as the opening of the Star Trek TV show tells us "to boldly go where no man has gone before". Little Walter was revolutionary for the reasons we all know: tone, amplification, distortion, riffs, etc. James Cotton is another, as well as Junior Wells. Most of the time, all of us are operating within variations on the themes of others. But the development of any genre of music will have its seminal and landmark influences that will run their course up to the point that the theme is tapped out.
For instance, heavy metal had its pioneers, and then those who followed. Black Sabbath, Blue Oyster Cult etc. begat Judas Priest and Megadeath and so forth. Bob Dylan went electric and The Band, The Byrds, CSNY, Flying Burrito Brothers etc. followed.
But how much can you do before you start radically altering the music?(whether in a broader sense of rock music, or within a subset such as country rock, acid rock, etc. for instance as an example), at least with regard to instrumentality and innovation? Influence is an entirely separate subject matter. A musician can be highly influential without necessarily being innovative to the point of a revolutionary breakthrough.
There is nothing to stop any modern day blues harmonica player from becoming highly influential within the genre of blues music. There are sub categories within the blues that can be developed more fully than they have been. But at some point, innovation that radically alters a particular type of music (in our example, the blues) may transform the music into something that does not preserve the root forms, and it is at that point where "innovation" does more harm than good.
"But at some point, innovation that radically alters a particular type of music (in our example, the blues) may transform the music into something that does not preserve the root forms, and it is at that point where "innovation" does more harm than good."
WHY?
We have blues recordings going back almost 100 years. There is absolutely NO DANGER OF THE ROOT FORMS BEING LOST.
We don't need to "protect" the blues from anything.
Lines in the sand are just there to be provoke someone into crossing them. I for one will applaud anyone who does so.
atty1chgo I have only seen Billy live once at a festival. I love the Harp Attack record and I have a good Sons of Blues album.
Have you seen him live many times? I like him and the vibe I get from him. I do not think of him as a great but I really appreciate his work with kids and that he is carrying on the blues tradition in Chicago handed down directly to him.
I think you have a very different perspective on what makes a great harp player. To me, Rick has unreal technique and phrasing, a tone completely unique identifiable in a moment, is ridiculous good at the 3 main positions and the chromatic and his music has sense of humor. He is also one of the best at traditional blues styles while having created his own on top of that. Plus loads of feeling and ability to get the audience excited. Then, he's a great songwriter and showman and a very funny person as well as a nice guy.
The reason I ask if you've see Billy live a bunch is I think it really affects opinions. I cannot count the amount of times I have seen Rick.
I've seen Billy, Rick and Rod a multitude of times. Billy is as good as any of them. He excels at working at engaging and working the audience. If I had to choose between seeing any of those guys, I would see Billy every time.
@jodanchudan: Thanks for posting that clip. You know, I'm forced to say--and not unhappy to say--that the Rick Estrin in that clip is not quite the guy that I used to see live in NYC between 1993 and 2000. He's better. He's letting the jazzman out, the innovator out, in a way that I didn't see when he was working with Little Charlie, where the demand was more on him to be an entertainer. Sure, it's easy to see the vein he's working in: the Little Walter of "Blue Midnight." But he's also clearly moving beyond that, and what's pushing him is jazz that comes AFTER Little Walter's main phase.
I'm impressed, and surprised, but also not surprised, because this is the Rick Estrin that I heard in "Coastin' Hank." That guy is still active here, I should say, still investigating the nature of swing, but in an updated way.
I think it's possible that Rick has made the statement that started off this thread as a way of trying to convince himself--a form of unneeded modesty--that he's not quite one of the greats. Maybe he is.
@Joe L.: I would have agreed with you before seeing this clip. But now I agree with others here that Rick has moved into some seriously deep blues territory.
Last Edited by on Oct 14, 2011 8:51 PM
When i see a performance like that..i think geez aren't we all so lucky to play Harp.. No other instrument lets you pour out your soul as well as Miss Sax
Let me jump in, late. As I read the sincere, thoughtful posts in this thread ("Are the great blues harmonica players dead?"), I can't help but think about, and repeat, the divide I've talked about a few times in this and other forums. The differences of opinion in this thread come down to this-- on one side are those who love and understand blues on an intellectual, emotional and spiritual level; on the other are those who understand blues technically ("It's I, IV, V") but don't feel it to their very marrow. It's all good, music trumps blues. I am a blues lover. Translation-- Rick Estrin is right. The Zeitgeist that produced the greats is gone; we of this era will do our best but will not recapture it.
"I wrote that a great NYC street harp player, Canarsie Kenny, was dead. Because somebody told me he was dead."
If you teach postgraduates, you should tell them this anecdote. And it reminds me of all those people who tell me they've 'researched', when what they've really done is read a Wiki article.
"One day after the book had been published, I picked up the phone and a growling voice said, "Hey Adam, I AIN'T DEAD! And I don't like what you wrote about me in your book."
And there's the bright side to all this - if I published a book, I'd be surprised if it was read within 18 months! ----------
Andrew. ----------------------------------------- Those who are tardy do not get fruit cup.
