This video only has 73 views as I post this. It deserves more. I've just put RJ on the Honorable Mention list; I'm surprised I didn't have him on there already. The video is interesting because it makes clear--to my ears, at least--that he's still trying to find his way out from around his two major influences, Carlos and Jason. Each of them is echoed strongly here at specific points, and there's a bit of Kim Wilson thrown in, too. Or at least that's what I'm hearing. (Please share what you're hearing.)
Regardless, he's a major young Twenty-Something contemporary player--a modernist, not a traditionalist--by any measure and deserves wide exposure:
EDITED TO ADD: I'm glad I got a chance to hang out with RJ at several of Gindick's camps. He's got an incredible practicing ethos; he works on a handful of particular areas--such as long notes--for specific periods of time on specific days, in a formal weekly schedule. He's earned every bit of virtuosity and musicality he's got the old fashioned way, through hard focused work.
Last Edited by on Mar 27, 2012 5:15 PM
Wow! It has been 3 years since I met R.J. and heard him play. The influences are as you describe. Some of the first 2:40 has a few copied licks from Jason and then pretty much a TB solo Kim does. Hats off to being able to copy these guys.
At the same time I hear modern originality. I've read on this forum several times to copy and learn, then make it your own.
Kudos again for not getting hung up on one or two techniques. R.J is great proof that excellent TBing, LPing, OBing, etc... can all thrive in the same player.
Thanks Adam. Great to see R.J. has raised the bar again for himself.
Last Edited by on Mar 27, 2012 6:12 PM
We were there to see his performance in the quarter and semi finals both. This video brings back great memories but doesn't do the live show justice. Man, RJ and Company kicked some serious ass at the IBC! That boy is pure energy.
Potentially a good talent due to his excessive practice regiment, unfortunately he has taken the copy other peoples creativity to heart rather than find his own voice. His aping of Carlos del Junco in vocals, stage presence, body language and ideas is a little distressing to me, to the point that he should really credit Carlos at the beginning of each of his sets to show respect from whom he has "stolen".
This may sound a little extreme, but having known Carlos for 20 years and watching him develop as an original voice and also teaching RJ when he was starting out and trying to get him off of his steal and copy direction (unsuccessfully) and into finding his own originality, I am perhaps too close to both artists to feel neutral about this. (I've often wondered what RJ would do if he had to open up for Carlos at a concert).
However, I am glad that the more astute members of this forum also recognize the licks copied from other original players in RJ's performances.
Maybe one day RJ will create something that he can truly call his own. ---------- The Iceman
Last Edited by on Mar 28, 2012 4:52 AM
While watching RJ's show, I didn't take time to analyze it. I simply enjoyed watching someone extremely talented and energetic. The bottom line is he was a fantastic act to see in person.
@Iceman - So you're telling us that everything that anybody plays has to be original? You've never copied a lick or style? If indeed RJ studied under Carlos, it's only natural that he will tend to play and act as Carlos does.
Whether he learned it, copied it or stole it, RJ put on one hell of a performance. It was great to see and hear!
It should be noted that on his website, RJ is quite clear about crediting Jason, Carlos, AND the Iceman, among others, as his teachers. That's a good thing.
My own feeling is that players develop at their own tempos and in their own ways. I'm frankly happy to hear strong young blues players echoing Jason, Carlos, Senor Eisenberg, moi, and other overblowers. It makes me feel that the overblow revolution is in progress and may even have arrived. RJ is a part of that. The stronger the voices that you're emulating, the more strongly you're required, at some point, to beat them back if you want to achieve your own original voice. Jason insists that I was one of his influences, but I don't hear that in any way that makes me feel he's ripped me off; heck, at this point I'm starting to work his licks into MY playing. RJ is going to have to struggle against The Magic of Carlos, but I believe he'll finally manage to do that--and in fact I'm sure he does that right now in many of the songs he plays.
Last Edited by on Mar 28, 2012 7:41 AM
I guess I don't understand the problem. I am an old, over the hill, player, and I would be tickled pink to be able to copy anyone, without studying it for years. I think it is a show of respect to want to copy someone. And, if you get a chance to be on stage with someone you consider better, or more entertaining than you, you will learn more in those few moments than in months of practice, because you capture the vibe of that individual
I had a vocal coach many years ago, when I thought I cold sing, that told me that you should copy the original artist, before you start doing whatever you want with the lyrics. I would think that the same applies to the voice of your harp.
I have a personal outlook regarding talent. I don't knock influences or someone who learns from others and uses it as a jumping off point.
When RJ came back from studying Carlos, it was kinda spooky/creepy that he was a carbon copy - vocal sound and styling identical, standing and body language identical, note for note reproduction of long Carlos' solos... as a matter of fact, I'd never in my life ever heard such an exact copy. eerie.
I had hoped that this would be a jumping off point, but as time went on RJ stuck with it without finding his own voice. I can't knock the time and effort that he put into this, but can't embrace his ARTISTRY at this point as something unique.
Actually, if I was a kid again w/out any responsibilities except homework and spent every other waking minute learning to copy exactly, it would not be that difficult to duplicate. No real magic, just time spent wood shedding.
I look for the magic. Someone with RJ's potential could really find magic and I hope he does some day. However, no matter the effect he has on the audience that is not as familiar with his influences, when I hear him play and start a solo, I already know note for note where it is going, being familiar with the original. So, I'm impressed with the mimic ability, but that doesn't really move me at any level of depth.
Remember, this is just me talking.
I always expect more from the students I teach, and I worked w/RJ for a few years. All my other students started to explore and get excited by finding their own originality, no matter what their level. THAT is where I find the true magic/excitement. Sunny Girl was a prime example of true artistry. Konstantin is another talented original voice.
Glad you all like where RJ is at. I'll wait for something original before I join the bandwagon.
I'm just an ol' curmudgeon, after all. ---------- The Iceman
Last Edited by on Mar 28, 2012 9:58 AM
Thank you guys for all the kind words!!!! I do LOVE Carlos and Kim and Jason and Larry who all have had an influence in my playing. Thank you Adam for the support and to you Larry for all the kind words.
RJ is a great guy. Just talked to him a couple of days ago. He got a deep love for our instrument, that is always a pleasure to see. ---------- David Elk River Harmonicas
A blind test would have inclined me to think to Mitch Kashmar playing, because of that kind of easiness in playing difficult things but naturally regardless the influences of other harp players (I'm not able to feel them). Despite the difficulties, he makes the show and I find it fascinating (not being stiff sticked at his harp). I realize RJ to be now 23 or 24 years old: I can say he's far ahead from a guy like Musselwhite at the same age... Now for his personal harp's licks building, he has his life, doesn't he?
Adam, have you listened to Mister Satan off of Rocket Number 9? Jason basically does his best version of you for a short time. I hear the influence in the big octaves in the top end. I remember clearly after mentioning Pat Ramsey you were the next player he mentioned when I met him back in 2005.
Back to the OP, I just re-discovered RJ a month ago and found a great clip of him. He's made more progress in 6 years than I've made in 14. Respect!
