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Dirty-South Blues Harp forum: wail on! >
Joe Filisko starts TraditionalBluesHarmonica.com
Joe Filisko starts TraditionalBluesHarmonica.com
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kudzurunner
3160 posts
Apr 01, 2012
1:14 PM
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Unbelievable news--and yet it makes perfect sense. Great time to make this move, as we enter the new season:
http://www.traditionalbluesharmonica.com/home.Joe-welcomes-you-home.html
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Stevelegh
447 posts
Apr 01, 2012
1:25 PM
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Link is broke........
However, I'm looking forward to that sir. Thanks
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Patrick Barker
445 posts
Apr 01, 2012
1:35 PM
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April fools? Cus that would actually be a pretty cool site.
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harp-er
73 posts
Apr 01, 2012
1:44 PM
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No such site available. Huh?
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Matthew
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Hobostubs Ashlock
1786 posts
Apr 01, 2012
1:44 PM
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I got there it took me a couple times but it works (NOt a april fool joke I did get there but it took a couple trys with repasting the link)
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Hobostubs
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eharp
1778 posts
Apr 01, 2012
1:49 PM
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i think i will copy write "futuristic blues harmonica" as that is the last frontier.
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tookatooka
2880 posts
Apr 01, 2012
2:00 PM
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The domain name "Traditionalbluesharmonica.com" has not yet been registered. For anyone who is a bluesharp tutor/player and is looking for a great domain name which would be a real customer magnet via the search engines, this is a brilliant opportunity at only £6.43 per annum.
With that Domain name and good meta tags/description etc in the website header, I can almost guarantee Page Rank No.1 on Google for anyone searching "Traditional", "Blues" and "Harmonica" in any order.
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Last Edited by on Apr 01, 2012 2:09 PM
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tmf714
1066 posts
Apr 01, 2012
2:18 PM
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http://www.harmonica-masters.de/en/Harmonica/Masterworkshops-Diatonic/Masterworkshop-3-Joe-Filisko-USA.html
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tmf714
1067 posts
Apr 01, 2012
2:24 PM
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Joe Filisko
Joe Filisko is bar-none the best blues harmonica instructor I have ever met. His understanding of post-war Chicago blues harmonica is unequaled and is the world’s leading expert on pre-war and country blues harmonica. Join Joe for his regular submissions to BluesHarmonica.com, covering everything from technique to his journeys on the road.
http://www.bluesharmonica.com/joe_filisko_2
18 Harmonica Insights, #4 - Relax & Breathe
18 Harmonica Insights, #3 - Posture
18 Harmonica Insights, #2 - Hands
18 Harmonica Insights, #1 - Holding the Harmonica
5 Types of Sound, Part 1
5 Types of Sound, Part 2
Last Edited by on Apr 01, 2012 2:26 PM
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tmf714
1068 posts
Apr 01, 2012
2:28 PM
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For a man bearing such a burden, you’d think Joe Filisko would have broader shoulders. I mean, considering he hoisted the entire tradition of blues harmonica up on them things, you’d think he’d be wide as a Buick.
Perched on a high stool with nothing but a harp, a mic and a couple of stories, his one-man show is like an oral ethnography of the blues harp tradition (see the Good Doctor’s review). Considering Filisko devoted decades to studying and mastering the styles of bluesmen long deceased, there’s just about nobody in the world who knows more about what it takes to be a Walter, Big or Small, or a Sonny of any kind.
So naturally after the gig I cut through a gaggle of harp enthusiasts to get me some of that Joe Filisko wisdom.
When I saw you up there with [young-blood supporting act] The Shoestrung, a more serious bluesman juxtaposed with some guys who’re really just having a laugh, it reminded me of Sonny Boy II playing with the Yardbirds. Not that I’m directing this at The Shoestrung in any way, but as a teacher and a performer if you had to put your finger on it, what’s one key thing that youngsters in blues are missing?
FILISKO: Look, I’m all about knowing what the strengths are, and playing to the strengths of the instrument. And I would say most youngsters don’t play to the strengths of the instrument. It’s about creating those big sounds, thick textures. It’s visceral, when you lock into those strengths. For example, you can be busy on the guitar, but when I hear Ry Cooder play slide guitar… man, it grabs me and it chokes me up, the minimalism of it. Granted, you can be fancy and flashy and you’ll get a quick response — people will be, like, YEEAAAH! But I don’t think it’s a long term thing. I think it’s quick, it lasts about ten minutes.
And then where do you think they’re – I should say we – are going wrong?
FILISKO: For whatever reason in blues there seems to be this [attitude of] “I’m threatened by you! Don’t learn from me, go off and get your own style, but don’t learn from my mistakes. Make your own mistakes, figure it out yourself.”
I think that’s a bunch of crap! There’s certain things the harmonica does really well, and it’s my impression most young players don’t lock into that, because people don’t want to share where the strengths are. There’s not a lot of good information readily accessible about how to play the harmonica.
There’s a lot of bad information available. There’s a lot old wives’ tales and misconceptions and falsehoods. It’s readily available; all you gotta do is read a lot of books or go on the internet. So if you’re trying learn how to do something, and the information that’s available is incorrect or full of half truths, how well are you gonna learn?
Now, when you talk about threats – it does seem in the old days guys had to be protective over their livelihoods. Junior Wells in a Living Blues interview describes how when he went to Sonny Boy II for pointers, Sonny Boy wagged a switchblade at him…
FILISKO: In the history of blues-oriented music, all the old guys got ripped off. With few exceptions. So the old guys are always feeling threatened by the new guy. “I don’t want to show you my tricks, because you’ll take my trick and make it yours.”
That’s intimately woven into the fabric of blues history. I have interviews of Big Walter Horton, for example, deliberately – I think – misdirecting people asking about how to do stuff. He’s paranoid! He was really paranoid about people taking his photograph. I actually have audio tape of gigs where somebody takes a photograph from the audience and Walter Horton marches off the stage, and is in the guy’s face and you can hear him say, “Give me the film! Give me the film! Give me the film!”
…Because he feels like he’s being ripped off.
I’m very interested by your philosophies on blues tradition, because you’re sort of channelling all the greats for future generations. Some people might disagree with sticking too close to tradition, they advocate rather branching out and finding your own sound. It’s the age-old question, but what’s your take on this?
FILISKO: Well, when I go on stage, it’s about one thing: Sounding good. And I think that too many people are way preoccupied with having their own sound. To me that’s ego-driven. It’s cool to have your own sound, but I think few people can get away with it for the long term. I would rather do something that’s a homage to different players, and know that I’m keeping the attention of the audience for the long term, than having my own style for the whole time. That’s just what does it for me. Having your own style to me is ego-driven.
Fair enough… But then, if it’s all rooted in tradition what’s the future of blues harmonica?
FILISKO: Well, one might argue that the harmonica sounds best played as it was played [gestures over his shoulder] in the Fifties. And if it sounds best, then why not do it? It’s like a language. You’re British, I’m American, but we’re talking to each other in the same language, and we understand each other probably 98 percent perfectly [Elwood's actually South African, but Joe wasn't to know - Ed]. Do we have to invent new words to communicate? So why do we have to expand on the language?
I’m not saying we shouldn’t. If it’s in your gut, then you should go with it. Paul deLay might be a good example of someone who’s a traditional blues harmonica player that possibly expanded on the language. A brilliant song-writer, brilliant vocalist, brilliant musician, brilliant harmonica player. When I listen to him I’ve moved by it. But I don’t think that’s a common thing. I don’t know that everybody is capable of having their own unique style.
I would rather sound good with the instrument we already have than to try have my own style and have it be “me me me me me”. Now, many would argue with that, but so what!
Well, folks – just five questions in a noisy pub, but Joe Filisko gave me lots to think about. See my next post for the epilogue.
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tmf714
1069 posts
Apr 01, 2012
2:30 PM
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Filisko on Levy
Posted by admin · Leave a Comment
The essay below was published by Joe Filisko, undoubtedly the greatest diatonic harmonica maker in the world as of late 1999, on the Harp-L internet mailing list in May 1999. Written in response (in part) to my comments on the 1999 Buckeye Harmonica Festival, the essay sets a historical and musical context for the roles of both the player and the instrument in fully chromatic playing on the diatonic harmonica. We do not agree with everything Joe says in this piece; we do believe that Joe succeeds in moving the debate on fully chromatic diatonic harmonica style forward. We are pleased to publish this piece with Joe’s approval, essentially unedited.
It was brought to my attention that Howard Levy has been discussed in recent days in various respects, including his use of the diatonic harmonica where it may be considered to be more appropriate to use a chromatic harp. Since I know him as a personal friend, and (I think) know his harmonica goals better than any other person, I would like to offer some observations.
Why is the diatonic Levy’s preference? The most obvious (but not the only) reason is that the diatonic can be played (in his opinion) more expressively than the chromatic. The slurs and legatos made possible by the phenomenon of note bending pave the way for deeper expression. The very fact that the diatonic has “missing notes,” is in many ways the very reason that this deeper expression is possible.
Of course, this deeper expression can quite easily lead to problems with pitch. We players are all well aware of this ever-present curse. Blues music may be the most forgiving style of music due to the flexibility of many pitches, but other musical forms are much less forgiving. I am quite sure that no one is more sensitive to this than Howard himself. I personally am mystified by his ability to keep bent notes in tune. Check out his microtonal playing with Rabih Abou-Khalil for great examples of Howard’s highly developed sense of pitch.
Much has also been said about the often unstable sound quality of those most mysterious note bends, that have the great misfortune to be known as “overblows” and “overdraws.” Are they unstable notes? Yes, they are. Why? Simply because the instrument hasn’t evolved enough to accommodate the technique. To date, no large manufacturer has wanted to create a truly high-performance instrument. Why? At this time, they simply don’t see a large enough market to warrant the investment in time, training, and equipment. To play the currently available instruments out of the box in this style is equivalent to a doctor having to perform surgery with a hacksaw, pocketknife, twine, and an awl. Of course, it can and has been done, resulting in much praise and even greater criticism; Witness Howard’s Harmonica Jazz tape, recorded in the mid-80’s. I cannot even imagine the force of will that Howard imposed upon himself (and the instruments that were available) to create that seminal piece of work.
Fortunately for Howard, he has helped to inspire some people actually foolish (crazy???) enough to take up the occupation that is today known as a “diatonic harmonica technician” (and was formerly known as a “foolish dreamer”). Trust me, these people will stop at nothing to see that Howard will continue to get the finest hand-made harmonicas available. You can expect that he will get many more new musical ideas, and will face many more challenges, and will probably end up sprouting a THIRD brain. Of course, there will always be some sort of problem that needs to be overcome, but as my mother always says, “Where there is a will, there’s a way.” And, I can sure see plenty of will all around me . . .
Here’s one thing I know about Howard that may or may not be apparent to all: as the quality of his harmonicas increase, so does his desire to push them even further. He could have just been content with what he has already achieved, and just tried to smooth out the rough edges; ironically, if he had only chosen to do so, the present conversations and controversies would most likely not even be taking place. He would, instead of both inspiring and confounding people, most likely be perceived as having perfected his bends and overblows, and many more people would most likely have been compelled to explore this not- so-brave new world. Instead, his insatiable quest for new musical challenges has pushed the instrument and his imagination to the point where the anomalies associated with such radical playing continue to show themselves. He continues in effect to issue the diatonic technicians of the world yet another set of obstacles to overcome, and he again seeds whole new potentials for the instrument that others will take up and extend according to their own imaginations and abilities.
Has he ever been heard pushing the boundaries, yet playing with exquisite tonal colors and flawless technique? Yes, he has. The best example that I have heard was late last summer at Ravinia in Chicago. Howard was featured at a classical concert of Astor Piazzola Tangos. I have to confess to being rather nervous. He had just received a new G harp to use at the show. Would it fail or become temperamental? Would Howard flub a note? Would he be struggling to keep notes in tune? Would he squawk his overblows?
Not even once!!! It was such a stunning performance that I had to fight back tears. The audience (of course) gave a standing ovation. Trust me, nobody who was there cared that he played a diatonic, not a chromatic. The audience heard a great musical performance, and they knew it.
Now, what can the unfortunate harp players that have not been able to inspire their own personal harp techs do? Well, for starters, learn to adjust your own harmonicas. Much of the instability of overblows comes from poor reed adjustment. Great players like Carlos del Junco, Larry Eisenberg, and Randy Singer all do all their own adjustments. Just about all the players in this style know how to do some degree of adjusting. You were able to see it done right before your eyes at the recent Buckeye Festival, and at SPAH ’98 and BHF ’98…
Can it really make a difference? I know numerous people who play well-adjusted harps and find that they are able to maintain a much more stable bent note, and are able to raise and control the pitch on “overblow” and “overdraw” notes comfortably by as much as a half-step or more. I know that I can do it . . . sometimes even tongue-blocking. So, to those that maintain that the overblow has only one (boring) sound quality, or can only be played flat and out of pitch, I maintain that you are just plain misinformed . . .
Do these “new” notes, along with added bending, overblowing, and overdrawing control, mean that the harmonica is evolving into a “new” instrument??? Yes, it sure does. The results are obvious to those who care to pay attention. Players have been inspired by better-playing instruments, and better-playing instruments are being created by people who are inspired by the music. I know that players like Howard, Kim Wilson, and Dennis Gruenling all inspire me beyond words.
Does this evolution mean that this new style and approach will make other styles and players obsolete? Not very likely. In my opinion, not a chance!!!
The first reason is that it is quite difficult to play in this style. Getting a bent note may seem easy to you, but bending notes in tune is definitely an advanced technique. Don’t fool yourself just because you can get a few overblows. The harmonica may be easy to play, but it is no doubt quite difficult to master.
Second, the new style lacks various dimensions of the sound associated with the traditional tongue-blocked style of playing blues and various folk styles in the common modal positions. such as a big warm tone, percussive crunch, generous use of octaves and intervals, tongue switching, and even the more active and careful use of the hands to add resonance and tone. The word “harmonica” comes from the word “harmony,” which means “chord.” It was designed to be a “chordal” instrument. Traditional tongue-blocking blues players know how to milk the maximum amount of sound and tone out of the chords on the instrument. They will always have that advantage over melodic players when playing in the common modes and styles.
Most likely, what we’ll see is that players from the various “schools” will continue to borrow from each other’s styles. You can expect to hear more and more tongue-blockers such as Dennis Gruenling take advantage of non-traditional positions, as he did with his 12th position instrumental “12 O’Clock Jump,” and of overblows, as he did in his tune “Take a Step,” (which are both from his recent Jump Time CD). And you will of course hear more and more “melodic” players using traditional tongue-blocking, as Howard did in the Trio Globo tune “Street Corner” and Carlos del Junco did in his tune “Heaven’s Where You’ll Dwell” from his Big Boy CD.
Some final thoughts on Howard . . .
Howard’s only agenda is to play the music that is welling up in his head on his instrument of choice: the diatonic harmonica. Howard’s dilemma will always be that he hears more than blues and modal music in his head, and is determined to play it on an instrument that wasn’t supposed to have all the notes. Howard’s achievement is that he has been able to figure out how to play all the notes, and take melodic playing to previously unimagined levels, because he BELIEVED he could. Long before the harp techs and admiring public and applause, there was just Howard and this simple folk instrument that talked to him (an accomplished pianist), and he had to figure out how to make the music on it that he heard in his head . . .
Why am I writing this??? Because I want to share my thoughts on these matters. I have committed my life to learning, perfecting, and teaching many aspects of the instrument and the musical styles that are played on it. I am trying to do my part in wiping out as much of the ignorance, prejudice, and limitations surrounding it as I possibly can.
I am not really concerned with turning people on to Howard and his playing style, just trying to educate them to what he is doing and has already done. If you don’t like what you hear coming from his harp or his heart, then hopefully you will not be able to deny his contributions to the advancement of the instrument. I support him mainly because I KNOW that he is a once-in-a-lifetime kind of rare talent, and also because he has pioneered (and is pioneering) a new approach to playing. I just love progress, and am addicted to enabling it to happen as swiftly as I can. I know of NO other player in the entire history of the instrument who has overcome the obstacles that Howard has. He deserves our respect and support.
Respectfully,
Joe Filisko, Joliet, IL
May 1999
Comments
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tookatooka
2881 posts
Apr 01, 2012
2:33 PM
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@tmf714 "currently,that number 1 ranking is held by Glenn Weiser".
It is at the moment and I've had a look at the html source for his website. I can almost guarantee that anyone taking on the traditionalbluesharmonica.com domain name and with a litle bit of help from me with SEO (Search Engine Optimisation) of the website, we could topple Glenn Weiser and sit in that No.1 position on Google in just a few months. I'll do it for free (the SEO bit) and just get a bonus on results. Anyone up for it? Many large companies would pay thousands to be in that position on Google. Once you crack Google all the other search engines fall into line with them.
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timeistight
511 posts
Apr 01, 2012
5:23 PM
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I have no idea what's going on in this thread.
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kudzurunner
3162 posts
Apr 01, 2012
6:36 PM
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Neither do I. But that's a good thing. That's modern. :)
On Monday, July 2, BTW, I'll be joining Joe and his advanced class at Old Town School of Folk Music in Chicago to talk harp. 8 - 10 PM. See a few of you there, I hope!
Last Edited by on Apr 01, 2012 6:39 PM
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Frank
530 posts
Apr 01, 2012
6:42 PM
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I wish my upcoming "colonoscopy" was an April Fools Joke ):
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ReedSqueal
266 posts
Apr 01, 2012
6:48 PM
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@Tooka - assuming you were able to get said domain number one in certain search terms returns, what would you imagine the content for the domain?
Edit: Or are you just saying that if someone were to run with that domain, regardless of content (assuming it is all blues harmonica related, either hobby or commercial purposes) you would be able to assist in the se placement ranking?
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Go ahead and play the blues if it'll make you happy.
-Dan Castellaneta
Last Edited by on Apr 01, 2012 6:59 PM
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tookatooka
2882 posts
Apr 02, 2012
2:08 AM
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@ReedSqueal. The content would obviously need to be traditional blues harmonica related. The content is king. The more interesting the better the ranking. Google rewards sites which gives visitors a rewarding search experience by ranking them well.
Then of course there is the SEO which ensures all the html meta information is in a format that google prefers.
It doesn't have to be a big site. I have some one page sites which are no more than cyber business cards which give all the information a potential customer would need, which are ranked at No.1 on Google, Yahoo, Bing, Ask, etc.
I could help.
Last Edited by on Apr 02, 2012 2:10 AM
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tookatooka
2883 posts
Apr 02, 2012
2:23 AM
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Too late everyone. Someone whose name is M*****l S****r has just bought that domain. Excellent buy.
I dont know if they are on this forum so I won't reveal the name but seems like a big coincidence to me.
My email address is in my account profile if M S is a member of the forum and wants to contact me.
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Stevelegh
448 posts
Apr 02, 2012
3:58 AM
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Adam: It was past midday in the UK when I replied. Does it still count as April Fools?
And yes. You got me good. Ha!
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tookatooka
2886 posts
Apr 02, 2012
1:35 PM
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Traditionalbluesharmonica.com domain name was snapped up yesterday by someone using Go-Daddy Arizona?
If anyone in the UK is tempted the .co.uk domain name is still available. Interested?
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