I remember hearing this song seems like 10 years ago and how enjoyable it was to listen to...Brings back memories, terrific cover, singing and playing.
For all those folks who think Jason is just a speed player that don't play "real blues" They need to give this a listen. The boy be ooozzzzzing soul right here y'll. Can I getta Amen brudda !?!
Paul Butterfield, the blues harmonica innovator who set the standard for what Adam calls Modern Blues Harmonica, was derided by many purists back in the day as being merely a flashy "speed player". Butter has passed the test of time and now his style and innovations are regarded as milestones in the development of the instrument. Jason , I think, will be regarded by a larger audience as one of the greats , when everyone realizes that what makes the difference isn't being able to play fast and fluid, but being able to think musically in a rapid and melodic manner. The results are in the playing, as Jason shows here on his long solo; this is the perfect blend of a higher quality Blues Traveler motif and folk music, jazzy yet unburdened by big city stress. A master at work. ---------- Ted Burke http://youtube.com/watch?v=-VPUDjK-ibQ&feature=relmfu ted-burke.com
i was watching a SRV concert tape the other day, and he comes out wearing a feathered hat and very flashy clothing, he plays very technical and fast and flashy and first response is who is this show off??? then listen for a few minutes and it is holy crap, he walks the walk (ok i knew that before but hey...). We all know players who are technically flashy but that is all the depth there. When Jason plays, I get the feeling that the technical ability is just allowing him to get something out that has to get out.. like he can't help it. This song is great because it slows things down to the point that we can really listen to his technique, note choice, and feel the soul of his playing
After reading all the kudos on this song on two lists, I gave it a listen.
A few nice ideas. However, it feels to me like the harmonica is disconnected from the song, singer and guitar. Perhaps the track was recorded and sent to Jason for a harmonica part overdub?
I don't get an organic "one-ness" to the whole track.
If you're interested in hearing more of Jason playing in the same vein as above check out this link for Heidi and the EL Cats. http://www.reverbnation.com/artist/artist_songs/214017 ie Louisianna,Heidi's sweet song and others. If you want to purchase cd's or mp3's check this link http://www.reverbnation.com/store/store_for_song/783137 I'm pretty sure that's Jason playing a great solo on Ode to Billy Joe!
I can't believe anyone would think that Jason's harp work does not fit the song. Try playing the fills yourself. NOT easy. Seriouslu, come up with something better. I'd be happy to eat my words. I bet if you did not know it was Jason you would find it fabulous. What do you want... a bunch of whole notes, octaves, and tongue slaps? It aint Chicago blues.
This tells me you are just listening....not opening up and letting the music in without regard to anything else.
SRV chose his clothes based on what he liked and enjoyed wearing. It was NOT a stage costume. He wore his same clothes to the mall, out to eat, or whatever.
Everyone approaches music from their own unique perspective. Mine is college education in music, 30 years of playing and arranging and a thorough study of Miles Davis.
My approach is musical lines mostly, w/the Chicago tongue slap, octaves, etc a secondary consideration and only in appropriate songs, of which this is not one of them.
To my ears, there are some good ideas and a lot of meandering. The harmonica doesn't seem to wrap itself around this particular song in any musically logical sense. If I did not know it was Jason, I would feel the same way.
btw, I am open to the full spectrum of music.
I'm glad you are in love with Jason and his playing in this song and I have no problem with the way SRV dresses. (I just wish all those guitar slingers didn't try to copy his wardrobe).
@littoral
I believe it was Todd Parrott who did Amazing Grace. ---------- The Iceman
Last Edited by on Aug 27, 2012 7:45 AM
Great song. Great 12th position playing. Keep in mind that the song was recorded many, many years ago and is more of a compilation of Jason playing with several different artists. It very well could have been overdubbed; several tracks on this record gave me that impression, but I don't enjoy it any less for this reason.
The entire "Her Satanic Majesty" album changed the way I approached harmonica playing for the better. I would say everyone should own it, but good luck because it's out of print.
harpdude, easy, It's just an opinion. This is a bit much: "I bet if you did not know it was Jason you would find it fabulous.". That's weak. I've been studying JR for years because he is, no doubt, amazing, but I very rarely choose him when I want to hear music. If I love the line but cringe at the note that is supposed to work because 5 others "set it up" (or apologize for it) then my ears aren't interested anymore. Again, my opinion, but it is a very experienced one. I don't expect any resolution here but I wouldn't mind continuing a rational conversation. Respect for JR is essential, I think he's an amazing person and player.
Last Edited by on Aug 27, 2012 9:18 AM
Ice... "Everyone approaches music from their own unique perspective. Mine is college education in music, 30 years of playing and arranging and a thorough study of Miles Davis."
My perspective is from being raised on Doc Watson,WIllie and Waylon...getting stoned as a teen and rocking out to ZZ Top and Hank Jr. So, I am not nearly as qualified as you are, but..I feel the harp in this piece and think it is excellent.
Am I in love with Jason? Maybe his harmonica work. I'm in love with my wife.
Lit...maybe I was harsh..but I have found people who do not prefer Jason's music because of his lifestyle and personal issues. I just hear the music.
Iceman- I hear where you're coming from with the disconnected comment. I know very few players that would even attempt this song. Since I greatly respect your talent,I'd like your input on how you would approach this song.
No one ever criticized the fact that you like the harmonica playing in this tune. Everyone is free to like what they like, or dislike what they dislike, without trying to compare qualifications. If you have a heartbeat, you are qualified to decide what you like however you want to.
Tuckster: Interesting question, so I will try to give you a glimpse into my own personal creative process.
This song is pretty static for the most part, alternating between the IV chord and I chord. This in itself can be a challenge. There is that one interesting small chorus or bridge section in which new chords are introduced. Pay close attention to this new harmonic direction, brief as it might be.
I always start with the melody of the song - getting inside the notes used in that very basic melodic line.
Next would be exploring permutations, not straying too far from the melody to the point where it loses its connection to the song. (See the melodic line in one's minds eye - all the notes strung out like pearls).
From here, start to fragment the melody or take a piece of it to see where it leads. (Perhaps visiting a memory bank of melodic lines of other Led Zeppelin songs to see if any might be worked into ideas to use would be fun - this keeps a bit of connection to the song/artist going, albeit a slightly more obtuse one).
Finally, discovering what new melodic line might develop mixing all the above.
Keep in mind that all this is in preparation for laying down a track - my homework. It would give an outline or basis to work from when the time comes to record or perform.
The intro would remain somewhat close to the melody or a variation on it. This introduces the actual song to the ears of the listener and gives it cohesiveness. (A lot of impression is made within the first 20 seconds of a song). Timing the ideas so that at the end of the intro there would be a nice transition to the vocal works well, a dovetail type approach.
Fills between the vocals would stay simple and be created to enhance the vocal line or create a type of attachment to it - for instance, echoing the last part of the vocal line even while the singer sustains her last note. Sometimes creating a harmony to the vocal line (paying close attention to how the singer phrases and matching it) is very effective, or perhaps a counter melody, as long as it doesn't interfere or fracture the melodic line as it is being sung.
A solo in the middle would call upon all my preparations stated above.
I tend to enjoy starting with shorter ideas with pauses - like a singer will breathe between phrases - building a solo and going for longer and longer lines as it develops, always keeping one eye out for the end point to make sure to wind down appropriately when the time comes.
It makes sense to spend a little quality time exploring a song from its melodic line, understanding the chord changes, seeing how one is born of the other and how they are attached and also how to fracture them apart to discover new directions.
As I've stated many times, all of this can be found within the music of Miles Davis. He was a master at choosing notes - sometimes redefining a song by changing a note or two in the original melodic line.
A lot of composers are pretty picky about someone messin' with their ideas - however, a few were turned on by how Miles changed their melodic line and even commented on how they wish they'd thought of it that way.
Miles would ask his side men to bring their ideas or sketches to recording sessions. He would examine them and start to eliminate notes or chord changes to get to some deeper understanding of the music - more of the bare bones - ending up with amazing results. Joe Zawinul comes to mind with his tune "In A Silent Way" which Miles totally reworked and simplified into a thing of beauty.
This seems to be the missing piece in so many harmonica players approach. Most just like to show off their technique or fast note approach, kinda like "dig me - I'm playing in this song" rather than "dig the song and hear how I support the music". ---------- The Iceman
Iceman your 3:34 post was PERFECT! Boy I wish I was more computer savy and could paste that to an Email! I have a band mate that needs to read the part about Miles Davis! That is so true about people making songs complicted trying to impress themselves and everyone else. Instead of mapping a song out so that you can move freely and have time and space to say what you want and set up chord changes. It's not how many notes you play! It's how you play and put them together! Very good post Iceman!
Some good observations, but the written word can only clarify so much when were talking MUSICAL APPROACHES.
Eventually the words can fall rather short in specifying what a writer actually means and wants to convey, musically speaking.
An audible demonstration is key for many to FULLY appreciate the suggestions of someone, and if a video can be used it will be that much more effective.
Just a 1 min playing example of what someone is trying to communicate would suffice in helping us experience a more profound understanding of the advise given.
So far this version seems to be the definitive one!...
"Ask yourself whether the dream of heaven and greatness should be waiting for us in our graves--or whether it should be ours here and now and on this earth."-AR ---------- Sun, sun, sun Burn, burn, burn Soon, soon, soon Moon, moon, moon
"The alleged short-cut to knowledge, which is faith, is only a short circuit destroying themind" -AR ---------- Sun, sun, sun Burn, burn, burn Soon, soon, soon Moon, moon, moon
Faith is thewors curse of mankind, as theexact antithesis and enemy of thought. ---------- Sun, sun, sun Burn, burn, burn Soon, soon, soon Moon, moon, moon
I just smell coffee in the morning and it's hello teddy the terd- hahahahahahaha...
The problem that going around the mountain can create - is, you always end up where you left off and usually none the better for it. The proverbial unproductive cycle of spending 365 days of remaining the same ole, same ole!
Come New years Eve you look at yourself in the mirror and realize you had already been around that mountain one to many times - so yes, it appears easier, but at what price?
@ Frank That must be what my Father meant by "you'd run around a tree twice boy and get lost"? Now I'm grown up and running around mountains. Now I know how Forest Gump felt!
I don't have a problem with the harp playing but rather with the over-simplified guitar playing of this song. Where are the arpeggios ? Where is the bridge ?
The singing is not great either, good voice but rather monotonous (is this the correct word ?).
I like the idea of taking Classic Rock songs and playing them in a Duo Bluesy context. I met one guy and we did Purple Haze, a couple Credence Clear Water songs. I don't remember them all, but It's a great idea to play this type of material for getting gigs! I've always tried playing blues in a more lively manner thinking it's the same thing. It isn't! People want to hear songs they know. If they can relate to what your doing they will enjoy it more! I think for the most part when you hear people do this kind of stuff the guitar parts are going to be simple because he has to hold a grove. He becomes the the rythem section.
Back to the "goin to California" song -- There should of been more pictures added to the video, what's up wit dat?
Last Edited by on Aug 29, 2012 9:39 AM
So to recap we started with Jason and classic Zep, slow vs fast, soul, Butter, influences, cloths, SRV, Miles, Todd, musical approaches, mysticism, faith, coffee, toilet humour, guitar and Forest Gump.
I think we are approaching classic status with this one.
