The "big tone" thread has me thinking about all the other ways that blues harmonica players can be great. Big tone is one way, but many of the players I love are characterized by other things. In fact, some of the greatest are charaterized by the opposite of big tone. They've got thin, edgy, cutting tone: tone that gets under your skin and makes you as crazy as they are.
Here are a couple of nominations. First, Big Walter. For my money, "Blues in the Morning" sets the standard not just for crazy/edgy/cutting, but for one of the swingiest harmonica cuts on record:
Then Sonny Boy:
Paul deLay does some truly crazy stuff in his solo here:
Billy Gibson is another. His very long solo may seem like a one-riff trick, but he messes with time AND timbre, thinning it out at various points. Lots of edgy treble here:
Sugar Blue is obviously a prime candidate. Heavy overdrive, lots of treble. Listen to the cadenza starting around 7:00. That is new-millennium blues harp:
I'm looking for harmonica equivalents to Albert Collins and Albert King. Collins in particular has that "icy" sound. I wish more harp players tried for it. Especially in the second video, he's got the crazy notes:
Last Edited by kudzurunner on Apr 03, 2013 9:26 AM
Mark Ford and Andy Just would fit the bill. I would have listed every single one you did as well, Adam.
If you listen to Suzie Cracks The Whip, Straight On Till Morning, or four by Blues Traveler, John Popper gets some very interesting overdrive sounds. I wouldn't call them thin so much as fuzzy.
I guess I wouldn't call Mark or Andy thin either, they just have a different sound. Some guys like sharp tones - relatively dry, very dynamic and crunchy. Other guys like really warm and muted. I actually think the more dynamic sounds are THICKER.
We say a tone is "thick" when it is generally really warm and keyed in on muddy bass frequencies. Often, they are created with compressed mics that offer a limited range of frequencies. To me, that is thin...it is a small sliver of the sonic spectrum and offers limited dynamics from the gear relative to a more dynamic mic. I don't mean that with a negative connotation by any means. In fact, it often sounds really cool.
If you listen to Andy Just on the Butterfield tribute, he has a very dry crunch going that has a lot of bite and presence. However, there is also a really clear and powerful bottom end. That tone offers a wider range of frequency response, and to some extent, dynamics. THAT is thick...or maybe wide?
What also clouds this is technique. Some will refute and say that thick tone stems from tongue blocking techniques. That isn't a fair comparison to single note playing regardless of embochure. Chords are "fatter" than single notes...same is true on an instrument like guitar.
IMO, what is typically, and incorrectly described as thick amped tone (fat is a better word, maybe) relative to the gear and NOT just technique of the player occupies sonic space that competes too much with bass, keys, and the bass drum.
I like the harmonic and overdrive punch that puts the harp between the vocals and guitar. Think of a punchy tweed Princeton tone. ---------- Mantra Customized Harmonicas My Website
Last Edited by HarpNinja on Apr 03, 2013 9:16 AM
Speaking of acoustic Sonny Terry Agree about John Popper, Mark Ford, Jason Ricci, Sugar Blue. I like high frequencies and in general I like wide spectrum fat low end, nice mids (possible with some scooped muddines) and bright highs. I like fuzz like overdrive but I also like dynamics. For my taste perfect tone is fat clean when played cupped and soft, aggressive distorted when played loud. ---------- Excuse my bad English. Click on my photo or my username for my music.
Last Edited by boris_plotnikov on Apr 03, 2013 9:45 AM
harmonicanick. I am not American (I am Ausnadian or Cantralian) and I suspect boris isn't either. I and I'm sure the others would be happy to listen to some of the many different players you allude to, if you point me in the right direction...
@harmonicanick -- you just threw down the gauntlet! Enlighten an American :-) ---------- Go ahead and play the blues if it'll make you happy. -Dan Castellaneta
All good Rick, and I listen to them all the time, but where is the new ground, where are we going, we don't want to go backwards, but we will nod to those pioneers.
What is tomorrows blues? That's what I am going for with my band.
Forget what is present and past (well use that as well) and find a different path
I think I am talking a load of bollox but I think I mean it:)
@harmonicanick - You're on! (As long as you're buying the pints) Now all I need to do is take a trip across the pond. ---------- Go ahead and play the blues if it'll make you happy. -Dan Castellaneta
Somehow I had a feeling Adam with mention Billie Gibson in Polk Salad Annie. Too bad the audio sucked in that vid. Billy's Live at Rum Boogie Cafe Polk Salad Annie is a smokin' version!
--- I'll throw my hat in the ring with Studebaker John:
---------- Go ahead and play the blues if it'll make you happy. -Dan Castellaneta
Last Edited by ReedSqueal on Apr 03, 2013 3:57 PM
"high frequencies" "fat bottom end" "nice mids". Sorry, I'm not making fun, but this makes me laugh, because here in Brecon South Wales, we don't seem to have anyone who can so much manage a bend, never mind a decent tone. I was at a gig at my local theatre the other night, and there was a seven piece blues band, and the Troggs. Neither had a harmonica player who could play in a way that wasn't excruciatingly bad. I payed £15 to get in for that.
@harmonicanick: If something's missing, please supply it rather than criticizing those of us who are trying to share enthusiasms.
I'll help out: Igor Flach. He's a player with a huge acoustic tone on low harps AND a crazy/edgy passion-filled sound on very high harps. I believe (although I haven't pulled out a harp to check) that he's playing a high G harp here:
Jerry Boogie McCain had some pretty wack tone. He really varies it up. Nevr know if it's going to sound like a sax, or a crunchy guitar vamping or a trumpet. Or straight up harp. -Bob ---------- http://www.facebook.com/home.php?ref=home#!/pages/Bourbon-Bleach/161722307208585
I'll throw down a vote for Billy Gibson. Saw him play at Rum Boogie's in Memphis and he smoked the notes. He was nice enough to invite me to sit in. Most of my table mates thought I was nuts wanting to follow him after he just got through torching a song. Got a standing ovation for just having the guts to do so. ---------- Ricky B http://www.bushdogblues.blogspot.com RIVER BOTTOM BLUES--crime novel for blues fans available at Amazon/B&N and my blog THE DEVIL'S BLUES--ditto
Hahahahahaha - Jason your kindness precedes your loving nature...If I ruled - It would be the law of the land Jason Ricci's music be played on radio stations around the world and you would be the Star you deserve too be - To many great musicians don't get their due recognition...I hope and Pray you do someday! I would also declare as ruler that everyone must adopt a cat and give it a loving home, Amen :)
Mooncat is the obvious answer, isn't it? I had just started playing when I heard his Afro Blue and that just blew me away! Jimmy Reed and Howlin' Wolf are two gentlemen that had a very non-fat but cool tone that are just authentic blues! IMHO.
And for crazy and wild; a very cool sound and tone from another MBH:er: Boris! Edgy!
Pistolcat Thanks! BTW bunch of post-processing on the video. Anyway I get Electrovoice N/D967 which is much better for me. ---------- Excuse my bad English. Click on my photo or my username for my music.
they all play marine bands that sounds like a special 20 i am out of guesses the only other person that i know that can play like that is david barrett, ---------- tipjar
