I was listening to music while working late when I was struck by the beauty and skill of the harp comping on this song. It sometimes enhances the vocals from underneath, but never steps on them, it supports and does not compete with the guitar, and adds a lot to the song in my opinion.
I would be interested to hear some more experienced opinions on the harp work here.
Nice find! Wow. That is some extremely tasty comping--an object lesson in how to do it right. The harp truly serves the vocals. When the harp first enters, you almost can't tell it's harp. In fact, you almost can't tell when it enters. When the harp finally explodes, as it were, in some very fast playing around the 2:00 point, you suddenly realize how much the player has been holding back. But even then, it's not show-offy.
I wonder who the player was. I'm thinking Tommy Morgan, but that's just a quick guess. edited to add: a quick search and I found Norton Buffalo listed.
I'd never heard of Kate Wolf. Sad story: she was born in 1942; died of leukemia in 1986.
Last Edited by kudzurunner on Sep 23, 2014 4:20 AM
Nice Findings. I like both the songs. Being a harmonica player I am a huge fan of blues music. Here I have found a really nice harping on the song nine below zero. Hope you guys like it. http://www.youtube.com/watch?v=zvyAbINkDco
I've always thought of this style of accompanying to be like a violin. The smooth swells and melodic lines could very easily be duplicated by a violin.
Nice example of making sure what you're playing fits PROPERLY within the context of groove and feel plus showing a different side of playing the instrument as well as NOT stepping all over the vocals and everything else. Some of the lines are more like vocal harmony parts.
Norton Buffalo had a long, distinguished career as a studio session player and besides sight reading skills he had, he also had a very important skill set you won't find in an open jam anywhere, and that's the ability to put a muzzle on the ego and make everything you do fit in PROPERLY within context and this is what TRUE versatility as a musician regardless of what the instrument you play happens to be is all about, which also means you gotta put in REAL time into learning all sorts of genres, sub-genres and all of the different grooves and feels are all about, rather than usual people who call themselves versatile who really come under the heading of "jack of all trades, but master of none." ---------- Sincerely, Barbeque Bob Maglinte Boston, MA http://www.barbequebob.com CD available at http://www.cdbaby.com/cd/bbmaglinte
We hear guitar players, keyboardists, and violin players do this all the time. Commonplace no big deal. But it's a big deal when harp player does it. What does that say about harpists?
Amen to what BBQ Bob said. Norton was a great, and an important influence on my playing.** I love playing on this type of thing. Playing around a melody is a very welcome alternative to playing 'blues licks'.
Interesting in that this amount of 'comping' violates some peoples rule of 'never playing on top of the vocals'. To me it comes closer to what I call 'weaving' and is more important & central in this piece than traditional comping would be. At times I like to do it with other lead players as well as around vocals.
** NB's influence heard on this one (I've linked to before I think)
Last Edited by bonedog569 on Sep 23, 2014 1:20 PM
I listened, and liked the playing. But as accompaniment, I thought there was a bit too much playing, and therefore seemed like a "guest star" appearance rather than staying in a strictly supporting role. Just my opinion. ----------
Find this really exemplary playing from NB. Yes, he is well heard at times but nicely placed in the mix, and with consistently good note choices. I have to disagree with mrso&so, this is how it should be done.
Beautiful song and I love Norton, his acoustic tone is my favorate. I wish he was discussed more on this forum. I know he was endorsed by Huang, but does anyone know what he played before that? I think it was golden melodys
This is a lovely song and Kate Wolf's singing is lovely as well, clear , plaintive, dignified in the meloncholy. Norton Buffalo's solo reminds me of the great loss we had with his his passing. At his best, which was often, he was a seamless tapestry of American music, from blues, folk, country and blue grass, swing , rock and roll; he was tasty, fast, melodic, subtle and surprising in what he would do. ---------- ---- ted-burke.com tburke4@san.rr.com
I was lucky enough to see Norton on his final tour with his original project, which was totally musical and more folk oriented, at a little Church that promotes this type of music.
All I can say is that Norton made beautiful music with beautiful tone when he wasn't doin' the blues thang. His chrom playing is especially outstanding.
The music reflected the man's internal spirit, which is surely missed in today's violent world. ---------- The Iceman
