I'm in the process of writing a feature on modern blues harp for a well-known blues magazine, with contributions from Adam, Jason Ricci and Sugar Blue, among others.
As well as the main piece, I'm including a playlist of 20 essential tracks that embody and illustrate modern blues harmonica.
We all love the old-school classic cuts, but on this occasion I'm looking for tracks that pushed the instrument into a modern realm of playing
Got any strong opinions on tracks that should make the list? Let me know!
Obviously, the names I mentioned will be in there, but selections don't have to be restricted to those players only. Strikes me that Butterfield should have at least one in there, etc.
Although he is not one of my personal favourites, there is a point to be made for including something from Charlie Musselwhites earlier albums, since he was probably the first diatonic player that moved across all three octaves on the instrument. (Most trad blues players stay either in the bottom two; or else in the upper.) That was a considerable step forward. A bit like learning how to use the top E string on a guitar.
All blues harp playing was modern... All great players were innovators. Modern blues is often used as a pretentious term for a certain style of playing that started with paul butterfield. Speed and chromaticism seem key here. Adam and Pat Ramsey and Sugar Blue a first generation. Perhaps your feature can coin a new name for this style :)
This forum can keep its name, as it is geared towards innovation, rather than transferring a certain idiom, although the lack of a name for this style confuses the situation regularly.
You have rap crossover with the late Bad News Brown. I'm also fond of the French act Scarecrow which mixes blues and (French) rap.
From a technical level they are both solid players, but they probably are more on the 'pushing it into territories' end of the spectrum. (Scarecrow seems to have a lot more blues influence as opposed to just harp, but they also feature harp a little less prominently.)
JSin's stuff and Son of Dave both move me. JSin, of course, is less blues, per se. He's got Scandinavian Death Metal harp with Middle Eastern influences. Son of Dave is, well, Son of Dave.
Chinaski: Great question. I dug back into my files and found the beginnings of a manifesto dated 2013. It's nothing but the bare bones. I'm embarrassed to find that I've given myself more representative tracks than anybody else, but that's simply a sign that I didn't get very far. I hope contributors to this thread will supply more.
A few members of the forum, of course, will tell jokes of the "how many modern blues harmonica players" variety.
Q: How many modern blues harmonica players does it take to screw in a lightbulb?
A: One to screw it in, ten of Gussow's sycophants, to say, "That's fantastic!", and one truth-teller--Goldbrick? Jinx?--to insist that the modern stuff is all noise and that Little Walter (and Larry Eisenberg) did it better.
Here's the document, copied and pasted, unabridged. ______________________________________________________
What is the “modern” in Modern Blues Harmonica?
1) Carlos del Junco
2) Sugar Blue (One More Mile, Pontiac Blues)
3) Jason Ricci (Down at the Juke, Mellow Down Easy, Goenophany)
4) Billy Branch (Son of Juke)
5) Hakan Ehn
6) Lyndon Anderson
7) Wade Schuman
8) Adam Gussow (with S&A: Sweet Home Chicago, Don’t Get Around Much Anymore; solo, Crossroads Blues)
9) Brandon O. Bailey (Whammer Jammer, Blues Ball)
10) Son of Dave (Hellhound)
11) Paul Delay
Last Edited by kudzurunner on May 31, 2016 8:17 PM
I'll second the Roly Platt vote. The Tangled Roots album he plays on is full of tasty licks and killer phrasing. His phrasing is up there with the likes of Curtis Salgado and Ronnie Shellist. Another two talents that deserve high praise.
Paul deLay and Carlos Del Junco would be my two choices. Not only playing modern blues harmonica, but also composing original modern music as well. ---------- The Iceman
Goldbrick: It's not an attempt label anything, just a counterpoint to the old-school players that are more often featured in magazines, if they're featured at all.
I'm fully aware how long Butterfield has not been with us but, as he was pivotal in moving the harp into modern blues-rock territory, and as many of today's innovators such as Adam and Jason cite him as a major influence, I believe he warrants inclusion.
Kudzu: Ha! I think you may have pre-empted those jokes nicely there. Thanks for the list, very useful.
Everybody else: Thanks for the suggestions, some great stuff in there. More welcome!
I've recently picked up some things by Studebaker John and the Hawks. "Tell Me Why" is an example. Seems to have an edge that I don't hear in earlier harp blues. ---------- Phil Pennington
The whole album is just Fantastic. His playing and playing style is great. Some very simple note choices, at times, but they work great with the song. They really make me see that you don't have to play fancy all the time. Similar to the concepts that guys like Horton and Rice portray, but with his own unique style. He balances out the simple and complex licks very well. Aswell as the LP runs with the TB effects (slaps, pulls, etc.)
I just can't get enough of this album.
Ill listen to Horton for his style. I listen to Rice for his style. Wolf for his. Cotton has his own. Adam has his own. Ricci has his own.
And i love them all, but ....
Ronnie's really stands out as his own unique sound. I really like his style i just can't say it enough. I think that album is so under rated.
Edit: And I forgot to mention his voice. He is one of the few that has the whole package IMO. So many harp players albums are ruined by subpar or just flat out horrible singing. Ronnie's voice is very nice to listen to. I dunno if i would say hes a fabulous singer (traditionally speaking), but i really enjoy his singing and it really is just icing on the cake. I think it also boils down to your own personal tastes. For instance some other harp players are great singers, but they are just not my taste. So that just kills it for me. It's hard to find a player&singer that i really like. So ... idk. Again ..to me Shellist is just a fantastic "Modern Harp Player" all day long in my book. ----------
Last Edited by Killa_Hertz on Jun 01, 2016 6:58 AM
of or relating to the present or recent times as opposed to the remote past. "the pace of modern life" synonyms: present-day, contemporary, present, current, twenty-first-century, latter-day, modern-day, recent "modern times"
a person who advocates or practices a departure from traditional styles or values.
I think we need to clearly define what we mean by "modern blues harmonica." Does "modern" indicate "contemporary"? I would think that it does not. "Modern" blues harmonica is indicative of stylistic choices. Players playing today, in 2016, might not necessarily fit into the modern blues idiom. I would not call Ronnie Shellist a modern blues harmonica player because so much of his style, phrasing, and licks have straight and clear correlations with classic Chicago blues players. A modern player, I think, is one that pushes the boundaries of the form. Magic Dick and Paul Butterfield are fine examples.
I would argue that there is also a "postmodern" period of blues harmonica. Many of the above examples-- such as Brandon O'Bailey, Jason Ricci, or Scarecrow--fit into the postmodern blues harmonica ideology, where players are reacting to and creating a further iteration of the modern blues harmonica sound.
Many contemporary players such as Big Jon Atkinson, Ali Kumar, Kuki Amar, or Ronnie Shellist all play in a style more indicative of classic Chicago blues. I wouldn't characterize any of them as "modern harmonica players." ---------- Marc Graci YouTube Channel
Last Edited by Mirco on Jun 01, 2016 1:34 PM
The "modern blues" players seem to have a few things in common; weak song writing skills, poor arrangements and heavy on the multiple chorus soloing (displaying various levels taste and technique). Some of its listenable most is tripe. ----------
Last Edited by JInx on Jun 01, 2016 4:00 PM
Jinx ... When's your album comin out Homie? ........ **crickets**
Mirco .... i think If you look at anybodys playing in the right light is all old shit. I mean to dumb it way down and oversimplify the whole thing ... Ricci is just doing Pat Ramseys stuff ... Ramsey was apparently just Charlie McCoy in halftime .... etc.
So idk ... i had a point, it was Goin somewhere .... but i lost it, so anyways. Maybe im talking out my ass, but .... that's nothing new. So... ----------
I just think it's a very weak phase we're going through in the blues, that's all. The last of the great contemporary blues was rl Burnside and paul wine Jones, and they weren't your modern blues ----------
Last Edited by JInx on Jun 01, 2016 6:23 PM
I'm from the school of "you don't have to be a real player in order to have a real opinion", so am willing to listen to Jinx's thoughts without insisting he post his own music. ---------- The Iceman
I'll second the notion that, "you don't have to be a real player in order to have a real opinion".
I think the common perception that "They don't make 'em like they used to" has its roots, not in that things were things done better back then, but in that all the lousy stuff that was not worth saving has been discarded or lost and all we can see is the good stuff. I wonder what we would think of the great old music if we had to listen to it the way it came over the radio, a lot of "tripe" and an occasional gem, the same way contemporary music is presented, before history does it's sorting process for us.
Nah, musical styles come and go. Like fires, they can only blaze so long. We are left in the ashes ----------
Last Edited by JInx on Jun 02, 2016 9:50 AM
Yall missed the point. I'm not going to go into great length in explaining it, if you didnt get it.... whatever.
I Dont Disagree .... Just consider the Source is all I'm saying.
Some peoples mouths just Spew out negative Dog Shit without having any real contribution to anything other than stirring the Pot.
Mostly All of my Statements/Thoughts posted on this forum are there to be challenged. If you disagree with me, change my mind. None of these things i post are firm beliefs, merely thoughts.
People just posting random negative Statements anytime a hint or whiff of "New School" playing comes along, is just annoying And Transparent .... Oh how boring ones life must be.
So much for not going into great length. 8^) ----------
Take baroque music for example. After Bach got done, there really wasn't much left to be said. The man was so badass he practically killed the entire genre. ----------
Paul Butterfield Mark Ford Howard Levy Jonny Mars JJ Milteau Charlie Musselwhite LD Miller Jon Popper Pete Madcat Ruth Jason Ricci Will Scarlett Sugar Blue
In alphabetical order, more or less, players who established the modern era of harmonica player and those who continue to innovate on and extend the possibilities of the instruments. I include Popper, who I do not like as a player. Butterfield and Musselwhite got this whole magilla underway, and their playing remains very influential and very modern, in my estimation.
---------- Ted Burke tburke4@san.rr.com
Last Edited by ted burke on Jun 02, 2016 1:37 PM
Jinx, after reading your "ashes" comment I was thinking along the same lines. We still enjoy Bach and Vivaldi etc, even though music in that style is no longer written. Although I recently heard about a computer program that can compose music in the style of Bach so convincingly that even some experts thought they were hearing a newly discovered work by the composer.
Last Edited by STME58 on Jun 02, 2016 1:42 PM
Lee Oskar would be an excellent addition. When most harmonica players were wearing out their Butterfield impersonations , Oskar applied harp to funk/jazz/Afro Cuban rhythms, with a sense of phrasing and tone unique to the instrument . ---------- Ted Burke tburke4@san.rr.com
Yes indigo. I think that's a great idea. This seems to be a very loose floating concept. So to really discuss it you kinda have to first define it. Everyone seems to have their own angle on it. ----------
The OP says, "I'm looking for tracks that pushed the instrument into a modern realm of playing" so that's even more tricky, as this means innovators through history. That should include the first people to play cross harp, for instance.
Last Edited by MindTheGap on Jun 03, 2016 5:11 AM
I think "modern blues" is a little oxymoronic. It's inherently a tradition bound form. If you try to modernise it too much,it becomes something else.Starting with Butterfield,"modern blues" incorporated elements of rock into the mix.That's not surprizing,as it was a huge influence on an entire generation. Do we have to have such a narrow definition? Someone mentioned Lee Oscar but another said he's not really blues.I think he was an innovator on harp and that's good enough for me. Adam-what do you really mean by "modern blues harmonica? Was it your rail against Little Walter copyists just like saxophonists railed against Charlie Parker copyists? Jason used new techniques along with rock elements to modernize blues but Paul DeLay didn't use any new techniques and still managed to modernize the genre. I think ultimately it's about having a unique approach-your own voice-to bring about something different.
I'm for the category of unique and personal voice on diatonic without the insistence on strictly blues.
whereas a Kim Wilson or Rick Estrin are great players, their style is an extension of the tradition, while a Paul deLay, Carlos or Butterfield are innovators. --------- The Iceman
I have nothing against little walter copiests, other than "that sound" just gets old.
Personally i prefer the more acoustic approach. Horton, Rice Miller, Wolf, etc.
I do like the amped sound. And i Love Walters Playing. But think its just overused maybe. Some guys mix it up. Which i like. Throughout an album they play acoustic, slightly amped, heavy drive and heavy delay/reverb, then maybe a song that plays through an octave pedal like a POG.
Shellist mixes it up quite a bit. Ricci does too. His new CD with JJ Appleton was awsome. I liked hearing him play acoustic.
On a side note, Ricci's First CD is available on cd baby. I haven't bought it yet, but listening to the previews its pretty rough sounding. Lol. I think ill actually get alot out of it by listening to it because most of what hes playing is alot more simple that what most others are playing. So there's probably alot of good techniques and licks in there for someone of my speed to steal. Lol.
Anyways back on track.
I'm far from the authority on blues, but i do agree that modern blues may be a bit of an oxymoron, now that tuckster explained it that way. Think he has some good points. ----------
Iceman-well said about Kim et.al. I have no problem with the traditionalists. If you call it blues,I like it to be "pure".Even those guys have a couple of innovative tunes in their repertoire To complicate it even further,not only do we stand on the shoulders of those who've come before us,we are influenced by the music around us.If Muddy & LW were born in 1950,they'd be very different players. (Perish the thought!).
I've been called a "modern" blues harmonica player over the years, but whether or not I qualify for the designation isn't the point. It's what others hear in the playing and what terms they have handy to name what they're hearing. It's not as if being considered "modern" is something any player I happen to enjoy was striving for as a status symbol; I pretty much prefer players who obviously well versed in the tradition of blues harmonica styles and use the influences as a foundation for their creations,their innovations, something along the lines that you can discern who they were listening to that influenced them, and what they did with those influences. Where it came from and where it's going. The conceit of modernism is that it's an approach that abruptly breaks with the past and creates something wholly new, from pure imagination and force of will, sans influence. This conceit has been modified over the many decades and instead gave rise to the idea of a Living Tradition; a musical form is vital and relevant to emotional states individual and shared because it absorbs and makes its own the temperment and the sounds of the day. I rather like musicians who do this, Sugar Blue, Michael Hill Blues Mob and a very fine blues guitarist/singer/songwriter Tomas Doncker. It is from here I believe a more interesting idea of modern blues harmonica can come, a style emerging from the tradition but one bursting with new ideas on what can be done on the instrument. ---------- Ted Burke tburke4@san.rr.com
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