I've been thinking that Carey Bell, much as I like him, may not quite deserve his spot in the Second-10 list on my All-Time Greats page.
My question is, who should take his place?
For the sake of argument, let's stipulate that we're not swapping somebody out of the Top-10. And let's assume that the player who we're swapping into the Second-10 probably shows up on the Honorable Mention list below. You get one choice, not two or three. Who do you swap in? Please feel free to contribute as unregistered "guest" or under the guise of a new name. Just take it seriously, and don't contribute more than one name. Please supply a reason or a rationale, however brief.
And of course please feel free to suggest a player who is NOT on the list below, if you think I've missed somebody essential.
Here's the list:
Jazz Gillum, Lyndon Anderson, T. C. Carr, Forest City Joe, Charlie Sayles, Igor Flach, Phil Wiggins, R.J. Mischo, Gary Primich, Nat Riddles, Billy Gibson, Billy Boy Arnold, Jerry Portnoy, Dr. Isaiah Ross, Paul Harrington, Mark Hummel, Jason Ricci, Lee Sankey, Rod Piazza, Wade Schuman, Annie Raines, Chris Turner, D.W. Gill, Jean-Jacques Milteau, John Popper, Carlos del Junco, Paul Oscher, Rick Estrin, John Mayall, Steve Guyger, Rob Paparozzi, Dennis Gruenling, Curtis Salgado, Greg Szlap, Ben Bouman, Jon Gindick, Madcat Ruth, Joe Filisko, Wayne Rainey, Frank Frost, Slim Harpo, Doug Jay, Jerry McCain, Snooky Prior, William Clarke, Wallace Coleman, Johnny Dyer, John Nemeth, Rock Bottom, Mark Wenner, Richard Sleigh, Jimi Lee, Juke Logan, Sugar Ray Norcia, Pierre Beauregard, James Harman, Son of Dave, Richard "King Biscuit Boy" Newell, Fingers Taylor, Hammie Nixon, Bill Dicey, Sam Myers, Mitch Kashmar, Norton Buffalo, Billy Bizor, Little Sammy Davis, Steve Baker, Lester Butler, Junior Parker, John Hammond, Jr., Taj Mahal, Pat Ramsey, Paul Reddick, Grant Dermody, Paul Lamb, Gary Smith, Keith Dunn, Mark Ford.
Edited to read: Actually, please feel to suggest up to three players who, as you see it, deserve serious consideration.
This is all, of course, a game, but it's not a trivial game.
Please take a moment to look at the criteria of selection that I've listed near the top of the page, too. Is the player you've selected soulful enough? Influential enough? Technically gifted enough? Clearly a part of an evolving tradition? Etc. It's up to you to decide which of those things you rate most highly, and that's why this isn't a trivial game.
Good game for an incoming full moon, actually.
Please be civil, boys.
Last Edited by on Feb 27, 2010 8:09 PM
My top pick would be William Clarke. Even in the middle of a conversation,if he came on the radio,my ears perk up and I quit talking. I love his tone and he really had a unique way of phrasing.Plus I'm a sucker for harpers that listen to horn players.Love his voice,too.
EDIT:I chose to leave out the living and let the next generation decide on them.
Last Edited by on Feb 27, 2010 8:42 PM
I always had the utmost respect for -Billy Bizor- despite that his recordings are few are far between. I think -Slim Harpo- would be an other good choice.
carey bell gets no love.id rate him above jr wells as alltime great.I just dont get jr wells as a great harp player.
Last Edited by on Feb 27, 2010 8:27 PM
I have three main names for me (in order). Howard Levy (best player in the world, he makes a revolution), Jason Ricci, John Popper, in the other hand, I don't interested in most people in top tens.
Junior Wells, he sings much better than plays harmonica, poor technique and weak tone, although influential (the most influentual player is Bob Dylan then), or George “Harmonica” Smith who didn't have a style really, good, but nothing special for me (he is here for chromatic playing?), Jimmy Reed has poor technique and weak tone. I've listend to some Billy Branch, and I don't remember something really special,good, but not special.
Like Tukster, I 2nd William Clarke! He will most definitely go down in history as one of the Harp Greats! Awesome Player! Awesome Tone! Awesome Live Show! I'm so fortunate to have experienced one of his shows! WOW!!....
---------- The best harmonica one can own, is the one you love to spit on!
I love Carey Bell as well...but if I had to pick three others it would be - William Clark, James Harman, Jimi Lee. ---------- Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art. - Charlie Parker
im not sure i understand what the question is. if its some one thats not in that list that we think should be added? i dont see david barret in there. ----------
Considering that Carey Bell was recognized by many of his peers as a great player who had influenced a lot of people and that he contributed a pretty sizable and quality discography, I wouldn't think he needs to be replaced.
I don't believe that anyone in the list of players you presented were more influential or better than Carey Bell. He had tone, technique and a delivery that was very unique. You can recognize his playing instantly!
I wrote a decent response and accidentally deleted it, ooops.
You're going to get a lot of responses, lol. I'm curious why you suggest going back on Carey Bell? Not that I know much of his music... I got the album he did with Big Walter Horton and that is all.
My alternative choices would be:
1. William Clarke 2. Slim Harpo
I'm not sure any explanation is needed both of these guys influenced the playing of most of the guys on the honorable list. Both are guys that inspire me.
There's a number of guys on the honorable mention list that, even though great, don't belong on the top 20 in my opinion.
---------- ~Ryan
"I play the harmonica. The only way I can play is if I get my car going really fast, and stick it out the window." - Stephen Wright
Pennsylvania - H.A.R.P. (Harmonica Association 'Round Philly)
Richard Hunter can do some amazing and magical things with our little instrument. Since I first heard him, he has been #1 in my book, head and shoulders above all others.
I have also long sung the praises of Jim Fitting, though after finally listening to all the lyrics of his "Harmonica Joe" I wonder if he's a bit pompous. That doesn't change how talented he is, though, so...
And since you're allowing three, I'll throw support behind Slim Harpo...
Totally unique sound, definitely influenced many, and brought an edgy rock approach to blues harp, totally valid, like an illegitimate son coming home to raise some hell. He expanded the reach of harmonica and the blues. ---------- http://www.youtube.com/1shanester
Some people have mentioned Paul Butterfield. He is already in the top 10 list. I think this exercise is to replace Cary Bell on the "B" list. (second best 10) ---------- www.Youtube.com/Jaybird33066
Last Edited by on Feb 28, 2010 4:28 AM
1. Sam Meyers- as much his singing as harp playing, but its the combination that makes the difference. 2. Duster Bennett- one of a kind take on blues that has no rivals. 3. William Clarke- lived the life and it shows in his music.
All three have a distinctive sound that sets them apart. ---------- Ozark Rich
Yeah I second Duster. Unique sound and a hell of a singer. Of all the new finds that Adam has posted here Duster has got to be my favorite.
I would like to add my old teacher Adam Norton as well. I know you won't have heard him but I'll speak to his old band mates and ask if I can post a few songs from their album on Youtube.
Giles king is another great player that should be on the list.
I think Jason Ricci belongs in the Second-10 list. His playing might not influence the older players, be he is FOR SURE influencing ALL younger players.
1. Johnny Woods. Can't find a lot of recorded music, but on the sake of that album he made with Fred Mc Dowell ("Mama Thinks I'm Crazy"), and of other recordings, alone or with RL Burnside, he's one of my favorites.
2. Brendan Power. Fantastic player in my definition, doesn't play the blues mainly, but plays it great. Check the album "Two Trains Running", for me it's a must !
3. Jason Ricci. He definitely has his own style and sound, and he brings harp playing in new territories.
1) This is about players who are known specifically as BLUES harmonica players. Players who are known primarily for jazz, world music, and other forms--such as Howard Levy, Stevie Wonder, etc.--are not up for consideration here. Howard and Stevie, as I note on the All-Time Greats page, would be diminished by including them on a list of top blues harmonica players. They are Top-10 ALL-TIME HARMONICA players, period. That's a different list; a different game. Charlie McCoy probably makes the same all-time list; I'm sure some would call him the greatest country harmonica player of all time. Different list; different game.
2) Brendan Power, Chris Michalek, and Richard Hunter, are all fantastic players. They're not primarily known as blues players. John Popper, even though he's in a band called Blues Traveler, seems tangential to blues harmonica--although he's certainly in the running, as I see it, for the All-Time HARMONICA list as a pioneer and technical wizard in the field of rock/pop harmonica.
3) Butterfield is in the Top-10
I welcome all contributions, but before you make them, take another look--or a first look--at the evaluative criteria that I spell out in detail on the webpage in question:
One criterion, apart from the idea that the player should be known primarily for his (or her) blues playing, is that you should be able to summon up three representative cuts that, if played for an objective panel, would stand as somehow representative. I'm not saying that all of us can instantly name those cuts. I'm just saying that it's a good exercise and a way of beginning to make the whole process slightly more rational. (It's clear, for example, that "Juke" would be one of Little Walter's three cuts, as "Creeper Creeps Again" might be on Cotton's list and "Down at Antone's" might be on Kim Wilson's. "Thunky Fing" would be on mine. Showpiece harp instrumentals. Not the only category of important recorded evidence, but surely one category." Originality, soulfulness, technical mastery and/or innovation, etc.)
Billy Branch shows up on the Second-10 list for several reasons. He is clearly the inheritor of the Chicago tradition; he studied with, recorded with, and gigged with greats like Cotton, Wells, etc.; he swings extremely hard (listen to his version of "Juke" from 1982) and has no technical limitations within his chosen blues idiom; he's modernized the Chicago sound by using solid-state amps and various sorts of pedals. I'm not sure how influential he's been. Slim Harpo has certainly been influential as a performer, but I sense that his influence owes more to his vocals than to his harp style. I find him limited in scope AND technically limited, although he's got a very distinctive sound.
Last Edited by on Feb 28, 2010 5:53 AM
After reading the list a couple of times thinking my eyes may be decieving me since I just woke up I,m surprized to see that Kim Wilson isn,t mentioned on the list,as well as someone that did a song called Whammer Jammer.Very influential in bringing harp to the mainstream,when as for blues go brought this great instrument to the crappy repititous same old,same old FM radio stations.Kims style and work that he did with the T-Birds turned many a listener onto so many different blues artist in a modern day music world.Of course I,m talking about in the last 25 to 30 years but without his dedication to keeping the blues alive I don,t think alot of folks would have been turned onto alot of the blues players of the past,via alot of the remakes that they had recorded.And still after all the yrs have gone by he still keeps the ball rolling with his Blues Revue,recording with other artists and his occasional touring with the Birds,He as far as I,m concerned should be on the top of the heap.Great Player,Great Showman and a Whole Lotta Soul.One last comment about The Man is that he,s a real personable gent who will take the time to talk with you and answer any ques. that you might have on music,harp,gear, etc.
@Nite Crawler: Kim Wilson and Magic Dick are in the Second-Ten All-Time list. I agree with you: they're both essential.
Paul Lamb is clearly somebody that deserves serious consideration here. He's currently on the Honorable Mention list, but he strikes me as one of the people that I'd put in contention.
Last Edited by on Feb 28, 2010 6:10 AM
Since nobody seems to be looking at the original Top-10 and Second-Ten lists, I'll post them here. But I'd urge everybody, again, to read through the entire page. I've posted the URL above:
Here, in any case, are my lists. PLEASE NOTE: Within each list, the players are listed in no particular order. I'm simply giving you two groups of wonderful, original, influential, technically skilled, and soulful players, plus a big helping of harmonica excellence beyond that. If you're a beginner, start by familiarizing yourself with the music of the players on the Top-10 list:
TOP-10 ALL-TIME: Little Walter (Jacobs) Big Walter (Horton) James Cotton John Lee “Sonny Boy” Williamson (aka, Sonny Boy I) Rice Miller (aka Sonny Boy Williamson, Sonny Boy II) Sonny Terry Junior Wells Howlin’ Wolf Paul Butterfield George “Harmonica” Smith
SECOND-10 ALL-TIME: Sugar Blue Kim Wilson Jimmy Reed Carey Bell Magic Dick Paul deLay DeFord Bailey Charlie Musselwhite Rev. Dan Smith Billy Branch
For the record, I consider myself extremely lucky to have seen eleven out of the top 20 players live, in person. One danger with these sorts of lists is presentism: a weighting or tilting of the lists in favor of more recent players rather than players of an older generation. That may seem to be less true here, but I suspect that Joe Filisko, asked to name his top-20 all-time players, would invoke the name of at least a couple of other players from the early period.
Please remember that a central question on my mind as I constructed these lists is: Is a player so essential to the tradition, such that, if he (or she) were left out of the Top 20, something crucial would be missing? Or is he merely a terrific player, but not an essential one?
Jimmy Reed isn't fast or flashy; he doesn't have the WTF factor, as Rev. Dan Smith does. Still, his own particularly style of high-note playing has been so hugely influential that it's probably impossible to imagine first-position blues without him.
As I note on the original page, no non-American player currently resides in the Top-20. This is one reason Paul Lamb intrigues me. Of all non-American players, is he the guy who clearly stands heads and shoulders above the rest in terms of technical gifts, soulfulness, influence, originality, etc.? He just might. Some might argue for John Mayall or Igor Flach. Any argument for them would rest on slightly different proportions of the basic criteria.
My Bad,I just rubbed Mr.Sandman from my eyes when reading the post,and jumped the gun.My son had a Winterfest here at the house last night so I was burning the midnight oil.Pops can,t hang like he used to. Thanks for posting the first and second lists,I havn,t heard D.Bailey or Rev.Dan I.ll have to check them out
What should be obvious about my current lists is that none of the West Coast inheritors of George Smith's crown shows up. I strongly suspect that some would take exception to my lists for that reason. And they might be right. So who would you add? And who would you displace?
Remember my caveat: For the time being, the Top-10 list is inviolable. We're arguing about the Second-10 list.
It's also true that no overblower currently sits on these lists.
No non-American player; no West Coast player apart from George Smith; no overblower.
The words "all-time" carry weight--or at least I mean them to. This is all a game, as I say, but it's a non-trivial game that can help all of us think a little more clearly about what greatness as a blues harmonica player actually consists of.
Some kind of extensiveness as a recording artist is probably a requisite.
1. "Blowin' The Family Jewels" from Tip of the Top or Groove Time, but not the Deluxe Edition version 2. "Chasin the Gator" from Serious Intentions 3. "Must be Jelly" from Blowin Like Hell
Also... "Charlies Blues" from Tip of the Top, although I think Musselwhite appears on this tune as well
He stands head and shoulders above the rest in terms of popular recorded material.
Though he may not be the most technically proficient of players, his solos always sound great musically. He plays with energy and feeling and emmmmmmmmmmmm...
Aha! Being british - he didn't have the advantage of being able to learn from any of the blues greats(ala Butterfield).
So there's my blinkered opinion, being a harmonica player for one year today I don't imagine my opinion should count for much but I know what I like, and I likes Mayall :)
You know, Paul Oscher is an excellent blues player, but not particularly influential. Lee Oskar is not a blues player (although he can certainly play blues well enough when he choses to.)
Madcat Ruth is among the very best players on the planet. Maybe not properly classified as purely a blues player, but he is a GREAT blues player and since he's on your list, Madcat is my nominee.
Reasons: Superior musicianship, extreme creativity and originality and no one has any better technical command of the instrument.
@Jaybird: I would have said "Blowin' Like Hell" and "Must Be Jelly," but I've just downloaded "Chasin' the Gator" and you are RIGHT. Exceptional cut! He shows how hard it is, in some sense, to transcend the huge and mighty influence of Little Walter--but he DOES transcend LW in several ways. WC's tone is distinctive and recognizable, and he keeps attacking the bar lines like a jazzman, playing with the 12-bar form. At 2:28 and again, at 2:48, he reaches down for inspiration and comes up with something amazing. Thanks for the recommendation. You've added to my knowledge.
Last Edited by on Feb 28, 2010 6:47 AM
William Clarke, William Clarke, WILLIAM CLARKE!!!!
Between his huge frame and the immense sounds he coaxed out of his harmonica, West Coast blues harmonica virtuoso William Clarke was a giant of the blues.
A full-time blues musician since quitting his job as a machinist in 1987, Clarke regularly toured the U.S. and Europe before his untimely death in 1996. His mix of Chicago blues traditions with West Coast swing placed him at the forefront of contemporary blues harmonica players.
Clarke's harmonica playing, particularly his chromatic work, was simply astonishing. According to the Chicago Sun Times, Clarke was "the most dynamic harp player on the circuit." The Washington Post declared, "Few can match the imposing harp and vocal power of William Clarke."
Clarke was born March 29, 1951 into a blue-collar family in Inglewood, California. While most of his friends were surfing and listening to Beach Boys records, Clarke fell in love with the blues through the early Rolling Stones albums. By age 17 he began following his dream of becoming a bluesman. He befriended blues legends like T-Bone Walker, Eddie "Cleanhead" Vinson, Big Joe Turner, Pee Wee Crayton, Lowell Fulson, Big Mama Thornton, Shakey Jake Harris, and the man who was to become his mentor, ex-Muddy Waters harmonica legend George "Harmonica" Smith. The two performed and recorded together from 1977 until Smith's death in 1983.
Between 1978 and 1988, Clarke recorded and released five self-produced albums all cut on shoestring budgets. He guested on nearly a dozen albums, as a sideman for Smokey Wilson, Shakey Jake, Long Gone Miles and other West Coast blues heavies. While fame eluded him, he built an impressive word-of-mouth reputation, receiving six Blues Music Award nominations (the Grammy of the blues community) despite the fact he hadn't yet had a nationally distributed record.
After Clarke produced his sixth album, he decided to send a tape along to Bruce Iglauer, president of Alligator Records. The explosive, soul-drenched performances caught Iglauer off guard, who said, "I couldn't believe how such a wonderful harp player and such a terrific writer, singer and arranger could have been a secret for so long. I knew we had to sign him." Clarke's Alligator debut, Blowin' Like Hell, was released in 1990. Billboard called the album "a model of what a contemporary blues record should be...strong, soulful tunes, ballsy vocals and refined harmonica."
Suddenly, Clarke and his band were in demand all over the country. They accepted over 250 bookings throughout the United States and Europe in 1991 alone, gaining new fans everywhere they played. In 1991 Clarke won a Blues Music Award for Blues Song Of The Year with his composition Must Be Jelly from Blowin' Like Hell. Clarke's 1992 release, Serious Intentions, earned him the Australian Blues Award for Overseas Blues Album Of The Year. The album was filled with pulsating grooves, swinging shuffles and tasty harmonica playing. The Chicago Reader said, "Shimmering, wild chorded harp playing. He bends notes with the raucous abandon of a Chicago juker...some of the most honest, unpretentious blues being laid today."
Clarke's next album, 1994's Groove Time, earned him widespread critical acclaim. The Los Angeles Daily News called him "a modern day harmonica master." Clarke's mixture of 1950s Chicago blues with West Coast swing and funky jazz riffs brought him accolades from critics and fans alike.
In the last year of his life, Clarke delivered his most ambitious album, The Hard Way, and hit the road with a vengeance. He won the three top Blues Music Awards: Album of the Year, Song of the Year (for Fishing Blues) and Instrumentalist of the Year--Harmonica. Sadly, he didn't live to accept his awards. His death, at 45, robbed the world of a true blues giant. Alligator Records released Deluxe Edition in 1999, featuring songs from Clarke's Alligator recordings -- a fitting tribute to a true giant of the blues.
---------- (this bio was a copy and paste from www.hdtracks.com)
Last Edited by on Feb 28, 2010 7:33 AM
@hvyj: Paul Oscher is a friend of mine and I love his playing, but you may be right. He's an extraordinary conservator of the tradition, but perhaps he hasn't been as influential as others. I don't know his recordings of the past 15 years enough, though, to know whether he's doing something original. I saw him live about 12 years ago, and he did some amazing slow blues, solo. He certainly meets the criterion of being central to the tradition, though. Heck, he played in the Muddy Waters Band and Bill Branch didn't.
Clarke has certainly long been a favorite of mine, and he is on my short-list for elevation.
Madcat is intriguing. Top-20 all-time, though? I'm willing to be convinced. I've seen him live, but I don't know his recordings. He's certainly been around for a long time. I heard his version of "Christopher Columbus" with Darius Brubeck back when I was a pimple-faced 17 year old. Would somebody please suggest a couple of representative cuts that will immediately put him in the running?
Last Edited by on Feb 28, 2010 6:48 AM
You know..after I sent in my response, i was listening to my mp3 player....R. Piazza's "Bad Bad Boy" came on and I thought....geez...where would he be? I guess he would replace James Harman.....It's very hard to limit ...there are so may great ones out there. ---------- Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art. - Charlie Parker
I think this is a great list Adam, as you stated earlier, Howard Levy, Toots Thielman, Brendon Power, Charlie McCoy, Mike Stevens, Buddy Greene, Lee Oskar, Larry Adler and others are all extremely influential players, but they are not known for playing blues. I'm tempted to drop Jason Ricci into that category too, his last few CD's were something more than blues. Speaking of influence, Bob Dylan has had a tremendous impact on millions, I am sure many bought harmonicas after hearing him and are still buying harps because they like his sound. I won't comment on his playing but his influence is undeniable. This is also true of Larry Adler. Larry was very well known not only in symphony circles but also for all of the films he appeared in during the 40's. Maybe it would be good to start a Most Influential List too! Also, how about a list of recent harp greats? (Jay Gant, JD Miller, Sunny Girl, Jimi Lee, etc.)
Last Edited by on Feb 28, 2010 7:26 AM
I would definitely put William Clarke in there. He had his own style. Would also bump Howlin' Wolf right out of the top 20. He's one of the top 5 bluesman, but his harp playing was not in the same class as the others in the top 20 (Great vibrato though!).
Re: Paul Oscher, his depth and quality of tone is exceptional (as was Carey Bell's). I am not as familiar with recordings of the last 15 years as I would like to be, but from those I have heard on satellite radio, he is certainly not one of the harmonica equivalents of an Elvis impersonator (like the guys in the mark Hummel Harmonica Blowout vid). His contemporary stuff seems to have a fresh and creative approach and a depth of original artistic expression. He does things like playing the chromatic through a Leslie speaker (or rotating sound pedal) with a truly haunting effect. There is real original artistry in his playing and his playing is not derivative or imitative at all, although it is very much in the authentic blues tradition.
Re: Madacat, Check out the first Madcat and Kane album, "Key to the Highway" which contains fresh original interpretations of a number of familiar blues standards as well as Madcat's famous interpretation of Dave Brubeck's "Take Five." The album is a tour de force of flawlessly executed blues harmonica technique. NOBODY plays blues harmonica any better than this. The level of his musicianship is superlative, and the his spontaneity of expression is enthralling. And what Madcat plays is not the least bit derivative or imitative--Madcat certainly ain't no copy cat!
That being said, while Madcat has been extremely influential upon harmonica players familiar with his artistry, his recorded output is not that prolific and a lot of the earlier stuff that made his reputation is out of print. But he is an absolute master of the instrument.
As a parenthetical matter, i have always considered Carey Bell to have a distinctive approach and stylistic creativity. Personally, I wouldn't remove him from the list and leave Billy Branch on. But since the harmonica deity kudzurunner has spoken, I dutifully take my place among the minions that humbly offer suggestions for a replacement.
Last Edited by on Mar 01, 2010 4:27 AM
Maybe this is obvious from the things I've written over the past several years, but I think there's a good case to be made that Jason Ricci belongs on the Second-20 list right now and I think the case will be even stronger 10 years from now. I'd probably invoke "Goenophany" and "Down at the Juke" (the remake from BLOOD ON THE TRACKS) as two of the three cuts. Originality; technical bravura; deep knowledge of and extension of the tradition; an immediately recognizable voice; an influential approach. They're all there.
I think in ten years all this will be more apparent, as will Dennis Gruenling's bid--and I won't argue with anybody who categorizes DG right now as list-eligible.
The surprise for me, looking at all this as objectively as possible, is that I found myself thinking that Rod Piazza, for a slightly different set of reasons, also should be on the short list. I'm not particularly a fan of his singing, but he meets every other criterion. He's deeply in the tradition; he's technically gifted; he's got a voice on the instrument that most of us could probably recognize (if not quite as instantly as Ricci, Popper, Sugar Blue, Cotton); he's been hugely influential as shaper of the so-called West Coast sound; he's the inheritor of George Smith's approach; he's put in the years; he's accumulated the recordings. When he veers too close to Little Walter--or simply remakes LW's repertoire in a borderline imitative way--he loses me; but when he takes a song like "Rockin' Robin" and transforms it into rocking blues harmonica, he gets me back. He swings very hard with great energy, or at least he did the handful of times that I caught him at work back in the late 80s and early 90s; that helps give him high marks in the technical category. And he clearly gets very high marks in the "how influential is he" category. He might be the single most influential West Coast player after George Smith.
Last Edited by on Feb 28, 2010 9:06 AM
@Gloth: The first Madcat video doesn't impress me at all. There are fifty other guys alive in the world right now--including me--who can play everything he plays in that video.
The second video does indeed impress me, and this is the Madcat who has made a real contribution to where the harmonica is today.
I'd have to agree with others that both Jr Wells and Howlin' Wolf don't deserve to be in the top 10. While I enjoy both of these, and their contribution to blues in general and subsequent influence is enormous, their harp playing doesn't really stand out.
