I've been mostly a lurker here over the years, but always tried to read the threads where Buddha was posting. I often found them quite interesting, but wasn't always sure when he was pulling people's legs and when he was serious.
I feel bad about asking a question related to his toolkit and seeing things degrade. So I was wondering if people had any memories of particularly powerful teachings that he gave here on MBH.
I couldn't find the exact thread where this happened, but I remember that he once mentioned the Victor Wooten DVD Groove workshop DVD and highly recommended that people listen to it, and change their approach to music. I tracked down the book and read it, and it was interesting but got a little too far out for my taste. I passed it along to my aunt because it seemed like something she would enjoy, and she was deeply moved by it. (She plays piano and works with an upright bass player playing mostly at rest home.) I've subsequently watched the DVD and can see how influential it must have been to Chris. BTW - I think that Chris had recommended the DVD not the book.
Anyways I posted this thread below recently, but will post it again. If anyone recalls any threads that they thought contained powerful/insightful/moving teachings given by Chris here on MBH please post them.
If you're familiar with Wooten's workshop then you'll see the ideas in this thread. I guess along with some Psycho-cybernetics(?) and other ways of approaching a life's work. (Richard Sleigh recently wrote about this book, otherwise I wouldn't be familiar with it.)
Buddha has told me on separate occasions that he sees himself as the same exact kind of person as Wooten when it comes to being a musician.
This is why he highly recommends it. On top of that he expects his students to actually pick up secondary instrument (typically bass guitar or piano) and study Wooten's DVD at the same time.
He believed that it didn't matter if you have no knowledge of music or play a different instrument. He said as long as you're playing music and improvising this is the best instructional video.
Zhin - I remember him discussing his bass playing in some threads. That reminds me - remember this one where he kept his harp playing under wraps, and was going to blow people's minds only to be outed by one of his regular students?
'I said I will treat their ears to the best harp playing in this town. I was laughed at... "good luck"'
One of the best texts I read from Chris was not a teaching, it was a long writing of the story of his life related with harp : how he first began to play, how he learned to customize, playing in school bands, etc. I don't know where it is, he gave a link to that in a topic a long time ago.
I remember that it touched me greatly when I read it, and that's what made me change positively my opinion on him.
Some of it I found ridiculous, some of it I found aggravating, some of it I found challenging, Some of it I found provocative, Some of it I found insightful, Some of it I found enlightening, All of it made me *think* - often quite hard!
It would be false of me to claim any great friendship or closeness. We exchanged a few emails - nothing more - but I have been deeply saddened by his untimely death (we are the same age - even in death he has made me think).
I seem to remember him talking about a book called 'effortless mastery.' I was in the book store yesterday and it was sitting on the shelf, and I thought of him immediately. I picked it up, and couldn't stop reading. An hour later I looked up. The author didn't exactly remind me of myself, but it did remind me of one aspect of my life: In regards to music, sometimes I felt like the priest who didn't believe in god. My life, devoted to music, yet so little music touches and moves me. The author talked about some people 'being full of light,' which also made me think of Chris. I think that is a lesson I take away from Chris' Teachings: The light in your soul is the most important part of the art.
"there is one thing that is common among us Modern Blues Harp players and that is we do not wear underwear."
On a more serious note (and what I was really looking for when I stumbled across the above gem):
"Something to think about, all positions have a sound/flavor to them. If it's minor-ish I almost always pick 3rd. if it's Funky I almost always pick 3rd.
If it's blues or bluesy, I pick between 2nd and 3rd
If it's a jazz blues or smooth jazz like then I pick 11th
If it's major sounding, country, folk or smooth jazz like, I pick 12th.
If it's ethnic, I look to 7th or 8th because most of the notes are bents notes and my vibrato pulses UP instead of down. Sometimes I look to 5th. Some West African styles of music work well in 12th and 2nd. Latin styles work well in 4th. Lots of Asian music works well in 4th but some traditional Chinese music needs 12th.
Classical music is often in 3rd (played major) or 12th depend on the music. Sometimes, 1st when I want really stable notes."
Nice topic. Here's one I found important enough to file away in my MBH wisdom file.
From Buddha in thread http://www.modernbluesharmonica.com/board/board_topic/5560960/621610.htm:
guys,
OBs are nothing more than another note. The intentional use of the OB was around long before the traditional blues stylists ie little walter, sonny boy, big walter et al.
Most people have the notion they are more difficult than regular note or that you're an advanced player if you can pop one out.
This same phenomena can be found with the positions. It seems the higher the number the more difficult the position is ala 11th and 12th position.
What most don't realize is 11th is really just cross harp played in a minor key and 12th is really just 3rd played in a major key.
When you all put in enough time to learn music as a whole and not just traditional harmonica blues you will realize that what I am saying is the truth.
If you want to use them fine. If you don't, fine. At the end of the day, it's your music and I as the listener have the choice to listen or not.
Technique doesn't matter as long as you remain interesting. ----------
I was trying to find one of the posts that "The Gloth" mentioned. I remember some that had some details not in the external post. I stumbled across this posting.
Edited to add - maybe this is the one I was searching for:
"I can see why some people like using them in a blues context, but when it comes to playing jazz, classical, pop, etc and wishing to play chromatically. I can't see why people wouldn't just choose to use a chromatic harmonica instead. "
For me the diatonic is more fluid. There is a certain smoothness and richness that you can't achieve with the chromatic. I used to play chromatic and decided it was too clunky.
Check out this clip. I love Tollak's playing. I think he's a great musician but personally, I think a well played diatonic would sound better.
I think one of the biggest issues with the harmonica is perception and most of it is due to Tommy Morgan. He's one of the best ever on the harmonica but his diatonic skills are lacking and because he's regarded as a harmonica God and so prolific in the session world he has more or less defined the sound of the diatonic harmonica for producers.
I can't tell you how many times, industry pros have commented on my sound "I've never heard anything like that" Then I usually bring up Howard Levy but they haven't heard of him but Tommy Morgan's name almost always comes up.
Awareness is growing and as more producers become aware of the sound of the diatonic in capable hands, the new crop of OB style players will have serious work in the future.
Change the perception of the harmonica guys. Do what you can. Always play your best even when practicing. The landscape is slowly changing and if you want a piece of it, prepare now.
Last Edited by on Dec 21, 2010 9:59 AM
