Not that the previous verses were a breeze but I definitely find this kind of thing challenging. When a phrase stops and leaves a big silence hanging it really draws attention, especially to the last note in the phrase. If it's right, it stands out in a really cool way. If it's not, well, it still stands out :) Getting the ugly sound right ain't as easy as it sounds. All this practice with tongue blocked bends on the 2 and 3-draw, with and without slop, trying to get those brief subtle vibratos in there - it all makes for a great work out.
I am so bummed out to discover that you were right here in Boston and I missed it (I'm about 2 hours west in Northampton MA). I'm hoping to catch you in Maine this summer.
On the other hand, I was totally inspired to resaturate myself in James Cotton music. I've listened to about 100 cuts in the last two days and haven't exhausted all the stuff I have of him with Muddy and on compilations like Harp Attack and Superharps. What a performer.
When you said, "Playing clean, that ain't nothin"" I couldn't agree more. It's really hard to get those 3-hole draw half step bends with the right amount of the 4 hole to consistently sound "right."
One question I have: When you (and Cotton) are playing it sometimes sounds like you're sucking the reeds right out of the harmonica. Are you pulling that hard or is it just getting the right grip on the note? My tongue block on the 2-hole draw has gotten a lot better but it still sounds kind of anemic at times. More energy or more finesse? (or something else?!)
Definitely more finesse - a more focused "grip" on the trajectory of the air is one way I could try and describe it. I have heard that Cotton had a very fierce, physical attack, but I hear a lot of finesse at work creating that impression. That Cotton tribute show was at The Narrows, in Fall River - It was a lot of fun.
Hi Bill, I'm not sure when the documentary might be completed, but it's being made by a legit company called Northern Light Productions, out of Boston. They flew a bunch of us in for interviews and a tribute concert. It was a lot of fun just hangin out with everyone and reminiscing about Cotton.
I'm literally feeling my way forward with this idea. Sometimes you experiment with something that seems to work only to find out later that you're developing a bad habit. This guidance allows me to experiment knowing I'm on the right road.
What you say is very true...so many players develop bad habits on their own or from an "instructor" who deos now know any better and then you get years of bad habits and it becomes more difficult to undo them...Glad you're feeling this out and working on it!! Well done!
You're welcome. The higher the note you are bending the shorter the reed, and also the closer to the front of your mouth that you need to use to bend it.
I'm glad you're doing this piece on the D harp in A. I definitely need work on bending on the higher pitched harps, especially the 3-hole bends. It seems like they need a lighter touch.
They need a different type of touch, not neccessarily lighter, but different. Higher pitched bends are done closer to the front of your embouchure, not back towards your throat.
That's what I want to hear. I'm a slow-and-steady-wins-the-race kinda guy. So just to hone in on this technique, are you alternating between adjacent holes or what?
There are many ways you can vary up any technique, and a tongue trill is no different, but in this case most often I am doing 2-5 draw tongue trill. Tongue trills are usually NOT adjacent holes, which are usually done the "normal" trill way (shaking your head and/or hands), though they can be done with the tongue as well. But also keep in mind, they are also not "clean" tongue trills, so the notes 2 & 5 are not super clean and precise, meaning that I am bleeding in some of the adjacent notes to get more texture and a more chord-like sound.
Hi - for clarification, a "trill" is a quick alternating of two different notes (such as the common 4-5 draw trill) so a tongue trill is not on & off (vamping a chord against a single note), a tongue trill is alternating two notes separated by your tongue...in other words, a tongue trill is a side-to-side movement, whereas a vamp would be on/off with the tongue.
Articulation of the chord is usually similar to a "tut" if you want it sharp and clear.
Thanks, I love working with this groove, and working with just a I-chord track is so important and can be LOTS of fun!!
Thanks for this series Rick. It's really given me some new tools for keeping the groove, especially playing solo. I'll be working on many parts of this going forward. And enjoying every minute.
Yes, that definitely makes sense. That fact that I can improvise at all used to seem like a miracle to me but your analogy of building up a vocabulary and using it to say something takes a lot of the mystery out of it. This piece inspired me to go back and listen to John Lee again. Sometimes it seems like he's using the same devices over and over, but on the 8-CD set I have he's playing on over 400 tunes! Obviously he's going to reuse a lot of the same vocab. On the other hand, I'm newly in awe of his expressiveness, inventiveness and groove. And your breakdowns of the techniques in this Crawlin King Snake piece are helping me figure out other things he's doing that I couldn't hear before.
If you wanted to do another John Lee tune I'd vote for You Better Cut That Out. It's always been one of my favorites.
Thanks for focusing in on these details. Lots of things I was wondering about are now clear - I just have to practice until I can execute! There are so many very deliberate things that, as you say, make this effective. When you're performing a piece like this do you pretty much have it worked out like this in advance, or is this so in you at this point that you can improvise and still get the effect (get house as you say:)?
I think I can pretty much play off the top of my head in my own version of this style, but the way that came about, was by learning different pieces in this style. Then, over time, I was able to internalize much of the vocabulary - not all, and not perfectly, but enough to find little devices that I could latch onto and take ownership of. Hopefully that explanation makes sense.
Ha! I've known this JLW lick for years but I didn't play it split tongued. Now that I'm doing that I started out doing exactly what you said not to do! Just sliding my tongue back and forth and losing the percussion. Thanks! The focus on keeping the groove in a solo piece is really helping me.
Knowing exactly what you're doing on the parts you demonstrate here makes the whole first verse kind of fall into place. I always felt that John Lee Williamson's playing had a kind of sloshing quality about it that made the groove. Maybe a good example of what you call "intentional slop." You've really illuminated it here. There are still some places in the first verse where, no matter how many times I listen and watch how your cheeks are moving, I can't quite tell what you're doing. Hopefully I'll be 90% there and when you demonstrate that verse I can clean up the details. It's also a blast trying to get the hand effects. Thanks.
Your version sounds a lot like the Tony Hollins version from 1952.
https://www.youtube.com/watch?v=XJZt4qIFFF8
Big Joe Williams recorded a version, different but sounds to me like the same song, in 1941.
https://www.youtube.com/watch?v=VDoeZa50Z8g
For what it's worth, some sources site Joe Williams as the composer, others just as the first to record it. I've been taught to learn as much as possible about the origins of my repertoire and I like to see whatever it is I'm doing as part of a tradition. You are a strong link in the chain for me!
Hey Rick,
Not that the previous verses were a breeze but I definitely find this kind of thing challenging. When a phrase stops and leaves a big silence hanging it really draws attention, especially to the last note in the phrase. If it's right, it stands out in a really cool way. If it's not, well, it still stands out :) Getting the ugly sound right ain't as easy as it sounds. All this practice with tongue blocked bends on the 2 and 3-draw, with and without slop, trying to get those brief subtle vibratos in there - it all makes for a great work out.
Thanks.
I am so bummed out to discover that you were right here in Boston and I missed it (I'm about 2 hours west in Northampton MA). I'm hoping to catch you in Maine this summer.
On the other hand, I was totally inspired to resaturate myself in James Cotton music. I've listened to about 100 cuts in the last two days and haven't exhausted all the stuff I have of him with Muddy and on compilations like Harp Attack and Superharps. What a performer.
When you said, "Playing clean, that ain't nothin"" I couldn't agree more. It's really hard to get those 3-hole draw half step bends with the right amount of the 4 hole to consistently sound "right."
One question I have: When you (and Cotton) are playing it sometimes sounds like you're sucking the reeds right out of the harmonica. Are you pulling that hard or is it just getting the right grip on the note? My tongue block on the 2-hole draw has gotten a lot better but it still sounds kind of anemic at times. More energy or more finesse? (or something else?!)
Thanks!
Definitely more finesse - a more focused "grip" on the trajectory of the air is one way I could try and describe it. I have heard that Cotton had a very fierce, physical attack, but I hear a lot of finesse at work creating that impression. That Cotton tribute show was at The Narrows, in Fall River - It was a lot of fun.
Wow! What a gift! Thanks for sharing this with us Rick. I hope you'll let us know when the documentary becomes available.
Bill
Hi Bill, I'm not sure when the documentary might be completed, but it's being made by a legit company called Northern Light Productions, out of Boston. They flew a bunch of us in for interviews and a tribute concert. It was a lot of fun just hangin out with everyone and reminiscing about Cotton.
Thanks Dennis and Larry,
I'm literally feeling my way forward with this idea. Sometimes you experiment with something that seems to work only to find out later that you're developing a bad habit. This guidance allows me to experiment knowing I'm on the right road.
B
What you say is very true...so many players develop bad habits on their own or from an "instructor" who deos now know any better and then you get years of bad habits and it becomes more difficult to undo them...Glad you're feeling this out and working on it!! Well done!
I think I see what you mean. Thanks.
You're welcome. The higher the note you are bending the shorter the reed, and also the closer to the front of your mouth that you need to use to bend it.
I'm glad you're doing this piece on the D harp in A. I definitely need work on bending on the higher pitched harps, especially the 3-hole bends. It seems like they need a lighter touch.
They need a different type of touch, not neccessarily lighter, but different. Higher pitched bends are done closer to the front of your embouchure, not back towards your throat.
That's what I want to hear. I'm a slow-and-steady-wins-the-race kinda guy. So just to hone in on this technique, are you alternating between adjacent holes or what?
Thanks Dennis. This feedback is invaluable.
There are many ways you can vary up any technique, and a tongue trill is no different, but in this case most often I am doing 2-5 draw tongue trill. Tongue trills are usually NOT adjacent holes, which are usually done the "normal" trill way (shaking your head and/or hands), though they can be done with the tongue as well. But also keep in mind, they are also not "clean" tongue trills, so the notes 2 & 5 are not super clean and precise, meaning that I am bleeding in some of the adjacent notes to get more texture and a more chord-like sound.
Thanks. That tongue trill is gonna kill me :)
Haha...you'll be fine! Like any new technique, the trick is to start practicing it SLOWLY, and practice it often, in short practice sessions.
Hi Dennis,
On the tongue trills, is it a rapid on and off or are you doing something else?
On rhythmic vamp at the end, is there any particular way you're articulating the 1-2 draw chord?
Thanks. I really love the groove. I'm looking forward to working on improvising over the backing track as well as learning what you're doing.
Bill
Hi - for clarification, a "trill" is a quick alternating of two different notes (such as the common 4-5 draw trill) so a tongue trill is not on & off (vamping a chord against a single note), a tongue trill is alternating two notes separated by your tongue...in other words, a tongue trill is a side-to-side movement, whereas a vamp would be on/off with the tongue.
Articulation of the chord is usually similar to a "tut" if you want it sharp and clear.
Thanks, I love working with this groove, and working with just a I-chord track is so important and can be LOTS of fun!!
Here here!
Whoa!!! What a jam!!
Thanks Bill!
Thanks for this series Rick. It's really given me some new tools for keeping the groove, especially playing solo. I'll be working on many parts of this going forward. And enjoying every minute.
Best,
Bill
Thank YOU, Bill. I'm real glad you enjoyed it!
Nasty lyrics! A female singer friend suggests keeping the number of songs involving snakes to one per performance 😉
Yes, that definitely makes sense. That fact that I can improvise at all used to seem like a miracle to me but your analogy of building up a vocabulary and using it to say something takes a lot of the mystery out of it. This piece inspired me to go back and listen to John Lee again. Sometimes it seems like he's using the same devices over and over, but on the 8-CD set I have he's playing on over 400 tunes! Obviously he's going to reuse a lot of the same vocab. On the other hand, I'm newly in awe of his expressiveness, inventiveness and groove. And your breakdowns of the techniques in this Crawlin King Snake piece are helping me figure out other things he's doing that I couldn't hear before.
If you wanted to do another John Lee tune I'd vote for You Better Cut That Out. It's always been one of my favorites.
Thanks Bill - We'll see. Cut That Out's a great tune.
Hi Rick,
Thanks for focusing in on these details. Lots of things I was wondering about are now clear - I just have to practice until I can execute! There are so many very deliberate things that, as you say, make this effective. When you're performing a piece like this do you pretty much have it worked out like this in advance, or is this so in you at this point that you can improvise and still get the effect (get house as you say:)?
I think I can pretty much play off the top of my head in my own version of this style, but the way that came about, was by learning different pieces in this style. Then, over time, I was able to internalize much of the vocabulary - not all, and not perfectly, but enough to find little devices that I could latch onto and take ownership of. Hopefully that explanation makes sense.
Ha! I've known this JLW lick for years but I didn't play it split tongued. Now that I'm doing that I started out doing exactly what you said not to do! Just sliding my tongue back and forth and losing the percussion. Thanks! The focus on keeping the groove in a solo piece is really helping me.
Bill
I'm glad it's helping!
Knowing exactly what you're doing on the parts you demonstrate here makes the whole first verse kind of fall into place. I always felt that John Lee Williamson's playing had a kind of sloshing quality about it that made the groove. Maybe a good example of what you call "intentional slop." You've really illuminated it here. There are still some places in the first verse where, no matter how many times I listen and watch how your cheeks are moving, I can't quite tell what you're doing. Hopefully I'll be 90% there and when you demonstrate that verse I can clean up the details. It's also a blast trying to get the hand effects. Thanks.
Give it a chance - work with it and see how it comes together for you. As always, I'll be happy to attempt clarification wherever I can.
Nice!
Your version sounds a lot like the Tony Hollins version from 1952.
https://www.youtube.com/watch?v=XJZt4qIFFF8
Big Joe Williams recorded a version, different but sounds to me like the same song, in 1941.
https://www.youtube.com/watch?v=VDoeZa50Z8g
For what it's worth, some sources site Joe Williams as the composer, others just as the first to record it. I've been taught to learn as much as possible about the origins of my repertoire and I like to see whatever it is I'm doing as part of a tradition. You are a strong link in the chain for me!
composer. 😉
I think maybe the first recorded version was by Tony Hollins, so maybe it originated with him - but, maybe not