Hey Rick: If you still read these posts I'd like to get in touch with you for some Zoom lessons. I have taken from Jerry P, Dennis G and Steve G, who are all amazing, and I'd really like to have you hear what I do and give any advice you can. These Sonic Junction lessons are priceless. You pour out all the years of woodshedding and gigging and it's all there for anyone to listen to, and, like you said, "it's all there so you should be able to do it." True, but it would be nice to have some help. My email is wdefrancesco@verizon.net if you're not too busy and would like to make a few shekels.
I've watched this intro segment 20+ times and worked on it. Anyone who thinks they can play this correctly after a few listens is either fooling themselves or is incredibly talented. I'm thinking it's not the latter.
Did you figure out to go from 3 draw to 2 draw to 3 blow to 4 blow on your own or did someone show you? Seems like that's a key Jlw lick that I probably would have gotten wrong forever.
I had to go back and listen to see what you were referring to, but I might've actually come up with that specific thing, but it feels like something JLW would do. The value of using both 3 blow and 2 draw is something I didn't realize until I had been playing awhile. All the masters used both the 3 blow and 2 draw and played them off of each other. The variety of ways to use those holes in conjunction with one another is practically endless. Using both opens up all kinds of groove options AND you'll be breathing through the harp. Playing cross harp especially (3rd too), involves using a lot of draw notes. 3 blow is an opportunity to expell some air. Joe Filisko told me the basis for using those holes together may be the old timey Fox Chase, Lost John type solo harp pieces.
It seems to me that playing John lees stuff correctly is more demanding than any of the greats. Your note and chord by chord breakdown is priceless. I'm sure most people have no clue of the value of what you are giving them. I'm not one of them. It's interesting how my choices when playing "You don't love me that way" are easy , but your demonstration made it obvious that while I was doing ok I was really doing it wrong. This if fun following along and learning to do it right. My first harmonica lesson was with your friend Jerrry Portnoy, and he started me off with John lee Williamson. I still have the cassette tape I recorded the lesson on. I was just a beginner. It was 16 years ago. He just turned 80. When i went to see him he was angsting about turning 64.
Jerry was old when I met him 55+ yrs ago😂 As there is with all the great, original creators of this music, there's a lot more to JLW's playing, than is immediately apparent. I'm happy if I can help you become aware of some of it, but if you go back to, and really study the source, chances are you'll hear something I missed.
There aren't any comments since 2020, and it's now almost 2024, but having this achive of Rick Estrins decades of dedication to his art, and having him break it down and explain it, it's so priceless. None of the original greats did anything like this. They didn't share much and were somewhat guarded about their knowledge and idiosyncrasies. Like he said,we are lucky.
Thanks Wayne - It's a different world. You're right, when I was coming up, no one would show you anything. If someone can learn something from me, that's great - They still need to put in the work, but hopefully I can help save them some trial and error.
When sonnyboy finishes his turnaround with 2 draw, 2 draw bend, and 3x on the 1 draw, are you adding a bit of the 2 draw to the last couple 1 draws to give it a juicier, more tongue blocking sound?
Hi Wayne - I think you're talking about the tag riff at the end of every verse - If that's what you're talking about, it's wah, wah, wah on the second hole, draw - and then it's 3 blow, 2 blow and then 1 draw, 3 times. I'm using the 2 blow and not the 2 draw bent, in the part you're referring to. When I hit that 1 draw, the chord you're hearing is a tongue slap - I switch sides and tongue block out of the left side of my mouth. I'm pretty sure I must explain that in one of the earlier lessons.
It took me 10 years to do the flutter at that speed. I would measure against Kim Wilson in "Oh Baby" off Smokin' Joint.
Kim can do it beautifully
Hey Rick: If you still read these posts I'd like to get in touch with you for some Zoom lessons. I have taken from Jerry P, Dennis G and Steve G, who are all amazing, and I'd really like to have you hear what I do and give any advice you can. These Sonic Junction lessons are priceless. You pour out all the years of woodshedding and gigging and it's all there for anyone to listen to, and, like you said, "it's all there so you should be able to do it." True, but it would be nice to have some help. My email is wdefrancesco@verizon.net if you're not too busy and would like to make a few shekels.
I've watched this intro segment 20+ times and worked on it. Anyone who thinks they can play this correctly after a few listens is either fooling themselves or is incredibly talented. I'm thinking it's not the latter.
Did you figure out to go from 3 draw to 2 draw to 3 blow to 4 blow on your own or did someone show you? Seems like that's a key Jlw lick that I probably would have gotten wrong forever.
I had to go back and listen to see what you were referring to, but I might've actually come up with that specific thing, but it feels like something JLW would do. The value of using both 3 blow and 2 draw is something I didn't realize until I had been playing awhile. All the masters used both the 3 blow and 2 draw and played them off of each other. The variety of ways to use those holes in conjunction with one another is practically endless. Using both opens up all kinds of groove options AND you'll be breathing through the harp. Playing cross harp especially (3rd too), involves using a lot of draw notes. 3 blow is an opportunity to expell some air. Joe Filisko told me the basis for using those holes together may be the old timey Fox Chase, Lost John type solo harp pieces.
It seems to me that playing John lees stuff correctly is more demanding than any of the greats. Your note and chord by chord breakdown is priceless. I'm sure most people have no clue of the value of what you are giving them. I'm not one of them. It's interesting how my choices when playing "You don't love me that way" are easy , but your demonstration made it obvious that while I was doing ok I was really doing it wrong. This if fun following along and learning to do it right. My first harmonica lesson was with your friend Jerrry Portnoy, and he started me off with John lee Williamson. I still have the cassette tape I recorded the lesson on. I was just a beginner. It was 16 years ago. He just turned 80. When i went to see him he was angsting about turning 64.
Jerry was old when I met him 55+ yrs ago😂 As there is with all the great, original creators of this music, there's a lot more to JLW's playing, than is immediately apparent. I'm happy if I can help you become aware of some of it, but if you go back to, and really study the source, chances are you'll hear something I missed.
There aren't any comments since 2020, and it's now almost 2024, but having this achive of Rick Estrins decades of dedication to his art, and having him break it down and explain it, it's so priceless. None of the original greats did anything like this. They didn't share much and were somewhat guarded about their knowledge and idiosyncrasies. Like he said,we are lucky.
Thanks Wayne - It's a different world. You're right, when I was coming up, no one would show you anything.
If someone can learn something from me, that's great - They still need to put in the work, but hopefully I can help save them some trial and error.
When sonnyboy finishes his turnaround with 2 draw, 2 draw bend, and 3x on the 1 draw, are you adding a bit of the 2 draw to the last couple 1 draws to give it a juicier, more tongue blocking sound?
Hi Wayne - I think you're talking about the tag riff at the end of every verse - If that's what you're talking about, it's wah, wah, wah on the second hole, draw - and then it's 3 blow, 2 blow and then 1 draw, 3 times. I'm using the 2 blow and not the 2 draw bent, in the part you're referring to. When I hit that 1 draw, the chord you're hearing is a tongue slap - I switch sides and tongue block out of the left side of my mouth. I'm pretty sure I must explain that in one of the earlier lessons.