DutchBones
78 posts
Feb 22, 2009
4:06 PM
|
Check out how Portnoy plays with Muddy... check out how "less is more"
(you usually don't see that many up close shots of side (harp) men, this vid is rare in may ways)
Long Distance Call
----------
DutchBones Tube
|
Bb
38 posts
Feb 22, 2009
5:26 PM
|
Yep. He totally adds to the song and never steps on what Muddy does. But he's not just warbling aimlessly back there like I hear so many people do when they're trying to back someone. His work on a couple of Eric Clapton's recordings do the same thing. He's a really tasty (and tasteful)player,IMHO.
|
KingoBad
25 posts
Feb 22, 2009
8:53 PM
|
I think if you were a harp player and tried to step on Muddy, you would not be playing for Muddy anymore.
|
Honkin On Bobo
20 posts
Feb 23, 2009
5:32 AM
|
Bb,
Do you know which Clapton recordings he played on? Did he play on the Me and Mr. Johnson CD? And if not do you know who did?
HOB
|
oldwailer
527 posts
Feb 23, 2009
7:35 AM
|
He is great in "Me & Mr Johnson." At first listen--you sometimes don't even realize there is harp on it--then the subtleties come through--really cool comping!
I don't think Clapton is a huge fan of harp--it seems understated a lot in his records--but he is great and I love his music anyway. . .
|
mr_so&so
38 posts
Feb 23, 2009
10:03 AM
|
Good thread. I'm still trying to wrap my mind around the difference between comping and soloing. Aside from not tromping on the lead, is there anything particularly different w.r.t. the notes you go for?
For example in the MBH video "Eight Bar Blues Progressions", Adam talks about how to use chord tones effectively when soloing over the progressions. What he does sounds great to me whether it be soloing or comping. Anyway, if anyone can clarify for me, I'd appreciate it.
|
dfwdlg
10 posts
Feb 23, 2009
11:40 AM
|
Actually, in Eric Clapton's recent autobiography he wrote that Little Walter was (and/or is?) one of his favorite artists. The book is at home so I'd have to look up the exact passage if anyone is interested.
By the way, it is a very good book on E.C. and the music (and addiction) scene he lived through.
|
harpnoodler
44 posts
Feb 23, 2009
12:03 PM
|
There is really no distinction between soloing and comping with respect to notes or chords. The real talent in comping is to know where the song is going and to help it get there. To do this effectively you should have a good idea what every member of the band is doing, or in a jam situation, be able to make good guesses based on experience and knowledge of common blues grooves.
So, in practical terms, this means accenting upbeats or downbeats depending on what the drummer is doing, for example. If she's hitting the high hat to emphasize downbeats, a chug or tongue-slapped note in sync may be what gives the tune some extra lift.
Maybe doubling the guitar on the 1-4 change might make the singer's change in dynamics on the 4 really dramatic.
Could be there's a short guitar fill that's just begging for a (equally short, hint, hint) response.
All of Muddy's harp players were masters of emphasizing his vocal lines and punches with responses and warbles that primed us to listen for the next one. I'd be willing to guess that's no coincidence.
From the viewpoint of the harp player, it's sometimes really effective to repeat the hook or a recognizable fragment of the hook over and over, especially if your solo is going to be based on the hook. Or you could use that same technique to foreshadow motifs you'll be using in your solo, if they fit the tune.
It's important to leave lots of space.
Sometimes doubling or accenting the bass line works well, especially if the bass is doing something original.
Check out horn "punches" in soul music, the timings and syncopation those guys can pull off can be brutal, but can make a tune. Anywhere the Tower of Power are adding accents to a tune it's a PhD course in tasty comping.
For trad. blues harp, all of Muddy's harp men are/were masters of comping. My favourite fill player from that impressive list is Junior Wells, who seemed to me to have a horn-influenced style.
|
mr_so&so
40 posts
Feb 23, 2009
2:30 PM
|
@harpnoodler: There is a lot of good stuff to consider in your post. I have no experience jamming with others yet, so this is all useful advice for when that day comes. Until then, it gives me some things to listen for. Thanks!
|
Preston
151 posts
Feb 23, 2009
3:26 PM
|
I have never played an actual "Show" other than a onetime appearance with a garage band and the venue was......a garage. No joke. There was a block party and we were the entertainment for all of about 20 people. I think we only played 6 songs.
I am more interested in using a guitar players mentatlity than a traditional blues harp player. By this I mean I want to be heard strumming away through the whole song and not just doing call and response to the singers vocals. I am lucky enough to live right next door to the lead singer/guitarplayer for this band, and I jam with him frequently. I also jam with his band sometimes, but they are pretty sporadic and sometimes practice in different places I don't feel like driving to. You see I'm not an official member, more like a special guest.
Anyway, as I was saying, I am lucky enough to hang out with the singer guitar player so I just flat out ask him: What is the riff, or what is the hook? He gives it to me in terms of notes, and I work it out on the harp. If you are playing the same as another instrument, you can play pretty much all through the song and not be stepping on the vocals, just watch your volume.
|
mickil
47 posts
Feb 23, 2009
4:19 PM
|
@ harpoondler: great comment. A load of stuff to think about and try to incorporate.
----------
'If it sounds GOOD to you, it's bitchen; if it sounds BAD to YOU, it's shitty' - Frank Zappa
|
