Blowin' the Family Jewels William Clarke L Gđ994 Groove TimeĚlligatorĚ Gēģ1. Put It Where You Want It Westside Andyğ Live on the Westside CğĒģ0. 101 Blues Wallace Coleman Wallace ColemanğishheadĞĚĒĢ9. Snake Oil Steve Guyger Past Life Blues SevernĞĚĒĢ8. Blue Mambo Steve Guyger Past Life Blues Severn GĜĒĢ7. Upsetter, The Rod Piazza L F Gđ985 Harp Burnělack TopĞĚĒĢ6. Little Bitty Pretty One Rockin' Robin Rod Piazza L F Gđ985 Harp Burnělack TopĚĝĒĢ5. Bounce, The Rod Piazzağđ992Ělphabet Bluesělack TopĞĚĒĢ4. That’s That Rick Estrin Got Harp, If You Want It!ělue Rock’ItĞĚĒĢ3. Jimmy Jones Paul deLay GĒ001 Heavy RotationĞvidenceğěbĒĢ2. Horn of Plenty Mitch Kashmar & William Clarke L F William Clarke, the Early Years, Vol. Third Time Out Mark Hummel 1994ğeel Like Rockin’ğlying FishĜěbēĢ0. Lost in the Shuffle Mark Hummelğđ994ğeel Like Rockin’ğlying FishĞĚĒġ9. Big Leg Mama Mark Hummel L Fđ990 Harmonica Party Mountain TopğěbĒġ8. Whammer Jammer Magic Dick L F Gđ972 More Harmonica Classics RhinoĞĚĒġ7. Club Zanzibar Kim Wilson 2003 Kirk Fletcher, Shades of BlueĜrossCutğěbĒġ6. Cleo's Mood Kim Wilson 2006ěarrelhouse Chuck “Got My Eyes on You” Sirens SR-5014 GmĜĒġ5. Blues For Big Nate Jerry Portnoy Red Hot ‘n’ Blue EĚĒġ4. Walk, The Gary Smithğđ991 Up The Line MessaroundğěbĒġ3. South Bay Beatdown Gary Smith 2001ělues for Mr. Chrome Bullet Boogie Gary Smith 2001ělues for Mr. Ashburn Bluesĝennis Gruenling 1999 Jump TimeěackBenderğ LEbēĨ. Christo RedemptorĜharlie Musselwhite LĖ6-68ělow’n the Blues VanguardĜěbēħ. Tribute To Little Walter, AĜharlie McCoy Lđ991 Harpin’ the Blues MonumentĞĚĒĦ. River IIĜarlos Del Junco 1999ěig Boyěig ReedĞĚĒĥ. Soul Sanctuaryěig Al Blake - Hollywood Blue Flames Soul SanctuaryĞĚĒĤ. Sweet ToothĚnnie Raines 1999 Moving to the Country Tone-CoolĞĚĒģ. Annie’s RockerĚnnie Raines L FĒ002ělues Harp Meltdown Vol. When I was writing my Improvising Blues Harmonica book, I analyzed every instrumental in my collection, and these stood out as being great songs.ġ. The connectedness of all things physical and spiritual is astounding.Hello again Marc. I'm grateful for a never-ending attraction to these matters. Do you keep up with what's happening in the field?ĭS: My interest in physics is cosmology and quantum mechanics. One of the hallmarks of a great player is to be able to continually invent without relying on chord changes to carry interest. This made accompanying him more difficult. John Lee played mostly on one chord and, when he did change, it was not according to a standard formula like a lot of blues. This was around 1970 in Boston at a club called the Jazz Workshop.
JC: Your best experience playing with an old-time blues musician?ĭS: Jamming with John Lee Hooker was especially thrilling. I still love it, and I'm working on improving it! My guess would be thousands of times not counting my own practicing. I've performed it at every show I've played. JC: Do you ever get tired of playing Whammer Jammer? How many times do you think you've played it?ĭS: It's a constant source of stress, but it helps to keep my playing honed. Use your imagination to advance your technique and improve your sound. Do whatever it takes to stay strongly attracted to playing the harp. JC: Your advice to young aspiring musicians?ĭS: Listen, and practice all the time.
As a harp player, I don't have time to spend this way.
JC: Do you watch America's Got Talent and such shows, and what do you think of them?ĭS: Talent is everywhere. Geils Band, my musical role is more narrowly defined. Each day we get together brings so much spontaneous playing and new ideas. Geils Band.ĭS: The musical experience with Shun Ng is very fresh, exciting and challenging. JC: Contrast an acoustic performance with Shun Ng to one of The J. Our drummer, Stephen Jo Bladd, had a gorilla mask on and the rest of us had on old-man masks. Geils touring days?ĭS: One Halloween in the early '70's somewhere in Canada, we thought we'd have some fun when we came out on stage to start our show.
JC: How about a crazy story from the old J.
0 kommentar(er)
