Interviews

Interviews 

Jiving With The Greats: Jerry Portnoy – Boston, 2.April 2009

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…he, whose heart was that of a little child, had answered to his name, and stood in the presence of The Master. William Makepeace Thackeray

Prologue

For anybody looking to master the art of Chicago and blues harmonica, look no further than Jerry Portnoy’s front porch. Study his Grammy Award winning work with the Muddy Waters Band. Update this by investing in his solo project Home Run Hitter. Then check out Down In The Mood Room – it’s predominantly, though not exclusively, jazz. Give it time if you’re a bloozer. You’ll soon understand what Jerry has to say. Then get yourself a copy of his instructional package – Blues Harmonica Masterclass. It’s not cheap, but you get every ounce of bang for your buck, plus it’s the real deal straight from one of Muddy Waters‘ monolithic harp dynasty.

Harp Surgery visitors and students will know that Jerry Portnoy‘s work is regularly mentioned on this website. It also features in our teaching sessions. Most recently we’ve been mastering his version of Misty from the 1995 Home Run Hitter album. One student in particluar, Rob Ryman, has also been working on Real Gone Guy (from the same record). These are just two of countless numbers that carry Mr Portnoy’s hallmarks of style, accuracy, tone and expression. (more…)

Interviews Reviews - Shows 

Mountain of Love (Alabama 3), Concorde II, Brighton, 2 Dec.2008

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You know how it is when people evangelise. You smile, nod your head and then shove an invisible finger in each ear. The first time I heard Exile On Coldharbour Lane, I was unreceptive. My friend, on the other hand, was entering a transcended state even before he hit the play button. ‘You’ll love it!’ he beamed. What I heard was good, but it didn’t burn bushes for me or part the clouds. In fact all I could focus on was the crudeness of the harmonica.

A few days later I cranked up my own copy on the car stereo. This was when it hit me. It actually sounded fantastic. Immediately the world was a better place and before the month was out I had subscribed, unconditionally, to a new subculture. Then I too found myself evangelising. Alabama 3 made me chuckle inside. It made me groove. It was clever, it was sleazy, it was irreverent. It had a punky edge and musical depths. It had a lyrical wizardry and it was relevant. It was an adventure. It threw high fives at roots Americana. It flashed a V at decorum. It gave prejudice the bird. Most importantly it had a layer of raw harmonica that sat perfectly… (more…)

Interviews Reviews - Shows 

Charlie Musselwhite (Part II) – Komedia, Brighton, 18th November 2008

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“Why we elected Bush worries my mind“

I must confess, having seen Charlie in action again after a break of seventeen years, I remain unconvinced about his credentials as a performing artist. Last time he was upstaged by his backing band. This time his lengthy digression into solo guitar and rack harp was brave, but wasted. Any impact was lost owing to the wagon load of down home guitar already delivered by Dave Peabody. The audience had thirsted far too long for that big town electric harp. When it came, of course it was well received, but it was still insufficient to quench their frustration. Barely a twenty minute stretch at the end of a long evening. When Deep Purple did that, fans tore down the stadium, uprooted street furniture and rolled cop cars. Tonight people had the last bus home to think about.

I had hoped that my enduring ambivalence towards Charlie’s music would melt in a blinding epiphany this evening. Having seen the show however, there was no change. Instead, I felt my reservations had been vindicated. One nagging question still simmered though – what exactly was it I was blind to that others understood so clearly? It mystified me. The imaginary urchin continued crying out from the crowd – ‘the Emperor’s wearing no clothes.’ (more…)

Interviews Reviews - Shows 

Charlie Musselwhite (Part I) – Komedia, Brighton, 18th November 2008

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What was all the fuss about?

According to the display of fading gig tickets on the Harp Surgery wall, it was July 1991 when I last saw Charlie Musselwhite live at the Town & Country 2 in Highbury, North London. Charlie’s backing band opened that night with a fabulous rendition of Little Milton’s ‘Hey, Hey, The Blues Is All Right’, while his silver harp case stood open on a table at the front of the stage – a statement of the maestro’s intent. The backing band had the house revved up and jumping. Once he took the stage however, Charlie’s performance proved uninspiring. Accepted, he had flown in from the USA only hours earlier, but amidst his clever display of positional playing and monotone vocals, I grew bored. The band soldiered on but I left early, thinking to myself, ‘what was all the fuss about?’

In the months that followed, I occasionally gave Charlie’s records a spin. More through a sense of duty than as a genuine fan. Each time I concluded this was a white guy who came from the right southern state, had entered the Chicago blues scene at the right time and mixed with the right blues luminaries, but who’s musical contribution was inconsistent, if not over-rated. It just didn’t bounce. The records went back in their sleeves and onto the pile. I still didn’t get him. (more…)