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Interviews Reviews - Shows 

Billy Branch – Kingston Mines, Chicago, Sat 21.Mar 2009

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The blues keep following me around

Ever since buying a copy of the 1990 W.C.Handy award winning album Harp Attack, Billy Branch has had me intrigued. He’s pictured on the cover as the new kid on the block, alongside three legends – Junior Wells, James Cotton and Carey Bell. Billy provides fresh reinforcement for the old guard, enlisted to extend the Chicago Harp tradition rather than bend it (as Sugar Blue might have done). The album is of course a valuable celebration of ChiTown honking, however the full extent of Branch’s artistic ability was probably hidden under the barrage.

So it was when I heard his 1995 solo album, The Blues Keep Following Me Around, that I really began to appreciate Billy’s work. Again it stems directly from the Chicago idiom – how could it not – but it makes a fearless march forward. It is new, energetic and wonderfully varied. Billy’s passion for the blues shines through the whole recording and he takes no prisoners. His cover of Tony Joe White’s Polk Salad Annie is a particular classic. With a heap of soul in the vocals and a brooding, pulsating groove, Mr. Branch takes you down in Louisiana and dumps you right on your…corn patch. Which reminds me – Billy is not only a cool harp player, he is also a magnificent singer. (more…)

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…)

Harp Tab How Do They Do That? 

It’s Bad You Know – R L Burnside [..with tab]

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The engineer blown the whistle, the fireman he rang the bell
I remember seeing R.L. Burnside in Brighton in the late 1990’s. The gig was above a pub (the Flying Pig I think) on Queens Road, just down from the main railway station. My enduring memory will always be of Cedric, his grandson, silhouetted behind the drum kit, thumping out the most mesmeric blues rhythms. It was just the two of them, but it was utterly compelling. I’d never experienced blues of this kind before; far removed from standard Chicago 12 bar romps. It took us, the audience, somewhere humid and remote. Down in Mississippi, but back up in the hills.

Who’s blowing the harp?
So who’s responsible for all that raw harpooning on It’s Bad You Know? Only Lester Butler of The Red Devils! I believe recorded scraps were sequenced and engineered by Tom Rothrock and the track was released into the underground dance scene in 1998. Where it flourished. The message was then adopted by the likes of Moby, Little Axe and now Alabama 3. More recently by Son of Dave. If it’s any testament to quality, this track and, of course, Alabama 3’s Woke Up This Morning have been used in the TV series The Sopranos.

Harp tab (C major diatonic, 2nd position)
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D”  2D”  2D”  2D”..1D 
2D”  2D”  2D”  2D”  2D..2D..

2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D”  2D”  2D”  2D”..1D 
2D”  2D”  2D”  2D”  2D..2D..

2D”  2D..2D  3D’  2D 
2D”  2D”  2D”  2D”  2D..2D..
2D”  2D..2D  3D’  2D 
2D”  2D”  2D”  2D”  2D..2D..
2D  3D’  4B  4D’  4B  3D’  2D
2D”  2D”..2D”  2D”  2D”  1D 
2D”  2D”  2D”  2D”  2D..2D

2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D”  2D”  2D”  2D”..1D 
2D”  2D”  2D”  2D”  2D..2D..

Fading
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D”  2D”  2D”  2D”..1D 
2D”  2D”  2D”  2D”  2D..2D..

2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D..2D  3D’  2D    2D”..2D..2D”..1D    2D”   1D…1D’
2D”  2D”  2D”  2D”  2D”..1D 
2D”  2D”  2D”  2D”  2D..2D..

Harp Tab How Do They Do That? 

The Mighty Ship – The Housemartins [..with tab]

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The Mighty Ship seems to crop up on a regular basis on TV, Radio, at training seminars and on line, the same way that Groovin’ With Mr. Bloe does. It is a rare ‘good time’ harmonica instrumental. As a resident Brightonian, nay Hovite, the fact that The Housemartins‘ bassman (Norman Cook alias Fat Boy Slim) is an extremely close neighbour geographically, and former sponsor of The Albion through Skint Records, makes this tune all the more poignant.

At the Harp Surgery, we will forever remain convinced that The Mighty Ship is a secret Groovin’ With Mr. Bloe derivative, principally because of the common ‘sweet notes’ produced in the scooped 4 draw bend and straight 4 blow. The decision, as they say, is yours…. (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…)

Harp Tips 

Tuning Up The Band

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Thanks to Jim Faulkner for raising this point at today’s workshop. As it is such a handy point, I thought it would be better posted under Hints and Tips than Lesson Feedback…

‘Did you know The Who used a harp to tune up with before their gigs? And as a classically trained musician, this never sat comfortably with John Entwhistle… what is the advantage of using a harp for tuning up?’

We’re talking about tuning up guitars here. ln lieu of an electronic tuner, keyboard, piano in concert pitch, or tuning fork, a bog standard diatonic harp is an excellent alternative. Of course you can also find pitch pipes, but what are they if not a redesigned harmonica by any other name, with some or all of the notes in the chromatic scale. A standard 10 hole diatonic in A will do the trick just as well (or any key if used wisely).

The 6 strings on a standard guitar are tuned E B G D A E, moving from the lowest to the highest string respectively.

Traditionally an A major diatonic is the best bet as it relates readily with three of the six open strings on a standard guitar and every harp player carries one! For the bottom and top strings you need to find an E. Draw 2 is the obvious option, but much better to use blow 3 as this is less likely to be off pitch from frequent bending. (You can also check that your blow 3 is in tune itself by octaving with blow 6. If they are in unison – there’s no tremelo effect – you’re safe). You can then move to the A string by blowing holes 1 or 4….or octaving both. (more…)

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