Do not pass GO
Greasy Rob, Otis the mailman, Stomping Stu and the Doc were deeply engrossed in a Friday night game of Monopoly. A pot of Rington’s Tea steamed away beside Otis, the evening’s banker and custodian of a premium biscuit assortment. Otis had hotels on the green home straight, Rob had all four railway stations, and the Doc had a strong collection of reds and pinks.
Stu, meanwhile, was on skid row. “I’d have more luck playing Bonopoly’, he grumbled. ‘What on earth is that?’, quizzed the Doc. ‘Same as Monopoly, but the streets have no name,’ replied Stu, preparing to mortgage his Water Works. (more…)
Don’t start me talking, I’ll tell you everything I know
Elwood reminded folks at the Harp Surgery it’s the anniversary of Sonny Boy II’s birthday this week. How about we tab out one of his monster tracks? he suggested. The Doc stroked his goatee and lifted his bowler down from the coat stand. No need to tab one number, young Elwood, we’ll do them ALL he replied. But how is that possible? quizzed Elwood.
The Doc raised a sagely eyebrow. Once you’ve mastered his trademark cross-harp licks and timing, my boy, you can tackle much of his material. Then it’s a case of studying the first position harp work, timing and tone. But always remember you will never sound exactly like the master, nor should you . Elwood started warming his favourite blues burger. So where do we begin? he asked. From the turn around, answered the Doc, it’s his signature lick. It goes like this…
This is THE showcase blues harmonica number which every journeyman player needs to learn. It’s a catchy melody in its own right, but it is particularly attractive when played on the blues harp. And what makes it so important to a player’s development is that, while it incorporates the essential elements of a good harmonica boogie, it offers a concise blueprint for circuiting the 12 bar format without ignoring chord changes and clinging to special effects. In other words it promotes the art of blues musicianship – how and what to play over the I, IV and V chords.
There is no doubt that emulating Big Walter’s delivery demands a great deal of precision. You will need to master a range of techniques including tongue fluttering, octaving, puckering, tongue blocking, tongue slapping and accurate bending. All of which are sustained with excellent breath control. And above all else, you’ll have to nail that BIG tone. Take your time, pay attention to the technique and detail, and you can master this show stopper for yourself. (more…)
We respectfully dedicate these pages to the friends and family of Barney Jeffrey 1958-2008
The Good Doctor found himself in San Francisco, the morning after England had pulled off their 2009 Ashes victory against Australia at The Oval. For those unfamiliar with this particular competition, we will go no further than to say it is a bi-annual cricket tournament played exclusively between two great Commonwealth rivals. Poms against Ozzies.
On a world scale, the patriotic fervour runs disproportionately high. On a local level however, thousands of cricket fans tune their radios in and will every ball to swing their way. To partake is a birth-right. To draw is acceptable. To win is sublime.
From his hotel bathroom, the Good Doctor could be heard preparing for the day ahead, humming Soul Limbo by Booker T. & The MGs. For years it had been the iconic theme music to the BBC’s evening Test Match Special programme.
In the olden days, all summer long and across the nation, mothers were inadvertently swaying their hips to its tropical rhythm from behind their ironing boards. Meanwhile, fathers switched on the telly, then took to the settee with their pipe, slippers, a bottle of pale ale and an innate comprehension of cricketing’s complexities. Today of course the domestic scene is very different. Fathers vape to Sky Sports, while mothers limbo under the ironing board, swig craft gin and surf Netflix.
Rinsing his toothbrush and still humming, the Good Doctor’s thoughts were arrested by the memory of a school mate slapping a shiny sliver of black vinyl onto the common room turntable, then grinning ear to ear as a raunchy harmonica version of Soul Limbo belted out through the stereo speakers. It was an irreverent piece of R&B; punky, zestful and hip.
You gonna get it all down, get it all night, get it all right, get it out of sight and get it down baby?
Here’s the top entry in our ‘I wanna play like that’ hit list. Originally recorded on the J.Geils Band studio album The Morning After in 1971, Whammer Jammer reappeared a year later on the classic live album Full House. It is a power harping beast of the highest order.
Like the lunar landing, or the fall of the Berlin Wall, every power harp fan can remember when and where they were first Whammered! So, it’s time to reminisce a little, do some research and then, with the help of modern technology, deconstruct the song for you. Key of A major ten hole diatonics harps at the ready.. (more…)
For harmonica players, the album provides many rewarding avenues for exploration. This is partly owing to the diverse rhythms and styles Jerry uses, but more importantly because of his unerring attention to detail. The title track Home Run Hitter for example, is one of the finest examples of first position blues harping you’ll ever hear. If this position is new to you, or you just need to brush it up a bit, grab an E harp and play along.
In Misty (the 1954 jazz standard written by pianist Erroll Garner, adopted by Johnny Mathis with lyrics by Johnny Burke), Jerry demonstrates his ability to hit and hold those awkward cross-harp bends that would leave most of us audibly exposed. Add in the exciting transition from ballad to swing time at the midway point, and we have two and half minutes’ worth of sublime jazz. (more…)