Ultimate Jam tracks

Executive Summary:
Pros:
Backing tracks picked by harp players for harp layers. Ten backing tracks played in the style of the bands that backed such greats as Jimmy Reed, Little Walter, Sonny Boy II, Billy boy Arnold, George Harmonica Smith, and William Clark. Deep groove in all songs.

Cons:
No cons. But this is a good spot for full disclosure. I helped do the research which led to the songs on this CD.

The Full Review

Conjuring
Being harmonica players, we don't want to just hang with the bands of these great harp players, we want to breath through our harps and conjur up the greats themselves. To really conjur, you need to lock yourself in a rough looking bluesy room, maybe an attic, and listen and play to some scratchy CDs or records until you no longer hear the scratches. The setting may seem irrelevant, but if you are going for the full spiritual you probably need it. And then, once you have conjured one of the greats what do you do with him? We will write an abstract for you - writing help.

 

 

You will need somewhere to discharge that lighting bolt soul. This CD is that somewhere. Use it as your ouija board, letting that invisible hand move your harp across it. Be sure to record the record the conversation, because it will be something special.

Whose idea was this anyway?
Where did the cool idea for this CD come from you ask? It was your idea! Pete Schmidt asked Big Dog (me) to poll the members of Harp-L concerning what they would
like in a Harmonica jamming CD. I asked and refined the questions and answers many times over a period of months in the fall of 2003. Harp-L being Harp-L, we came up with enough ideas to fill several CDs, so you will notice this is Vol 1. If you want a Vol II, you need to buy Vol I. There is no telling what Pete and Shane will come up with for Vol II. Then again, I guess the harmonica community may know after all.

Twist my knob
Also if Pete gets a good response with Vol I we may be able to talk him into creating a companion CD to volume 1. The companion CD would fill in harp and vocals to further aid in your woodshedding. Maybe the harp could be turned down by twisting a knob. Many players asked for this for practice blending in with a band.

The Feel
This CD is also a great way to learn the various "blues feels" of the harmonica greats. At the local blues jam, you will be able to blues out, swing out, or rock out both authentically, and authoritativley. If someone says "let's rock out like the early thunderbirds" or let's do a William Clark swing with an approving glance from the guitarist you will know you are really are doing it right.

Grooves
These grooves are so deep that if they were cut into a vinl record, you would have to duct tape the backside to hold it together. These grooves are so deep you will have to call a friend to pull you out. Better just call a tow truck! Yes sir, you will need a tow truck to pull your shag lined psychodelic bluesmobile out of this ditch. The young ladies will boozily need a hand out of the car, standing there like gaudy denizens of another planet on that cattail-lined country road.

The Album
In the notes below, I describe each track as objectively as I can --giving the chord layout, and giving you what you need to be able to call the tune at a local jam. I also provide my own personal take on the jams.

1. Rocking ' Boogie in E

Key: E

Suggested Harp: A 2nd position

Tempo: Mid to Fast

Chord Structure: 

How to Call the Tune at a Jam: 
This is a Little Walter Style Chicago Shuffle that uses a classic I IV V with a slight modification in the turnaround. (The 12th measure contains 2 beats of E, 2 beats of B.) It starts on the I, that is, there is no special intro, just play the blues structure from the beginning.) The bass is almost a droning base. It is mirrored by the rhythm guitar. The buzzing guitar with the bass under it like a shadow, is almost like a hovering helicopter. To explain the song you will need to be able to hum the guitar riff.

Similiar Songs: a Chicago Shuffle Little Walter Style

Personal Observations:
Step into a rumpled 50's suit and play a Chicago Shuffle Little Walter Style.

MIDI files are good and I promote their use because of their flexibility (you can change the key and notes in them), but MIDI files cannot give you a groove like music played by live musicians. MIDI files are kinda like sex with a condom, and it sure is good, but here, that beautiful lady looks you in the eye and says, "Don't use that."

Yes sir, this is like being in a south side juke joint after Little Walter just came in from messin' with his whores. He's not much better a pimp than a bandleader. He just likes messin' with the women and he don't wanna play. "Sure boy, he says, take a few with the band." You're more nervous than you were when you got married, and man, how you work for an offhand nod from him.

For the experienced harp player, this backing track's groove will be like being on a business trip and meeting your high school sweetheart at a bar somewhere in Mullinville Kansas. For the beginning harp players, this backing track will be like being with your high school sweet heart --in high school! The songs are played at a pace which is very comfortable for the beginning harp player, then again this song is kinda fast but you don't notice it because the groove is so deep you may need call a friend to get you out.

And the riffs from Jon Gindicks Rock and blues CD fit into these grooves really well. In fact this CD fixes a problem. On the Harmonica lists I've heard people say they love Jon's teaching method, but they were less in love with the electronically produced backing tracks
he chose to use. Well, welcome to Chicago!

2. Quick 2 Feel in A

Key: A

Suggested Harp: D, 2nd position

Tempo: Slow/fast doubletime.

Chord Structure: 

Similiar Songs: Inspired by early Kim Wilson and the Fabulous Thunderbirds

How to Call the Tune at a Jam:
An early Fabulous Thunderbirds type double time using a classic I IV V that starts on the V and hangs on the I a little in the last measure in the turnaround. The guitar plays a boogie woogie pattern in a shuffle.

Personal Observations:
You really have to be a drummer to understand that description. The key to understanding the song is to understand the drums.

Two main rhthms are being played simultaneously, at medium speed and fast. The guitar plays moderate speed and the drummer supports that rhythm but the drum also gives each beat its own back beat. The general effect is that the guitarist plays 4 measures at a moderate pace but the drummer plays 8 measure fast. For the drum each beat is made into two beats with the second beat getting the back beat. The drummer is also playing the the cymbols on the fast back beat. For the guitarist playing the slow 4, there is no backbeat on the 2, its been kinda chopped up by the fast 8 (kinda like one of those fancy salads with the dressing added that you don't have to cut up yo-self (How's that for an analogy that explains nothing)). The drummer rides the fast back beat on the cymbols so that sometimes he seems to be playing the beginning and trailing triplet of the fast 8. It's kinda cool in the middle the drummer plays sticks on the 1 and 3 of the medium speed 4, sometimes hitting the 1 harder, emphasizing the medium speed polyrhythm. Sometimes the sticks wander into the fast polyrhthm. The bass plays a pump base solidly in the slow 4. Sometimes for emphasis the sticks will play the beginning and trailing slow triplett notes.

To say that 2 rhytyms are being played at once in this song is an oversimplification. There are at least 3 obvious rhtyhms going on at once. Having multiple rhythms going on at once is called "polyrhythm" and it one of the black man's gifts to western musical tradition, saving us from Oom Pa Pa. In a straight 4/4 the emphasis is on beats 1 and 3, but black music adds a snare hit on beats 2 and 4, which is actually louder than beats 1 and 3, making that main emphasis implied. Then in this song each beat is further divided into a beat/backbeat pair, so that makes 3 simulateous rhythms. .. and trust me you could analyse it further.

Watch out for those Prickly Pears!

3. Slow Minor in D

Key: Dm

Suggested Harp: C 3rd position
Tempo: Slow

Chord Structure:

How to Call the Tune at a Jam: 
A minor key quick change that starts on the 1 with a chord sub in the turnaround. Slow, ride the triplettes on the cymbols. Snare plays the backbeat, triplettes are played on the cymbols. Heck the piano plays triplette chords. The bass kinda hovers on the I and drops down to the V of the chord. You will need to be able to hum the simple repeating riff on the piano.

Similiar Songs: Inspired by songs by James Cotton.

Personal Observations:
Great to practice hitting those low F and A notes on your harmonica while playing in third position on a C harmonica. This is the perfect song to practice your third position playing. You need to learn how to hit that low F and A notes dead on anyway, so you you stop unconsiously shying away from those notes, so don't use an alternately tuned harmonica. All the notes you need are there.

You should be able to raise the hair on the back of the neck of anyone listening to you play this haunting minor keyed song.

It uses the "quick change" to keep the slow song interesting and has an interesting chord substitution on the iv and i in the turnaround, enough to keep you on your toes. No sleeping at the wheel allowed here.

4. Marching Shuffle in F

Key: F

Suggested Harp: Bb 2nd position

Tempo: Fast

Chord Structure:

How to Call the Tune at a Jam: 
Classic I IV V with a quick change and a modified turnaround that hangs on the I awhile (with just the last beat of the last measure going to the V). Starts on the I with the entire verse played as intro.

Similiar Songs: A "Military" shuffle inspired by Sonny Boy II.

Personal Observations:
If your rhythm tends to wander a bit, there is nothing like a bluesified military snare behind that shuffle to keep you moving to the front lines. Ten Hut! Ready, aim, blow!

5. One Chord Groove in G

Key: G

Suggested Harp: C, 2nd position

Tempo: Fast

Chord Structure:

How to Call the Tune at a Jam: 
Jamming on one chord. You have to be able to hum the guitar riff.

Similiar Songs: One chord "boogaloo" groove - inspired by Billy Boy Arnold.

Personal Observations:
If you take those chord changes for granted you will fall into a boring rut. Tax your creativity by staying in one chord an entire song, only hinting at chord changes. Yes sir, don't take your wife or your chord changes for granted, otherwise you're going to have to talk about your relationship! Got it? Just remember it's all rhythm baby! Rhythm and tone! Can you do it? Sure!

A harmonica in a glass of water is like a plant clipping in a glass of water: if you practice enough the solos will grow all by themselves.

6. West Coast Swing in D

Key: D

Suggested Harp: C 3rd postion, G 2nd position
Tempo: Medium

Chord Structure:

How to Call the Tune at a Jam: 
A slightly modified I IV V with the turnaround with chord subs for the V (Em) IV (FmEm), and then hang on the I for the last measure. You would have to be able to hum the guitar riff. For the intro, you need to hum the guitar riff which is repeated over the I, IV I I V (while letting the guitarist improvise something over the final I V release).

Similiar Songs: shuffle swing inspired by George Harmonica Smith (1960's)

Personal Observations:
Chord subs make playing a C in 3rd position feel good. This will make you swing out in aways you never thought you knew how. You'll be so juiced while playing this swing tune that they will think you must of got'em a lot of back flow while siphoning gas in the parking lot.

7. Slow Blues in E

Key: E

Suggested Harp: D 3rd position, A 2nd position

Tempo: Medium

Chord Structure:

How to Call the Tune at a Jam: 
A very slow quick change with chord subs on the turnaround on the 3 measure with the 4th measure split between E and B Do an intro starting on the V.

Similiar Songs: Inspired by Muddys Waters and Howling Wolf.

Personal Observations:
A Muddy Waters slow earthquake. All that clear articulation on the guitar makes it sound like a Howling Wolf apocalypse.

Do you want to occupy that empty chair in Muddy's band? This is your chance! You get to play just like Muddy's side man did, blending with the band, because the guitar plays some here and if you just play over the top of it Muddy will fire you! But if you play great then Howling Wolf will try and steal you!

8. Funky in G

Key: G

Suggested Harp: C 2nd position

Tempo: Fast

Chord Structure:

Verbal Jam Description: 
Classic I IV V with the 12th measure 2 beats of E, 2 beats of B. Starts with a funky drum solo, then just launch into the verse. You would have to be able to hum the bass line, but its a little hard to pick out the essence of the bass line because the bass played so many cool variations. The rhythm guitar plays a guitar slash on the backbeat. There is also a quick riff on the end of some measures.

Similiar Songs: Memphis R&B style funk

Personal Playing Notes:
Wanno play with James Brown? Wanna play funky, horn-like Memphis style? You can practice it here with your favorite C harp. Pick your notes well son, because this crowd is rough. You can't just do your greasy blues licks, slopping over from measure to measure. You gotta practice your spare, funky phrasing. Think its easy? Think its hard? You just gotta be right there. This jam will put you right there.

9. Medium Shuffle in E

Key: E

Suggested Harp: A 2nd position 
Tempo: Slow

Chord Structure:

How to Call the Tune at a Jam: 
This is a Jimmy Reed inspired classic I IV V that starts on the I.

Similiar Songs: slow tempo shuffle - inspired by Jimmy Reed

Personal Observations:
No one had a beat like Jimmy Reed. It was so simple no one else (I've listened to) could play it then, and no one can play it now. I won't even say that this track totally gets it down, but maybe you can! Put on this track like a rumpled, smokey suit with a little vomit on its sleave and try to not fall off the stage. Sometimes the only thing holding Jimmy Reed up was the groove. Maybe that's why his groove had to be so darn deep.

10. Quick Swing in C

Key: C

Suggested Harp: F 2nd position 
Tempo: Fast

Chord Structure:

How to Call the Tune at a Jam:
Classic I IV V with simplified turnaround, 2 measures of G, two measures of C Start on the I. Base plays a walking base, walking a boogie woogie line on the quarter notes (one note each beat).

Similiar Songs: William Clark and Rod Piazza inspired West Coast contemporary style.

Personal Observations:
From one point of view, the West Coast style took Little Walter's swing and just kept going. Imagine if the band started playing this behind Little Walter. You can be Little Walter, at least in your own head. You can also play the named riffs from Jon Gindick's Rock'n Blues harp on this and come up with some cool new stuff.

=============================================================================
Some Definitions:

Classic I IV V --You know, the basic 12 bar blues structure.

Country base - Base plays the 1 and 5th step of the chord on each chord.

Walking base -- base plays quarter notes, that is, one note per beat, often walking up a boogie woogie line, and then varying where it walks, but not varying the quarter note rhythm.

Turnaround -- The final 4 measures of a blues song where it turns around back to the begining.

No Final V turnaround -- measure 12 of the classic 12 bar form stays on the I, instead of the usual changing to the V

Boogie -- Whether played on the rhythm guitar or base, a boogie is some variation of notes 1 - 3 - 5 -6 - 7b. You could play it in a walking, quarter note rhythm, or the shuffle rhythm described below.

Shuffle -- In a typical song where there is 4 beats per measure , if you divide each beat into three parts and only play the first and the third, then you have a shuffle. Typically you hold the first until it "slops over" into the third.