Bluegrass Harmonica


I once half-jokingly remarked that harmonica players are about as welcome at bluegrass jams as the mosquitoes that come out to feast.  Indeed, many bluegrass folks consider the harmonica a questionable instrument, although it is certainly better established in bluegrass than instruments such as the clarinet or saxophone.  Harmonica player Mike Stevens recorded with Jim and Jesse McReynolds; Charlie McCoy, with Flatt and Scruggs; Buddy Greene, with Bryan Sutton, Aubrey Haynie, Ron Block, Sam Bush, Jerry Douglas, Del McCoury, Herb Pederson, and Stuart Duncan;  PT Gazell, with Jerry Douglas and Ricky Skaggs; and WV. Ryan Rightmire, with the Del McCoury Band.

What makes my approach different is that, unlike other bluegrass harmonica players who use diatonic harmonicas, I exclusively use the chromatic harmonica.  When played well, the chromatic harmonica can produce a sweet, fiddle-like sound and handle fast, intricate melodies.  Because I use a C chromatic to play in all keys, I can deal with tricky chord changes and key transitions without having to quickly switch harmonicas.  Because the chromatic provides all the notes without having to bend or over-blow, the timbre of each note isn’t dictated by the instrument, but is controlled by the player.  I believe that keeping the same tone and timbre throughout a tune is often desirable in bluegrass.

My latest bluegrass CD, Bluegrass that Swings, features me on chromatic harmonica along with Stuart Duncan on fiddle, Sierra Hull on mandolin, Jake Workman on guitar and Rob Ickes on dobro.  My three previous bluegrass CDs are Bluegrass in the Backwoods (2014), Bluegrass Harmonica (2011), and the High Desert Bluegrass Sessions (2008).

Gypsy Jazz Harmonica

 

In the 1930s, Belgian guitar virtuoso Django Reinhardt, together with French violinist Stephane Grappelli, formed the Hot Club of France and introduced the world to Gypsy jazz.  Gypsy jazz is typically acoustic music featuring the guitar, but often includes the violin, bass, and accordion.  It tends to be played in the sharp keys instead of the flat keys favored by horn players.  The stringed instruments typically provide percussion instead of drums.  The music is often fast and fiery, but can be melodic and sublime. 

Some claim that Gypsy jazz is Europe’s greatest contribution to jazz.  Although the Gypsy jazz played today is typically classified as a type of jazz, it often has a strong European folk element with rhythms, instrumentation, and guitar techniques that are unique to the genre.

The chromatic harmonica is rarely used in Gypsy jazz, but it does have some history.  Django recorded several tunes with chromatic harmonica virtuoso Larry Adler and played with the jazz harmonica pioneer, Max Geldray.  Dany Kane was another pioneer of Gypsy jazz harmonica.  Today, straight-ahead jazz players, including jazz harmonica players, sometimes dabble in Gypsy jazz, but most have to work hard if they really want to capture the feel and peculiarities of this genre. 

I’m one of the few harmonica players who specialize in Gypsy jazz.  I feel the harmonica works especially well because it can sound a lot like an accordion and at times can mimic the violin.

On my CD, Douce Ambiance: Gypsy Jazz Classics, my harmonica playing is accompanied by the intricate guitar lines of Gypsy jazz virtuoso Gonzalo Bergara, and the unmatched 5-string banjo playing of the legendary Pat Cloud.  The harmonica and banjo help make this CD unique in the world of Gypsy jazz.

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