When did you start playing the harmonica and who do you consider to be your greatest influences?
When I was a kid, I remember picking up a harmonica from time to time and trying to play one. I never could do much with one back then. I could play the first few notes of Polly Wolly Doodle, and from that point it sounded like mish-mosh. When I was 12 and living in Lubbock, Texas, my father found a harmonica on the front door step of our house. It was a good one, an Echo harp - double reeded on both sides - one side was in the key of C. The other side was in the key of G. My Dad could play a little bit of harmonica. He brought it in and played a tune. I was impressed. That harmonica stayed around the house for a long time and was played every now and then.
After I started college, I started getting interested in music and took up guitar. The guitar motivated me to try other things so I decided to give harmonica a shot. The real spark of motivation came when I went to a college dance and this guy was on stage playing with the band, and boy, was he wailing! I don't know if he was any good or not, but I decided then and there that the harmonica would be my next instrument. The following Monday, after that weekend concert, I went to the music store and bought a Marine Band Harmonica for $2.75. They retail for $25.00 these days.
One influence at that time was Bob Dylan. I had just started to write songs, and I admired his abilities in writing and playing. Of course he played guitar and harmonica at the same time, so I learned how to play chords on guitar and melodies on the harmonica simultaneously. It is a challenge and it can be done, and with practice, it's not that hard.
When I statrted playing harmonica, I made up my mind that I could learn to play melodies if I would play one note at a time. That is how I learned, and I still emphasize the one-note-at-a-time method.
The strongest influence on harmonica playing for me has been Charlie McCoy. When he came out with those instrumental albums in the early 7O's, it was a new sound to my ears. He took the "cross harp" or "blues" style of playing harmonica and applied it to playing the beautiful country melodies at that time. He inspired a lot of people to learn how to play that style and I was one in that group. My very first inspiration to learn the "cross harp" method came to me before I knew what "cross harp" was. I attended a Nitty Gritty Dirt Band concert, and their Harmonica Player, Jimmy Fadden, really got my attention. He played so well and so clean and with so much feeling. I couldn't figure out how he got that sound. All I knew was straight harp. I bought the album and tried to work up one of the Harmonica tunes. It was in the Key of E, so I purchased a Key of E Harmonica. It didn't work. I couldn't duplicate that sound. I was playing the right notes, but it just didn't sound the same. I should have bought an A Harp and learned how to play the song in the "Blues" Style. I finally solved the puzzle and began to learn some things about "cross harp", and was able to get the song sounding pretty close. This happened before Charlie McCoy hit. Somewhere during this time frame, I bought a book by Tony Glover which showed the basics of Blues Style Harmonica, and things started coming together for me. I would have to mention the old Blues players as main influences, also. Sonny Boy Williamson, Little Walter and Sonny Terry are some of my favorites. There is a lot of gutsy blues harmonica in those old recordings. As far as a current influence on harp playing, I would have to say that Terry McMillian is sure doing some incredible things on the sessions he's playing these days.
All in all, I would say that there are a lot of new and innovative players emerging, and they are bringing us a lot of new ideas and things to learn.
Are you a self taught player?
I pretty well had to teach myself how to play because there wasn't a whole lot of material out there for me to learn Blues or Cross Harp. The Tony Glover book was the only source I knew of. And of course, there were no video courses out there at the time, and I was not aware of any lessons on cassette. I learned how to play the "straight harp" style first because that was the way I had always heard people play harmonica. At one time, I thought I was getting pretty good at playing straight harp. I was playing one note at a time, playing melodies and making some things sound pretty good. Then, one day my Dad said, "Let me see that thing", and then he proceeded to play "Old Folks at Home" using the tongue blocking method. The tongue blocking method is when you cover up three holes with your tongue and play the fourth hole out of the corner of your mouth. You try to play the melody of the song with the fourth hole, and play chords behind the melody by lifting your tongue. It sounds like a whole band is backing up the soloist when this method is utilized. Well, my Dad impressed me, so I learned the technique. The Tongue Blocking Method is critical to playing straight harp. I learned how to do it and now I even apply it to my Blues playing style. It helps me locate high notes a lot of times, and I've discovered other tricks using that method. I mainly taught myself how to play harp by trial and error--you know, buying the record and studying the licks until I got it right. It takes a lot of work. The learning environment is great for a player today because there is so much information out there--like videos. It's been a great experience for me to instantly teach people on video tape the things that took me a very long time to learn. It's great to be living in this information age, and I'm honored to be a part of it and have the opportunity to make these tapes for Texas Music and Video.
Do you feel it is necessary to read music to become a great player?
There are some people who have a lot of natural musical talent who can play great without having to read music. Music is like other things--the more you learn about something, the better you perform. It is usually to the player's advantage to learn to read something whether it is musical notes, tabulature, number charts, or special notation. The ability to read and write symbols helps one to communicate musically how something is supposed to sound. When a musician progresses, the difficulty factor increases and the player needs some way of outlining, illustrating, or taking notes so that the arrangement can be performed correctly. Once the tape starts rolling, or when the curtain goes up, there is no room for mistakes. Unless a musician can read some form of notation, his only alternative is to totally memorize the arrangements. This is almost impossible if there is a lot of material to perform.
What was the most difficult thing for you to learn about playing harmonica?
The most difficult thing I had to learn about playing harmonica was finding out how to bend notes. I had to learn that technique all by myself. The guys on the records were doing it, and I couldn't do it and it was frustrating. So, one night I decided I was going to learn it or else. I started trying to bend a draw note and started sucking on hole #2 or hole #3 and sucked as hard as I could. I thought my eyes were gonna cross and my head was going to cave in. After about 3O minutes, I got a different sound. I was soon bending notes. I kept doing this technique day after day and started learning how to control the note-bending process. Of course, I was probably doing it all wrong. It's not that hard. I can teach you how to do it and it will be a lot easier than what I went through. Once I learned how to bend draw notes, I was on my way. A few years later, I learned how to bend high notes by blowing. This technique was very challenging, but I learned how to do that with control also.
Describe any technique that you feel is essential.
The technique essential to playing harmonica is knowing how to play one note at a time. When a person can play each note distinctly, he or she can then play beautiful solo melodies. One of the main techniques for playing straight harmonica is the Tongue Blocking method. This allows the player to add accompaniment to his melody by making chords by lifting the tongue off the covered notes. One of the main techniques for playing Blues harp is bending notes and having control over the strength of the bend, thus being able to have control over the pitch of the note. Some notes have to be bent a half step, and some notes have to be bent a whole step. I teach all of these techniques throughout the instructional tapes that I have done for Texas Music & Video.
How does the harmonica you now use compare with what you have used in the past?
Harmonicas have'nt changed much over the past one hundred years. The prices have, though. I remember my Father and my Uncles saying a Marine Band Harmonica used to cost fifty cents when they were growing up. I paid $2.75 for my first Marine Band Harmonica in 1969. Now they cost $25.OO. I started playing a Marine Band (key of C), and started buying the other main keys like D, F, G, A, and Bb, because I was learning to play more songs with more people and the songs were usually in these main keys. Over the years I experimented with other models of HOHNER HARMONICAS such as the Old Standby. When the Hohner Blues Harp was released, I started playing that model as my main Harmonica. Then Hohner issued the Special 2O Harmonica. The Special 2O is a souped up Marine Band. It has plastic spacers, while the Marine Band has the traditional wooden spacers between the holes. The Special 2Os cost a little more, but they seem to last longer. The moisture remaining in the Special 2O harmonica after playing would seem to evaporate off the plastic parts quicker than it would off the Marine Band which has wooden spacers. The wooden spacers soak up and retain moisture longer and the brass reeds are exposed to this dampness longer and this probably shortens the life of the reeds. However, the Marine Band is probably a better sounding harp than the Special 2O because the wood gives it a crisper, more airy and natural sound. The Special 2O has a tighter feel. The sound is not as crisp as the Marine Band, but it does seem to project more volume. There have actually been a number of innovations and variations to the Ten hole Diatonic Harmonica since I started playing. We now have Minor Tuned Harmonicas, Country Tuned Harmonicas, Octave Higher tunings of harmonicas (like the High G), Octave lower tunings of Harmonicas (like the Low F) and other innovative tunings. When I use a microphone, I like the clean sound that a Shure SM-58 can deliver. Most of the stuff that I play is Country and I like the clean sound. The SM-58 is the bandstand favorite for vocalists and nearly all bands use that particular model of microphone. The SM-57 is just as good as the 58. I like to keep the microphone in the mike stand when I play on stage, because that allows me to do more things with my hands. For playing blues with a microphone, I have a Green Bullet Mike that I bought from Hohner. It gives me that gutsier sound. I also have an old Twin Reverb amp that really cooks when I want that kind of feel. I hold the Bullet Mike when I use it.
What do you consider your greatest experience as a musician?
I've played a lot of sessions, picked in a lot of top notch bands, sat in with some of the best musicians in Nashville, but the most rewarding experience of my career has been the opportunity to do the Harmonica instructional tapes for Texas Music and Video. It's given me a chance to share what I know about the instrument with thousands of people who are hungry to learn. I have received an endorsement from Hohner Harmonicas as a result of these projects for TM&V, and that has been a satisfying achievement, also.
What do you consider to be some of the greatest highlights of your career to date?
I'll have to admit that I've had a lot of interesting things happen in my music career, and here are a few of them:
In 1978, I made a major move in my music career, and decided to leave my high school teaching job and study music on a full time basis for a few years. I attended South Plains College from 1978-198O, and Belmont College from 198O-1983. South Plains has a program in Country and Bluegrass Music, and Belmont has a program in Commercial Music. I graduated from Belmont with a Music Degree in July 1983. I was able to build a strong foundation in theory and application from the years of intense study at these schools.
From 1983 until 1984, I worked for the Nashville Songwriter's Association. I helped introduce new songwriters to the basics of the Music Business in Nashville, and helped put together various events and conventions that the Association conducted every year.
Here is a list of some of the projects I have been involved with over the years up until now. In 1979, I recorded and released a 45 RPM single. It got a lot of local radio airplay, and landed on a large number of jukeboxes in the West Texas area. The names of the songs on this record were "Cotton Eyed Joe", "Across Texas", and "There's a Little Bit of Cowboy in Us All". In 1987, I was commissioned by Texas Music & Video to make Beginning Blues Harmonica, the first in a series of 5 Videos to follow over the next 8 years. In 1989, I made The Songwriter's Video, a beginning Songwriting video and Book for TM&V. In 1991, I made Advanced Country and Blues Harmonica, the followup video to Beginning Blues Harmonica. In 1993, we released Lick-A-Minute Harmonica--6O Hots Licks for Harmonica in 6O minutes. In 1995, Hot Texas Harmonica was another one of my Harmonica Projects for Texas Music & Video. This video features Texas Music Styles played on Harp. Since 1989, I have been playing Bluegrass Festivals, Country Gigs, Cowboy Symposiums and conducting Harmonica workshops at these events. All of these projects and events have been quite rewarding for me.
Describe your first professional playing jobs. Where were they? How did they go?
My first professional playing jobs were some country gigs at small night clubs in West Texas. I was a weekend warrior. My main job at the time was teaching Mathematics in public school at Hart, Texas. In my first band, I played guitar and harmonica and sang. We played the various Country Hits at the time plus the traditional country dance tunes. It was a four piece band, expanded later to six pieces. It was a lot of fun, and we were received well.
What sort of projects are keeping you busy at this time?
At this time (February, 1996) I am in the process of writing an instructional book for Mel Bay entitled 6O Hot Licks for Harmonica. It should be completed sometime in March. I have also just completed a video for Texas Music and Video entitled Hot Texas Harmonica. It teaches the styles of Texas Music that have been influenced by such people as Waylon Jennings, Willie Nelson, Bob Wills, and Buddy Holly. There is also a special section on Dance Hall Favorites, showing how to play the solo part to a Cajun waltz, a polka, a Cottoneyed Joe, and a schottische. It will be released sometime later in 1996.
Does your studio equipment differ from your live gear?
I have a studio set of harmonicas for studio work, and I have a set of harps for live performance on stage. My studio set consists of about 25 different harmonicas: 12 diatonic Special 2O harmonicas in each key, 8 Country Tuned harmonicas, a high G and a Low F harp, a Koch chromatic, and a couple of other harps for special situations. My stage gear consists of the main keys and a bullet mike, a Shure SM-58 and my Fender Twin Reverb if the gig calls for it.
What players do you enjoy listening to these days?
I try to listen to the new things coming out in Country, Rock, Blues and Pop. Charlie McCoy is as solid as ever on his chops. Terry McMillan is playing some incredible licks on the current country hits. Clint Black is a good harp player. It's interesting to see how he approaches his songs with his harmonica playing and arranging. All in all, I listen constantly to current sounds and to the oldies in order to have a broad base of ideas and a good source from which to improvise my own hot licks.
Do you have particular opinions about good back up playing when working with a vocalist?
When you have a situation of a Harmonica backing up a vocalist, you have to approach it with caution and play tastefully. The harmonica does not fit in all songs, and as a result, certain things should be considered. The key to backing up a vocalist and playing with a band is to stay out of everyone else's way. No musician or vocalist likes to have their lines walked on by an overly aggressive harp player. Everyone in the band knows their part in the musical arrangement, and it is the job of the harmonica to come in at the right time, play tastefully, and make everyone else sound good. When I sit in with a group, I usually lay out during the first verse in order to learn the arrangement, get the feel of the other players, evaluate their abilities and figure out what simple things that I can play that will fit in between the vocal phrases. If the band is playing an up-tempo tune, I try to play rhythm chops that will drive the beat and enhance the feeling. If the song is a ballad, I try to listen for musical hooks and incorporate a short passage into something that resembles a string line played by a violin. When I "feel the arrangement", I'll try to play fills between the vocal phrases, or lay in a 3 or 4 note run leading into the chord changes. As I gain the respect of the Band and communicate with the players, I find myself being invited to play an eight bar solo during the instrumental break. That is the ultimate vote of confidence by the brotherhood of pickers. If I can't think of anything to play, I just lay out the whole song. However, most of the time I can find a place where the harmonica can contribute to the overall sound.
Do you have any inspiring words for the new musicians that might get them through the potentially frustrating times of practicing?
The encouraging words I have are, "Keep on doing it". That's what practice is. "Practice makes perfect". It is my teaching philosophy to make any phrase as simple as possible by learning a lick and playing it slowly in the right timing. Then, I encourage the player to work on building up the speed of the song or the lick. Once a song or a lick is learned at slow speed, the player can then concentrate on playing it at full speed with the feeling it deserves. I would also encourage players to let up and relax or go to something else when they can't immediately grasp a new lick. Moving to something else and coming back to it later will take off a lot of the pressure and ease a lot of the frustration. Make your playing fun. Try to play with other good players as often as possible. Think about what you're doing and you'll learn in those situations. In other words, let your playing be a fun experience and try to learn something every time you play. KEEP ON HARPING!!!
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