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Post by JamesP on Jun 18, 2015 11:52:34 GMT -5
One of the great Chicago Harp players.
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Post by mindthegap on Jul 31, 2015 9:57:13 GMT -5
Thanks for this thread. I've been listening to that 'When I get drunk' track non-stop since I saw it here, and other Carey Bell stuff too because of that. It's packed full of wonderful 3rd position goodness and has made me rethink 3rd position. I'd had learnt it largely from the point of view of the single-note scale and was OK, but the way he plays it with lots of splits and chords adds much more richness. Especially through an amp. To my ears it's part way to the big sound of a Chromatic.
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Post by jbone on Mar 26, 2018 9:28:07 GMT -5
Revisiting this thread, mindthegap you are spot on about chromatic's big sound. Mr. Bell was one who showed my ears the way on that. I do the same sort of octave stuff in 3rd and sometimes 1st and 2nd positions to get a bigger presence. Especially with chromatic, I want to increase dynamic impact on some material we do. For instance we do a version of Backwater Blues in the duo. In the middle I do a double turnaround solo part. The first part is at usual tempo and volume etc. The second half tries to emulate a raging storm, with both guitar and harp ramping up the good stuff. I've done the part with regular and low diatonic harp in 3rd position, but nothing beats amped chromatic on this part for effect.
I give Carey Bell and James Cotton, along with others, most of the credit for my inspiration in trying chromatic- several false starts until I "got it".
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