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The camaraderie, the respect that is shown to each other, the tolerating of the different styles of music, I could go on and on (and I will). Those are not just my words either. At the conclusion of the week, I was waiting for the Saturday evening banquet to begin, a young man on my right, spoke up and said; "This room has a spiritual feeling." He continued, "All these people of diverse background and ages have gathered and are in concert with each other, the common denominator, the harmonica. Amazing!"
Then there were the formal offerings behind the doors. Joe Filisko's Teach-in was a sight to behold. Oh my, what a great opportunity! There was something about harmonica to witness and learn. Those round tables and circle of chairs of learning were attracting every kind of harmonica player possible. The learning possibilities were on overload. Buzz Krantz hosted the late night blues jams. What a way to be able to express yourself on the harp, blues style. There are always some surprises of interpretation of the blues form. The late night jazz venues hosted by Mike Turk and Charlie Spranklin with "The Carolbeth Trio" (piano, bass and drums) were enlightening and enjoyable. Those listening coveted the smooth creative playing of those jazz harmonica players. Talk about "from the heart," oh my, what offerings! There is nothing like the Open Mic and Play-Along opportunities for those wanting to express their musical ideas. Also, it was a great place to relax and listen as well as perform. Marv and Roger did a great job organizing these sessions. Some of the highlights of the seminars that I attended were Charles Spranklin's "Quest for Tone" and "Expressing yourself with Harmonica". He demonstrated the vibrant tone he has developed as well as his production of vibrato. He did a phenomenal job of explaining clearly the mechanics and attributes of vibrato. He also explained that the possible rich tone of the harmonica is not the harmonica itself but the person behind the harmonica. If you missed this seminar you missed an opportunity to understand how to improve your tone. It is a learned art. Sissy Jones, harmonica repair technician with Hohner, conducted a very informative session on harmonica repair. She mentioned that Hohner would repair, in most cases, without charge legitimate glitches in the harmonica. She also stated that Hohner wanted to be fair with their consumers. I also need to mention that she personally gave repair tips and repaired harmonicas in the designated Hohner room. Tulsa Read's offering of "Gospel Harmonica" was appreciated by all who attended. His playing examples were clean, clear and concise. His approach to gospel music was open and honest and seemed to be obtainable. Some of his advanced licks were tricky but enjoyable to listen to. He gave you "I want to do that" attitude. "Tasteful Harp behind the Singer" took us to the scenes of studio playing and recording with other artists. Kirk "Jelly Roll" Johnson and his harmonica escorted us through the steps of preparing, solving and executing the needs of other artists that appear in the studio's of Nashville, Tennessee. His examples were breath taking. His musical execution was seamless. The seminars on "Transition from Diatonic to Chromatic (Mike Turk) and "Jazz Chromatic" (Rob Paparozzi and William Gallison) demonstrated and explained that it takes practice and patience to learn to play chromatic harmonica no matter what the approach. There are no short cuts or quick fixes to successful chromatic harmonica, jazz or otherwise. It takes dedicated constant practice. Someone said once, "I would be a virtuoso if it wasn't for all that practice." Enough said.
Paul Davies "Tongue Techniques" with some added insight from Tulsa Read presented an array of tongue blocking possibilities. This different texture of playing adds multiple sounds. The tongue covers and uncovers the holes expressing chords and single notes with a variety of rhythms intermingled within the tune.
I visited with a fifteen-year old girl who attended SPAH with her grandparents (now that's one way to involve the younger set) and asked, "What did you enjoy most at this convention." She said, "Playing with the HERmonicas." Since she was missing a few days of school, Stephanie Atkison also compiled a journal for her teachers. (Note: Stephanie's music teacher was impressed because the sight-reading was more advanced than her music at school.)
In all honesty, the young man sitting next to me at the Saturday night banquet was correct; we couldn't give this much to each other without creating a "spiritual feeling." Phil Duncan For lesson material by author Phil Duncan visit: |
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I have attended several SPAH conventions since joining many years ago, but I must say, "What a fabulous 2003 convention." Accolades to all that made this convention possible. I arrived on Wednesday morning about 9:00 AM and spent most of the week cruising the hotel corridors.
As I walked from area to area in the hotel, the one thing I noticed was that everyone seemed to be having a great time being involved in harmonica. The Celtic, the bluegrass, the country, the blues, the classical, the folk music, the jazz, the trios, the jams, the play-along, the solos, the information from individuals or groups, all of these informal settings are the "where the rubber meets the road" kind of thing. There was Robert Bonfigilo, world-renowned symphonic classical artist, explaining his philosophy of classical musical approach on the harmonica. Rick Epping and Jim Conway, Irish music player, playing their Celtic counterpart in the round with banjo, fiddle and guitar made wonderful sounds for listening. Rick Epping, Products Manager for Hohner, occasionally used his specially tuned harmonicas and would happily discuss the changes with you. Jim Lohman and Rob Paparozzi with William Gallison on guitar doing jazz renditions of standard tunes, offering anyone to step in to play or sing right in the hotel hallway. And a sundry of blues harp players like Buzz Krantz and others adding their licks to the action of giving light to the where-with-all of the blues approach to music. All of this was offered up close and personal. 
One of the most versatile players I have ever met is Norton Buffalo. His chromatic and diatonic harmonica playing is something to behold. He cheerfully shared his knowledge of harmonica with others. He is clear and concise with his instruction and will demonstrate the information he is giving. He is also the master of the concert. He knows how to hold an audience and entertain equally well. I guess you could say he is one the most versatile harmonica players in the world. 
I got the opportunity to meet and visit with David Barrett, President of Harmonica Master Class Company "Leader in Blues Harmonica Education." He is also an author with Mel Bay Publications as well as an author for Blues Revue Magazine. He is low key and very approachable. He shared his expertise during the "Teach-in" and was well received. His focus may seem to be toward adults but he has a passion for teaching kids harmonica as well. His company is setup to give harmonica instruction in six school districts in California. His commitment to harmonica is awesome.
The seminar on Tremolo/Octave Harps was based on the newly published book, Tremolo & Octave Harmonica Method. This "how to" method of playing is based on these special double-reed instruments. Phil Duncan, yours truly, walked the members through the book on the step-by-step approach to the double-reed harmonicas. We concentrated on single tone playing. Using an array of recorded and play-along examples, we performed some of the exercises and tunes that are offered in the book. I hope this book will supply a need of instruction so that more of us can utilize these fabulous double-reed instruments for your own pleasure and the pleasure of others. An added bonus was the offering of Stephen Foster Songs for Harmonica book. Many of the tunes that Stephen Foster wrote are very familiar. This book adds some fine repertoire for the harmonica, whether it is the standard diatonic, blues harp style, chromatic or tremolo type of instrument. Both books include a CD and are published by Mel Bay Publications. 
I have saved the best for last. It is all about the kids. If you didn't see them pied piping down the hallway in the hotel led by Hohner endorsed Buddy Wakefield, SPAH Harmonica Player of the Year 2003, you missed all the smiles and happiness generated by those youngsters. There were a bunch of them. They want to play. They want to perform. There are so many ramifications connected to kids playing harmonica. Harmonica can become one of their successes. The harmonica can be a great self-esteem booster. Watch them light up when they play a short tune. Statistics show kids who participate in music tend to be successful in school. 
Our future is with the kids. They are going to be the politicians, school board members, teachers, musicians, business executives, media promoters, etc. That means if we show them how to appreciate the harmonica, their future will include the harmonica. Teaching a child to play harmonica will pay dividends in the future.