Skip to main content

Al compas del mundo - programa #100 - The Harmonica

We gather together in celebration of Al compas del mundo’s 100th anniversary. It’s been almost two full years since I’ve undertaken programming a weekly selection of eclectic musical morsels for the edification and (hopefully) enjoyment of a vast listening audience. Rather than attempt to tabulate sheer numbers in the worldwide streaming reach of RadioactivaTX (out of Tequisquiapan, Queretaro, in Mexico) and faithful Al compas devotees, I might better ask “Who does not listen to my weekly program?” Ok, Xing Pi for one, but that’s likely due to the scarcity of Chinese tunes that have been included in the playlists – except for Uyghur music. The newly infamous Mike Johnson. And the entire Trump family. Otherwise, it’s been a fruitful exercise and I expect it to continue. I must admit, though, as I try not to play songs that have previously appeared, it gets harder as time moves on. My vast music library of over 40,000 titles is a most valuable resource and always inspiring. But thank goodness for YouTube, where practically every song in the world is available and downloadable.

So that leads me to this week’s dedication to the mighty Wurlitzer in a miniature package, the harmonica. The so-called “mouth organ” (not sure why it’s sometimes called a “harp” as there’s nothing harp-like about its sound) is found around the globe and has entered a host of musical genres as a significant member of the orchestra, or at least a novelty that always seems to stir up the audience (disclaimer: I have been known to play a little blues harp on occasion). Speaking of the blues, the obvious inclusion of Little Walter Jacobs and Big Walter Horton just scratch the surface of available talent. Here they take us to Mexico and the streets of Chicago, each with a rhythm that just won’t quit. Understand that someday in the not-too-distant future there will be an entire program dedicated to harp-blowing bluesmen. Elsewhere in the USA, non-African American harmonica bands formed and were a popular genre. Recorded in the 1930’s and 40’s, Jerry Murad’s and Borrah Minevitch’s efforts illustrate both the serious and humorous sides to these entertainers. These two musical movements presage a wealth of home-grown harmonica talent and virtuoso performances, with the likes of Paul Butterfield, Magic Dick of the J Geils Band, Stevie Wonder, Buddy Greene, and others. But as I pointed out at the beginning, the harmonica has been embraced in cultures around the world. Witness (better, listen to) examples here from Mali, Israel (playing Appalachian folk music), Jamaica, China and Latin America. And maybe pay special attention to an Indonesian talent, Sarah Saputri, who seems equally at home rendering folk music ballads from her native land to soulful blues (YouTube awaits your exploration). She truly excels, but then maybe that’s because she’s chosen a most favorable instrument to express her talent: The Harmonica. - J.H.


 Runlist for The Harmonica - First broadcast November 2, 2023

01 Walter Horton - La Cucaracha (USA)

02 Jerry Murad´s Harmonicats - Guadalajara (USA)

03 Borrah Minevitch & His Harmonica Rascals - Bugle Call Rag (Russia-USA)

04 Baby Face Leroy Foster - Rolling and Tumbling (USA)

05 Little Walter - Rollercoaster (USA)

06 J Geils Band - Whammer Jammer (USA)

07 Them (con Van Morrison) - Mystic Eyes (Ireland)

08 Paul Butterfield Blues Band - Droppin' Out (USA)


09 Stevie Wonder - Fingertips, Part 2 (USA)

10 Skin Flesh & Bones - Do it till you're satisfied (Jamaica)

11 Alex Paclin - Redbone (USA)

12 Boubacar Traoré & Vincent Bucher - Mondeou (Mali and France)

13 Buddy Greene - The Pear Tree + Waiting for the Federals (USA)

14 Avital Tamir & Ofir Ventura - Little Sadie (Israel)

15 Larkin Gifford’s Harmonica - III. Saturday Night Roundup (USA)

16 Stanton Street Duo – Libertango (Astor Piazzola) (USA and Latin America)

17 Sarah Saputri - Es Lilin (Indonesia)

18 Cy Leo - Misty (China)

 


Labels

Labels:

Comments

Post a Comment

Popular posts from this blog

Al compas del mundo, programa #92 - Japan

The Japanese historically have been a most creative people, excelling in aesthetic conventions like architecture, painting, culinary arts, theatre, music, and more. A craftsman’s care and an artist’s flair have come to define everyday household objects such as articles of clothing and kitchen ware, designed with a sensibility that imbues them with import and elevated status. After WWII in the United States however, an item inscribed “made in Japan” usually indicated a tchotchke of mediocre quality. A perfect example is the large number of Northwest Coast Native American-style bone totem poles made for the tourist shops in the Northwest. There is a distinctive difference in these “artifacts” from the real, home-made variety that illustrates someone from another culture tackling aesthetics they don’t fully comprehend. And that leads us to some of this week’s musical choices. Imitating Western pop, rock and jazz, Japanese artists have recorded many forgettable efforts – not unlike those o...
Post a Comment
Read more

British blues of the 60s y 70s

  This has to be one of my favorite programs. The British blues scene gave us a healthy dose of reverential and, admittedly, imitative music that awakened a youthful audience suffering from pop fatigue on both sides of the ocean. Of course, the blues, as interpreted by young white musicians who couldn’t have been much further from the Mississippi Delta or the South side of Chicago, can be considered as cultural appropriation. At the same time, those involved in the scene have reminisced that playing the blues was largely a visceral reaction to a compelling combination of rhythm, lyrics and energy that was distinct from the British music scene up to that point. I don’t believe anyone at the time felt guilty playing the songs of their Southern US heroes. Does it make a difference that a number of these groups went on to earn far more money than the originators ever dreamed of? Probably, though many of the greats – Muddy Waters, John Lee Hooker, Sonny Boy Williamson and others – profi...
Post a Comment
Read more

Nuyorican boogaloo cha-cha-cha

 I’m labelling this week’s playlist as “Nuyorican” music, the lion’s share of the players from Puerto Rico or of Puerto Rican ancestry.  Two notable exceptions are Joe Bataan, a Filipino-African American, and Mongo Santamaria born in Cuba. What they all have in common, however, was centered around the music scene of New York City where African American and Latino musicians forged a common ground in creating “boogaloo” dance music, mixing elements of R&B, Soul, and Latin dance rhythms. The boogaloo genre was fairly short-lived, enjoying popularity during the 1960’s before giving way to salsa, in what was largely an East Coast and Caribbean impulse. “Watermelon Man” and ”El Watusi” were early and major boogaloo hits, but truly, most of the titles included in the program were popular recordings in their day, whether cha-cha-chas like Tito Puente’s “Oye Como Va”, or GFyEN’s guajira. I’ve gathered them here for an hour’s worth of revelation for those too young to have heard thi...
Post a Comment
Read more