Re: [Harp-L] Diviseness at SPAH

[Joe and Cass Leone <leone@xxxxxxxx>]

On Oct 8, 2005, at 3:38 PM, Michael Easton wrote:

> I only attended one SPAH due to work scheduling.  Most of the 
> conventions I get to attend are Buckeye.
> Here is how I see it based on my time attending conventions.

 My first convention was a SPAH because I had just missed the 1991 
Buckeye. Since then I have been to 11 of the last 15. I have been to 8 
of the last 15 Buckeyes.
> What I see are the older players mingling who have attended the 
> conventions for years and got to
> know each other over time. We all tend to hone in on a familiar face 
> in a crowd to socialize at gatherings whether it's harp related or 
> not.

 My first exposure to other harmonica players was Steel Valley Club 
(Youngstown), so naturally I knew the Ohioans first. When I went to my 
first SPAH (with Herb Eck) the few people I knew there were from 
eastern Ohio. A passerby would have assumed that I was part of that 
group.

> Most of the guys in attendance were middle aged or younger when SPAH 
> started.  They grew old together like most of us middle aged diatonic 
> players are doing now.

 Yes, these people have been going to these things for years (sometimes 
decades).

> Some have grown up on harmonica bands. Others have taken to playing 
> soloist formats preferring traditional band settings.
> This is only a statement not a put down.

 I know. There's something about the comeraderie factor here. Nothing 
like being at the check in desk and seeing the smiling faces of the 
people whose friendships you have been cultivating looking back at you. 
A lot of these older people were 'singleton' performers (Schackner), 
while others were group players (Murad, Al Smith) way back before 
concrete. In answer to Elizabeth's query as to why the conventions 
aren't attended by more black players?
 1...Most of the black players had passed away
 2...Those still with us were too active during the spah dynasty / 
Cotton, Wells, Reed
 3...Very few whites were active (mostly studio work)                / 
Morgan, Schackner, Toots
 4...For a black player to take off 4-5 days meant lost gigs
 5...It also meant 'saving' up from previous gigs to cover expenses
 6...Most black players didn't have other jobs, they whistle stopped
 7...Most were not well heeled
 8...SPAH had nothing to offer/interest them
 9...Most black players worked with bands
 10.Who could afford to bring the WHOLE band (see #4 above)
 I could go on and on, but I won't. btw: this is assuming that they 
would show up at a convention like the rest of us and pay their own 
way. Naturally if they were on a show, this would change things, BUT 
(and a very BIG but it is too), Why would one group of people get any 
preference over another group of people inasmuch as there are GREAT 
talents on BOTH sides of the proverbial fence? We have talent that go 
to conventions and never get to play as it is. I doubt there is any 
devious intent.
> Since harpl and other list groups  emerged in the mid 90's a whole 
> generation of harp players became aware of each other.  I couldn't 
> wait to go to my first
> convention so I could meet and hang with all the guys/gals I got to 
> know on harpl.   Everyone I socialized with were mainly diatonic 
> player with the exception of
> Doug Tate.  Some of the chrome players I got to know on this list were 
> not in attendance or I was unaware of them being there such as 
> Siegfried and Vern.
> Winslow was a part of  both camps bringing together young chrome and 
> diatonics with the groups he formed to perform.
>
> There was a big push for SPAH membership on harpl when I joined in 
> 1997 that continued for a few years.  We wrote of our first 
> experiences at both SPAH and Buckeye conventions and started having 
> meetings at the conventions.  Harpl members made a point of hooking up 
> with each other. It just so happens were are 1) mostly diatonic 
> players 2) blues players 3) overblow players.

 Good point. Let's put it in perspective. Let's say there is a table of 
9 people at Bob's house of Big Boy and sitting at the table having a 
midnight breakfast are: Jerry Murad, Ron Kalina, Bud Boblink, Al & Judy 
Smith, Gene Hansen (spah treasurer), Frank Warner, Sandy German, and 
myself. A passerby might assume that we all either/or
  1....know each other
  2....are friends
  3....have had 'some' mutual interaction(s)
This, in and of itself, doesn't necessarily mean that we are a clique 
or are aloof.

 By the same token, I have gone to spah and said hello to people 
(several times-several years) and never got a reply. I write this off 
to them being either/or
  1....shy (my most GENTILE way of thinking)
  2....quiet / so cool and laid back that they consider a morgue slab 
as a comfortable 'barca-lounger'
  3....elitist / as in 'Hey, I did this and I did that and who are you'?
> I don't think we generally diss each other based on harp played as we 
> are uncomfortable with the music or jam format.  I would have no 
> problem joining in a hall jam with chrome players if I knew the 
> ettiquitte (sp) rules for jamming with them.  When I see players 
> paired off in a small group I tend to generalize that it is a private 
> party.

 Yes and no. Depends on whom is playing. I entered this world very 
gradually. First doing harmony (no one seems to want to do harmony), 
then fills. Generally one or more people will be the king pin and 
everyone keys off of THEM. Eventually, (if they hear good sound coming 
out of you), you will get a nod to take a ride.
 As long as you don't walk on anyone or play at a volume incongruous to 
the situation, things will eventually happen.
 note: some players don't want people 'chiming in', some do. This has 
to be felt out. Some players fancy themselves as stars and even though 
they aren't up on stage doing a show, they jealously protect their 
little 'any place a stage' world. If the refridgerator door light goes 
on, they think its a 'spot'.  But anymore they are few in number as no 
one likes a stick in the mud (for very long).
> Maybe some of you chrome players (Jack Ely)  on the list can fill us 
> in on how to join in a hall jam already in progress.  I wouldn't want 
> to GUS a private jam.
>
> I do like to mingle with both the diatonic and chrome players.  I got 
> to meet a nice guy  from Memphis that attended high school with Elvis. 
> I would have missed a great conversation if I hadn't  opened up to 
> him.  I never ask for special seating with friends during the dinners. 
>  The older chrome players have always welcomed me at their table.

 I never ask for special seating. I would rather meet new people.
> Where I do see a noticeable clique is among some of the overblow 
> players.  This was seen at my first convention in 1998. Other diatonic 
> players have been told you have to be able to overblow to join in the 
> hall jam.

 This is funny. I wonder how all the old timer blues men would feel 
about that. I doubt there were many that could over-blow. I (my 
opinion) believe that all those old guys didn't from crabs about the 
why fores and where fores of the harmonica. They just knew how to play, 
and THAT was enough.

>  I don't see it as being about the music at that point as it is about 
> having a head cutting/ego contest among some overblowers to out play 
> each other.  I know most of the overblow players would never think to 
> alienate other players but there are snobs among the diatonic camp 
> that tend to elevate themselves above others if only in their own 
> head.

 You're saying that they are 'Legends in their own minds'. I LOVE it.

>   It's only a matter of time before the gap among diatonic players 
> widens due to the uppity attitude of a few who want to create a 
> division.   Like jazzman said, you know who you are.

 Personally, I think divisions are MADE by people. If there WAS no pre 
existing division, why the hell manufacture one.
    my take... smokey-joe
> mike

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