[Harp-L] Bonfiglio, Buddy G and the sociology of the harmonica

[martin oldsberg <martinoldsberg@xxxxxxxxx>]

A listmember recently calling Robert Bonfiglio a "talented novelty harp player" is nothing short of hilarious. (I listen to his novelty take on Villa-Lobos harmonica concerto as I write and obviously, the kid´s got potential. Who knows, maybe some day he will turn out to be a real harmonica player!)
  However, this statement (Buddy Greene was also included) interpreted in the best possible light can perhaps point to something a litte troublesome with the harmonica. Robert B closes his performances, if I´ve understood correctly, with a sort of blues harp medley, or anyway, diatonic playing of material of quite another kind than the concertos. That is not his forte.
  Buddy Greene at Carnegie Hall is somehow prompted to show some unexpected things coming from the diatonic: "Hey, that little piece of metal, and not only Bacharach -- but Bach!" and we all get candy.
  This supposedly gives some sort of credence to the instrument, defying or challenging prejudices. In Bonfiglios case, some relief (?) to the audiences after having listened to "serious" music for a while. 
  But maybe it reinforces prejudice.
 
The interesting thing is why these two stunts are considered necessary, as they seem to emphasize a certain dimension of the harmonica outside of the expected. In Buddy´s case a whooping gospel; in Robert´s a strict performance of the announced material.
 (Please note:  we all need to pay our rents, so this is NOT criticism in that sense. If someone walked up to me right now and said "Play Oh Susannah while standing on one leg and you´ll get 1000 SEK" my C harp would be there in a jiffy. Maybe I would even jump.)
 
  The thing is that what Robert The Good Son and Buddy G do they do so well that they shouldn´t need to bastardize (strong word, perhaps) themselves with tricks of whatever kind -- but being harmonica players they do, despite their excellence in respective departments.
  I wonder, will this be the perennial fate of the harmonica? Or could we reach a stage where we just play the damned thing like, say the piano is played? Get it looked  upon like a "real instrument"? 
  Horowitz never had to play with his ass, like Jerry Lee Lewis, nor juggle with the Steinway. He went over just fine anyhow.  
  Despite the mealticket argument probably the first step would be to treat the instrument in the most, well ... -- conservative manner. No chit-chat about the size of it ("Oh whadda LARGE piano you have, Mr Horowitz"), no fun stunts, no "virtuoso" tricks, no lowering of the level. Just good solid playing in whatever genre or tradition.
  Could take some time -- attitudes are sticky things -- but could be doable.
 
Cheers,
Martin