Estrin interview?
I noticed Rick Estrin mentioned that he did not use overblows in his playing. In playing a song in C in 2nd position that required an Ab would you just go to the high end for the fourth in the progression, then back to the low end to get a required B for the fifth. Just wondered what approaches would be used to get around not using overblows.
The song I am thinking of is "T Bone Shuffle" and it would seem to me that if you went to third position, you just change the note that can't be ahcieved without overblows - in the first chord it would be now be the F. These are the things that drive me to the edge - am I missing something? I do get your point about just playing something else, or perhaps you could just stay on the one chord while the band went through the progression.
The head to "T-Bone Shuffle" can be played without overbends in second position. I see what you mean though... swapping an overbend for another bend in another position (Though F to F# for the I Chord in 3rd Position is 2" to 2')... the simple answer is some players don't like the sound of overbends... no reasoning will change their minds...
He doesn't think that way... he's a pattern player... like most traditional players... if the note's not there in that octave, then it wouldn't occur to him to play that note... nor would anyone before him in the tradition of blues. It is nice to have this flat-7 of the IV chord, but this can be fixed by playing in 3rd position... this would be in the case that a hook or melody of a song that you're adapting the harp to requires it... otherwise you just play something different. Moving up to the 8'+ in 2nd Position works, but usually doesn't sound good (too much of a jump).