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Jumpin with Jimmie

jimmiemeade's picture

Listened to a lot of K.C. swing musicians for inspiration on this one, specifically Lester Young's Jumpin with Symphony Sid and Charlie Parker's K.C. Blues.


Its all about going for it!!

hank stefaniak's picture

Full points for getting something in. There are sone very interesting riffs in there that could use some chorus form organization but I enjoyed listening to this and picked a couple of neat ideas - thanks.

Gary Smith Judging

Gary Smith's picture

good tongue block tone... bad choice of track... player needs phrasing practice

Sonny Boy II !

robfraser's picture

Your "lazy" tongue blocking style reminds me very much of Mr Miller. It's feels so laid back and the hand use is great! If I can offer a suggestion the only change I would make is to play solo, without the piano accompaniment- you'd keep me engaged for ages that way! Well done Jimmie

It sounds like you're

Mark Hummel's picture

It sounds like you're wha-whaing the harp with your hands? How are you doing that if you're playing one hand on the keyboard? So this is in F, not C. So it's in second position. It doesn't feel like it swings is the main problem-to be the King you must Swing! I think the song might work better over a shuffle then a swing-the lines seem to lend themselves more to that-just my opinion?

unidentified accompaniment

jimmiemeade's picture

My friend Ruslan played the piano. I was wha-whaing the harp with my hands. It was definitely in C. Thank you for your opinion!

David Barrett Judging

David Barrett's picture

Harp and left-hand piano at the same time, that is no doubt challenging! This could explain some of the areas where your timing does not line up with the backing.

Technique-wise, you have a real nice, relaxed tone and light touch on the harmonica... I LIKE LISTENING TO YOU PLAY! That's a big compliment... the best in the blues world. The 3" bend is cool... that's an important part of taking the harmonica to places only good bending control can take it.

In regards to your phrasing... to use repetitive phrasing... i.e, a I Chord lick over a IV Chord or even a V Chord, requires a very specific approach, basically what I teach with the Chorus Form Concept. I listened to your submission five times... trying to get a hold on what your intent was phrasing-wise. My conclusions are either...

1) You're a relative new improvisor and are unaware that the notes you play should be based on the chords you're playing over... something that can be gleaned from studying theory... or through studying and memorizing tons of great blues harmonica songs--the way most of us do it....or of course a little bit of both!


2) You've tried to be so hip with your phrasing that it reached a point where it became unrecognizable in regards to the form you played over. If this is the case, then you'll have to be more careful about your rhythm... it HAS to be dead-on to gain the confidence of the listener. Your treatment of bars 9 and 10 also need some revisiting.

I assume it's the later and I recommend you pull back to tried-and-true methods of phrasing and over time start to innovate, but make sure to tip your hat to the chord change by playing at least one note in that chord change in a rhythmically important spot to ground the listener a bit.

Thanks for your submission, it was fun wrapping my ears and brain around it!

unidentified accompaniment

jimmiemeade's picture

My friend Ruslan accompanied me on the piano. I started rewriting as soon as I finished, and will continue working on it. Thank you for your response, David!

A Bb harmonica in the key of

jimmiemeade's picture

A Bb harmonica in the key of C. A 12 bar boogie woogie with a 4 bar ii V intro on harp, accompanied by left hand piano. Poor recording, and I had trouble with the last chorus, apologies! Would have liked to work on it more, and have, but was worried about making the deadline! Thank you giving us an opportunity to create, there's some great songs coming in!