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Date: Sat, 1 Jun 2002 05:31:15 -0700 (PDT)
From: Will Vogtman
Subject: Re: A serious Question about Popper

- --- Dejon Hamann wrote:
>
> Now I know this is social suicide even uttering Mr. Popper's name here,
but
> there's something I'd really enjoy getting some intelligent feedback from
> the esteemed panel.

If you have a well-formed opinion, if you've listened to other players (as
you
have), then you have EVERY right to choose Popper as a favorite. There is a
time
and place for his style of playing--just like hot sauce.

Some people don't like it at all. Some people like just a little bit of
Louisanna
Red Hot on their Pizza. Some people have to enhance the Red Hot with
Tabasco. . . .
and some crazy mutha's out their like Habanero sauce. Who's in the right
here?

> I'll phrase this question in many forms, but it
> basically revolves around one query: "what role does Gain have on Popper's
> playing?"

Overdrive/distortion are part of his style--I think they do his playing an
injustice.
If I (sloppily) immitate a "Popperesque" solo with a whole lot of overdrive,
I can
get the fluid sound and fool everybody but the harp players into thinking
that I can
do Popper. But I know for a fact that I'm not even close. I've personally
slowed
down some of his material--the detail revealed is amazing.

> To continue: Do you think Popper can play with such fluid ease
> acoustically?

No, but the detail lost by the overdrive would be revealed. The loss of
fluidity
would be inconsequential.

> Do you think his sound and popularity with the popular
> contigent has evolved as such because he's spent more time utilizing "rock
> gear?" (How many harp players do you know that play through 2 Mesa Boogie
> HeartBreaker Heads and a full Mesa Boogie STack?!)

He made the harp sound a lot like a guitar in technique and tone. This
change
allowed him popular success. One may make a "sour grapes" claim until one
is blue
in the face, one may argue the merits of his work, but his work was a great
business
decisson at the very least. Is popularity a bad thing? He has helped us
all. He
has made the harp more acceptable to the public ear.

> I have a sneaky
> suspicion that his sound and ability rely heavily on that High Gain sound
-
> that sound where notes run together and give the idea of smooth concious
> runs. Although, I'm sure he'd probably disprove everything if I had a
> chance to sit down, but in trying to dissect his playing this is the
> conclusion I've arrived at.

Check out some of the transcriptions by Winslow Yerxa. He has done the
dissection
for all of us.

>
> Personally, I have to admit that I (deep down inside) hold Popper as my
> favorite Harp player - and I've listened to most of the greats! Carlos
Del
> Junco amazes and astounds me with his technical ability, Butterfield
reaches
> deep down with that undeniable tone and attack, Little Walter has groove
and
> pharasing which transcend 10 holes, but time and time again it's Popper's
> package of incredible lyric/song writing, singing, and eloquent (song
> serving) harp playing that move my heart, mind, and body.
>

You have a right to your opinion. Let no man shake it. (Yes, I said man .
. . I've
changed my opinion on the spot for women quite often . . .what? . . .yes
dear, I'll
log off so you can use the phone . . . .)

For me, Popper has made a valuable contribution, his style is very very
spicy.

Bottom line for me--

Cannonball:Coltrane::LW:Popper

I'm a Cannonball fan and I appreciate Coltrane.

Stay Balanced,

Will

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