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ALUES HAAMTICA With the advent of amplified playing using the lownattage aria in the late “40s “early ‘SOs, the blues harmonica could finally be heard elongeide ether instruments. The hermonica was no longer overpowered a it had been in acoustic settings. In accompanying atyle a2 well ac 2012 style, the harp begen te function a2.» “horn.~ Phrasings begin w@ swing @ bh: more. ayncopetion became more interesting and @ new breed of pleyere wae born. LITTLE WALTER (Walter Jacobel Little Walter is considered by meny aficionades of Chicago-etyla biues harmonica to have been the greatest. of all players. Ar the vary laast, he was fer and away the mest innovative player of hia time. Aithouah Little Watters playing showed the influence of other players, insluding Senny Bey Wwiliamson, nis style gradually evalved into something completely original end apert from thot of his prodecoscors. With the incrasead use of lowwattage amps, his playing coundaed more soxlike ond les lke @ treditional harmonica. H's phresing become more hormlke, and freer and jozziec, His Use of octauas and other split tanguings, 8 well as his ability to switch from deep to shollow throat tones, was amazing and continues to influence sueceeding ‘eneraions of Chicago-stye blues harp players everwhere, SORINY BOY WILLIAMSON [Aleck “Rice” Miller) Sonny Say Willamson was most influential in effec at/leo to big city, omplified modes of blues harmenice playing. He was not @ parti notey player: his trademark wes te ecenemy with which he used short riff end rhythm pattems ta help define each song. His tongue rhythm technique remains unsurpassed acy “The lator recordings ore morked by the use of longer notes with more fuid anc developed melodic fines. Perhops the mest significant aspect of his ertistry wes the irony, humor and cheer intensity with which he wrote, sang and played the blues, MOWLINY WOLF (Chester Burnett) Becouse of his doviish behavior, Burnett's tather dubbed him “Walt.” His harmonica style though not elaborate, wos very effective et the gut level at which tho bluos oxicte. Mic ppheases, rifts and tucnarounce served to underscore some of te most emouonallyinspired bluse vocala ever. Indeed, Howlin’ Wolf wae known primanly ae 8 vocalist, but his blues harp sang Ou ns an acded voice on some of the greatest blues performances ever recorded. suamy REED au manly for Nis singing and songwriting. Jimmy Reed's harmonics playing woe unique ond continues to influence harmonics players, particularly those who play straight herp. For the most part, Reed played his harmonica on @ rack oround hie neck, while he Played guitar. In spite of this seemingly awkward approach. his noes were clear, well controlled and very effective In particuler, hie trademark style of playing the blow-bends on the high ond of the harp were amazing for a rack player. His solos were simple, his riffs short, every note meant alot. Any otudent of atraightherp bluse playing could do na better than to study Read. OF any of the writers in this book, his songs hed the most “hooks” — catch phreses. both lyrically and melodically. This helped him reach a wider commercial audience than most blues artists: