How To Hold The Harmonica ¢ ‘Breech Contrel 4 Notes On The Harmonies § Play & Scale § The “€! Seale (Fx!) 5 © Scale Exercises fEe2 - Ex5) 6 Straight Playing 7 Michael Row The Boat Ashore Selo (Ee) 7 WheaThe Saints Go Marching In Solo (E.7) 8 Toke Core Of Your Harmonica # ‘Ohl Susannah Sala (Ex 8) 5 Frankie And Johnay Solo (Ex.9) 10 Bives Horp = Some History And Some People |! ross Playing 12 Cross Playing Rif (Ex0 - Ex12) (3 Nore Bending I+ ANTe Ab Band (E14 - E18) 14 ATo Als Bluos Riffs (Ex |7 -£x20) 15 Sad Mam Blues Solo (Ex 2!) 18 Little Biues Salo (Ee.22) 17 FT E Bend (Fx 23- 6x25) 18 (Blues RUffs (Ex 26» Ex.29) 19 Aainy Days Sole (E20) 20 Tone Control 24 ‘Money in My Pocket Solo {Ex} 22 He Don't Come Easy Selo (Ex.32) 23 De Dh Bend (33+ £35) 24 ‘Blues Riffs (Ex 36-29) 25 No Way Our Solo ‘Ex-40} 25 Kansas City Blues Solo (Ex!) 27 Empty Sereees Sole (Ex-42) 28 ‘Dover: In New Orfeans Solo (Ex43) 29 The “Wah Wah* 20 "Woh Wal’ /ex.44) 30: "Wah Wah" Blues Riff (Ex-45 - x48) 31 BTe A Bend (Ex4F 5x51) 34 Full Tome Bend Riffs (Ex 52 - Ex.55) 95 The One Mole Harp Sols (Ei 56) 26 Southside Blues Selo x57) 28 G Te F Bend (E58 & £59) 39 Blues Riffs (Ex 60 «Ee 84) 41 Wah Bath Blues Soio (Ex5) 42 Chicago Biues Stomp Solo (Ex. 66) 43 Aiffs Using Tone Control (Ex.67 - Ex75) 44 Detroit Bound Solo (&s.76) 46 Triplet Tonguing (Ex 77 & 78) 48 Triplet Riffs (Ex. 79 « Ex.82) 49 Blues For Elmer Sole (Sx.83) 50 Hear Me Calling Sol (Ex@4) £1 Good Time Blues Sols (Ex5) 52 Eorly Mering Blues Sole (£4.26) 54 Pink Blues Solo (x87) 55 Bessie's Blues Sola (Ex 88) 58 Rockin’ Blues Sols (Ex.89) 57 Train Effect 58 Making Tracks Soio (Ex 90) 58 1 Can’t Keep From Crying Sola (Ext) 59 Blues For Jo Solo (Ex 92) 40ae HOW TO HOLD THE HARMONICA You will notice that your harmonica has the numbers 1 - 10 on one side Hold the instrument in your left hand with the number one, which is the lowest note, to the left. Place your right hand in the position shown be BREATH CONTROL harmonica, or ‘t »w to breathe pr 4 by blues men, itis 3. Alot of hat yc harmenica p ale through your nose ona draw nole, ma blow not note his quite simple. All you have to dois int and exhale through youT Upward arrows indicate: blew inte your harp (blew notes) i} Boel arrows indicate: draw in your breath (draw notes) NB Tee GaAW Orewa Wh Soar a 1 2 2 4 . 6 < 8 9 10 [co EG|GB|CD|EF|GA|BC|DE|FG Ac| teeta te te tat ee Ts o e =o ee ee 2 br 6. G109-0 3 oe When the sign 8 appears over the Treble Clef it indicates that the music is played an octave higher than written. ‘The first thing we will learn to play on the harmonica is the C scalo. ‘Try to play each note clearly without interference from neighbouring notes. 3@ tedious at first, however with a little practice you will soon be able to play each individual note. THE ‘C’ SCALE Ext a = + = 4 4 3: § 6 6 7 7 T 4 t L t 4 . THere are some exercises to help you become familiar with the notes on the harmonica. They will enable you to move easily from hole to hole while playing single notes and also help you with your breathing. You should have no trouble with this triplel exercise as the notes are adjacent to each other Ex2 3 4 4 s 3 foe ont 944445455556566667677 Meet ti tt te petit i ltt ‘This exercise features two draw notes and two blow notes. 7 u Thus time we play an ascending exercise using the C note as the "pivot note" Ex4 ue re + . ae te SSS 2 eA aS A Be AG a ae 7. ee ‘This time we use the G note on the 2nd hole as the “pivotnote’ in this deseending exercise. Ex See Be ee 215 2 4 A 8 2 Patt ttTed + tilPLAYING rece reer This type of playing is called Suaight Playing’ because the tmes are played in the natural key of the harmonica. Fer example, with the C harmonica we will play in the key of C. Although this is a blues book which features mainly note bending, we have included four straight tunes, this is just to allow you to become familiar ‘with the notes on the harmonica. All of the exercises and solos in this beok will be played on the C harmonica. MICHAEL ROW THE BOAT ASHOREWHEN THE SAINTS GO MARCHING IN You will Bnd this famous t Make sure you can play eae: quite easy to play, It is played on hol and 6 note clearly and distinctly, so take your time withit TAKE CARE OF YOUR HARMONICA As with most wind instruments, there can be a build up of moisture in your harmonica, so after you have finished playing it is advisable ta. slap Tt against the palm of your hand. The accepted practice is to tap the mouthpiece side since the reeds converge towards the reed plate at that end, My advice is to tap il cn both sides When you are net lox ying it, keep the harmonica in its case. Never car Dust is one of the creat enemies of a ‘harp’ ard y will sound much better if you keep it clean. ¢ in your poclFee a a eD Oy s BUI VIPs | Bate sneer Ee This popular tune is played on heles 4, § and 6. Although itis played on only three holes you may find it slightly more clifficull than the last two tunes, due to the fact that it invelves constant blow and draw notes.Here's a bouncy litle number played on the four holes 4, 5, 6 and 7 As this completes the last of our ‘straight hars' selection, please make sure that you can play these solos clearly and distinctly before moving on. 3 q 10BLUES HARP - SOME HISTORY AND SOME PEOPLE The harp was much in evidence as a musical tradition which flouri of the USA in the 1920 Pla eee ea, CROSS PLAYING A ‘Cross Playing’ means playing in a key other than the natural key of the harmon We can, by bencling notes, play in many keys. However. throughout the rest ‘ofthis book we will be playing ‘crossed’ mostly in the key of G. ‘The ‘Cross Playing’ method is widely used in Rock, Country. Felk, and especially the Blues, as itallows for more tone control and in One of the main reasons why the ‘Cross Playing’ sound is so exciting is because of the constant use of note bending’, which is what this book is all about. CROSS HARP POSITIONS Although it is possible to play in many keys on the harmonica as shown on this chart, you will find that the second position is the one most often used, We hava used the "C' harmonica for thie hook, STRAIGHT CROSS HARP POSTIONS HARP HARP 1st KEY Postion 2nd Position | ard Position ¢h Postion | Sin Position | @n Position A A & B CH/Db FIG) o ‘The 4th, Sth ana 6th positions are seldom used.CROSS PLAYING RIFFS pe eee ey These riffs are designed to get you playing in the cross key style, ‘you should find them quite easy to manage as they Gon't feature note bencling, This is a bouncy boogie niffin the key of G, x10 a = is qe z = = : Ct ereretr ist 22334455 §5§ 54 4343 2 ke LLAT I bAT Theol 4 Exit we - ‘ te ‘ sn os — or in we . oN Ext? = oe tu ew we ee te ‘This ntt only uses two heles of the harp. n es Hu ae) ee ae es 22 +T ran re ee anFe NOTE BENDING Sania eeerreeeesmeenesnremmamme= ih Note bending’ is an essential part of playing the blues. You may find this technique slightly difficult at first, However with a litle practice it will get easier. ‘Note bending’ may require the use of the tongue in much the same way as whistling. While drawing m your breath, try whistling a scale trom the top note Gown to the bottom note. You will notice your tongue moving backwards as you descend the scale. ‘Try whistling the scale a few times and you will see what I mean ee, pC.) 24) a ee For this exercise we are coing to perform the halftone bend Ato Ab. Drawing in your breati on the sixth hole of the harmonica play the nole of A. Now using the “note hending"' technique try bending it down a halftone to Ab. [tis important thal you master this bend ang that you can play it with ease betiore moving c2 io the solo, Try the icllowing exercise, ‘The encircled numbers ©) indicate the bend notes. Ex.i4 ee i ¢ 4 eATO A) BLUES RIFFS These riffs which feature the A to Ab bend are designed to help you with your note bending. ‘This riff is played on holes 6 and 7. You should find it quite easy to play. ot behe I € Ex.20 18—e SAD MAN BLUES This slow solo feaures the half lone banc A to Ab, which is played. on the sixth hole of the harmenics. Athough you cau now bend a nate onits own, you may find it a little more difficult when you try to play it as part of asolo. Havrever it wil get easier, Practise this solo until you can play it at an eventempo fom start to finish without hesitating at any of the ‘bend notes! Ex.21 Music by Don Babs: —___ —_ on ee ee . 6 @ 6 6 $5 6 6 © «6 $+ odo ios toot. oof — 18eee LITTLE BLUES Nei Here is an up-tempo solo using the sare bend Ato A>. The tempofor this solo isa litlle faster than the last one, and is slightly more dillicull to play but don't be discouraged Remember, 1 is more important to play with accuracy than speed, so therefore play it slowly at first, and then, when you can play it with ease, Gradually increase the tempoFTOEBEND a ‘This exercise deals with the half tone bend F to E which is played on : the fifth hole of the harmonica, Drawing in your breath on the fifth hole play the note of F Then us:ng the ‘note bending’ technique, bend this note down a half tone to E. Practise this bend before moving en to the sole. @ i | i 4 Ex.25 4 5 5 5 t + + J t t 4 { 18‘This 1 iff features the F to E bend. 4 riff should be played with a soulial feel. Italso features the two bends we've dealt with so far, Fto E and Ato Ab. Ex.29 8 be 3 =<-- = & —_—— SS 6 @6 5 @® 5 4 reThis is a slow blues solo which features the bend F to E. and is played on holes Make sure that ‘he bend and all the notes are played clearly. Music by Don Bakar 3 + SONNY TERRY The most country - or 'Folk' - styled harpman was Sonny Terry. Born Saunders Teddell, on October 24th 1911, near Durham, North Carolina, he was nearly blind from childhood and began playing music on street corners and later in recording studios with guitarist Blind Boy Fuller Around the time of Fuller's death in 1940 Sonny met his partner- to-be, Brownie McGhee. Together and separately, they became the folk-blues musicians - recording and gigging with people lixe Leadbelly, Woody Guthrie and Rev. Gary Davis. Sonny died in 1986. 20TONE CONTROL Pe ee ‘Tone control is one of the methads of playing which personalises the souncl e harmonica. Most karp players play with different depths of tone Some people develop their tone almost inunediately, others take years in developing a tone which they are satisfied with. Technically tone conirol is achieved by applying pressure on the suction of air e hole or note, thereby causing a variation on the sound produced the reed. Itis this difference on the prassure of air which varies the tone from person to person. 1 the recoreing will be played using tone control. 6 same, as it can take some time From now on the sole: Don't worry if your playing docs not sound th to davelop your technique.Gt | MONEY IN MY POCKET ee Here is an up-tempo solo using the F to E bend. Play it slowly at first, than gradually increase the speed Ex.3t Musto by Don Sakzor == oe Th Spel IU ee. oh Mh eat SONNY BOY WILLIAMSON I Sonny Boy Williamson | (real name John Lee Williamson) was born near Jackson, Tennessee in the early part of this century. His style was more in the vein of the city blues, and when he moved to Chicago in the 1930s he worked as a sideman with many different bluesmen. In the late 30's he began to record as a featured artist. These recordings laid the groundwerk for the Chicago style of rhythm and blues that was to dominate the scene in the 40's and 50's, His style of 'chocked' harp that broke into a half- moan, half-scream was tremendously popular anc influential. He was murdered in 1948 BaDecne Rr IT DON’T COME EASY This slow blues solo features the two halftone bends F to E and A to Ab. Up te now the si ured only one bend and if you can play them accurately you shculd be ready for this one. Most people fi at playing more than one bend in the same solo is slightly nistakes initially. Ex.32 ease by Dic Babe a3DTO D} BEND wing on the fourth hele of the harmonica play the note of D, now bend this note down a half tone to D». fyou have practised all of the exercises up to now, “note bending" should be getting a little easier for you at this stage. However, do not get discouraged if you are still having difficulty just go back over the last lew exercises before moving on Ex.33 SS — spe —t ye 4 Sj 4 ® 4 4 4 ® 4 a tog 1 oT bf 1 of Ex.35 24BLUES RIFFS ee ee ‘This riffhas a bouncy feel to it and although it features two half tone bends F to E and D to D», You should find it quite easy to play Ex.36 ros) 5 4 4@4 3 4 5 5 5 +f + L Lf 4@ tt This is a great riff for practising your halftone bends. Ex.37 You may find this fast lively riff quite difficult to play. It's short, fast and lively.$a: NO WAY OUT Hore is a slow solo which features the half tone bend D te Db. Itis played on holes 3, 4 and 5 E40 Music by Den Baker a SSeS a ee Se § etc AS oa Ss ren Pk ea ered Te oe 22= Sea eS Sees 4 @ 4 A 3394 aa ee oe Sie - 1 Poe de teak 4 @ 4 4 a 4 4 t + + T 4 t 4 26fee ae KANSAS CITY BLUES ‘This lively number is similar to the last tne and also features the D toD} bend. Take your time and increase the speed as you progress. Eat Music by Don Beker a7EMPTY STREETS This is a slow dy which features the ty D to Dh and A to Ab. F wo half tone bends played on holes 4, 5 and 6 Make sure you can play this solo quite wall, and that you can perform the bends with accuracy and ease, before moving on with this book Exa2 Music br Doa Bakec Ges pobeie r = 4 @ 4 5 8 6 4 tL t T 4 T i ae Te 6 keeee DOWN IN NEW ORLEANS Be se This lively tune features the three half tone bends we have just learned, AtoAb, FtoE, andD to Db It is important at this stage that you can play these halftone bends quite easily as part ofa solo. The next section of the book deals with full tone bends 80 if you feel you need more time on the half tones, then go over the previous exercises and solos before moving on. uss boy Dov BakeDn THE ‘WAH WAH’ a ‘The “Wah Wah method” of playing is widely used by bluse harmonica players This exciting offect is produced by opening and closing your hands while playing the harmonica First, form an almost airtight chamber around the harmonica then open and clase the right hand to sound Although it is quite easy to do itis very effective ‘WAH WAH’“WAH WAH” BLUES RIFFS "These great sounding riffs make full use of the wah wah technique: In this riff we also perform the wah wah oa blow notes Ex.45 3 ——— Ww w w w Ww 1 i 2 2 4 , b F $ a Here the wah wah is played on each note, 50 you have te open and close your hand for each one. It also features blow and draw wah wah's. Ex.46 _ | SSeS Ww Ww Ww w Ww Ww w 2 2 4@ 4 ’ 4 ® 4 E L et 1 4 GL 7 This is quite an easy riffto play. Ex.48 Ww w WwW Ww Ww WwW 5 S$ 55 4 4 44 L o£ LF wt & &T 31} Fe BTOABEND aaa So far we have been dealing with half tone bends, now we will learn how to perform full tone bends. Aword of caution at this stage. It's easy te misjudge the intonation. This may be done by bending a halftone instead of a full tone or by bending the note down three ‘ones instead of a full tone Drawing in your breath on the third hole of the harmonics, play the no-e B Using the 'nete bending’ techniqne, bend this note down a half tone to Bb, then continue bending it down further urmil you reach the note A. Now, perform the same bend again, only this time | bend it down a full tone from B to A without stopping at the half tone. ‘You may find full tone bends slightly more difficult to perform than the half tone bend, as :t may involve further backward movement of the tongue, Practise these exercises before moving on to the solo. Ex.49 Ext +O +-@ . oO 0 +O a4Pe ee FULL TONE BEND RIFFS Not only will these next four riffs help you develor full tone bends but they are also very enjoyable to Here is a simple B to A riff. This triplet rif is played on only cne hele. You should find it quite interesting to play, Ex.54 $ eo 3@3 3 + tT + ‘This ascending riff features three bends B to.A, D to D> and F to B. you can play all the exercises so far then you should have no trouble with this one. Ex.65‘This is a very imeresting piece as itis played on only ane hole oft ni third hele. The object of the exercise is to let you hear the difference betwe: alt tone bend and a full tame bend, and to be able to play therm both easily within a solo. Ex56 Musie by Don Bakur D@ + 3 OO 3 3 + 4d T ‘ +O a 3 3 t 1 t SONNY BOY WILLIAMSON II By far the best of the singer/blues harpists was Sonny Boy Williamson II. Born Willie ‘Rice’ Miller, his claim to be the ‘criginal’ Sonny Boy was true in the sense that he was the older of the two. In 1938 he was broadcasting on a show called ‘Sonny Boy's King Biscuit Flour Show’, although the first known recordings by him appeared in 1951 on the Trumpet label. Some of his sidemen included well-known guitarists such as Elmore James and BB. King. He had a groovy and delicious technique, made all the more effective by his sparing use of flashiness. He toured throughout Europe, and was warmly received. He died in 1965 whilst on a gig in Arkansas. 36a mo oc fe ao i ali -s 1@- a ae Me fT : Ss : cs q ek ee os 4 aa fi. ea at ray Pi . mo we Fy oe A we a Jel =) 3 : “4 nay Pe es ti 2 et a Eg i oe we 5 27 a | _~ — ate ot tT = ge ALL ir fe af ll i alle a4 | me pn & i a 7 wo = oO? : ae aE ee é ao 4 | te a a Ex.57an G TOF BEND Drawing in your breath on the second hole of the harmenica, Play the note of G. Bend this note down a halftone to F¥, then continue bending until you reach the note F. Now perform the bend again, only this time bend the note straight down from G to F without stepping at the half tone bend. Please ensure that your imonation is correct and that youcan Perform this full tane bend before going on to the solo, = el Ex.59 —— = 2 @ 2 2 2 2 s 4 J t + - ‘ LITTLE WALTER Marion Walter Jacobs (known as Little Walter) was born in Alexandria, Louisiana on 1 May 1920, He moved to Chicago while young and cut his first record — much in the style of the first Sonny Boy Williamson — for a local label at the age of 17, Walter sat in with many of the best Chicago bluesmen, eventually teaming with Muddy Waters. Together they built a style that became known as the Chicago Blues — amplified guitars and harmonicas but played with down-home soul and funk. On Muddy’s earliest recordings with harp, Walter played non-amplified, ut later added electricity to give a bigger and fuller sound, Walter was with Muddy for some 5 years before he left to work with his own band and ideas. “6 39oy > Pe i =] ao = | a4 *) 5 B R @- iz a a MR) ce te “o> tc use in the next five rifts we ‘You can now put the ture full tone bends, 310 Aand G toPTIE: ee - eee Ce Aya _ This Chicac ge blues number features the full tone bend GtoF vec on holes 1,2 3 and 4 He tu hd a . 2 2 Sa 2 22923 2 2 2@1 tee deer de tie ~ ¢| Gt CHICAGO BLUES STOMP This is a lovely urban blues stomp, featuring the full tone bend G 1 F. Although it is played only oa holes 1 and 2, this solo may take some time to learn. Play it slowly at firet, ther. when you can bend the notes accurately increase your spe Ex.66 Suste bry Don Betkwe — = — tsar — head 121 Pee oe @ 2 Pag @ 1 2 ob $tT4¢ e+ tte Tethtsd cereCa RIFFS USING TONE CONTROL PSI 4s you probably know by now you can make your harp weep, wail, sound sad or anory 9 using tone control. One way you can do this is by putting a very slight hend on the reed causing the note to waver. Another way is to say the word eh eh ch repeatedly on an inward breath feeling the sound at the back of your throat. this would have a more As with speech, each individual has a unique sound and it is important tone control on the harmenica. cTeaaive feel, velop your OW Uhe wal wah is put into full use here to create a very wailing sound Ex.70 pe et = = Ww WWW Ww ioaate@e t{.dsduda . 4‘This is a great sounding riff although the notes are barely audible ‘This is a very slow bluesy riff eS & | 2 @ t L L This has a very tense and haunting sound,This is a slow bluesy piece featuring the two full tone bends G lo F and Bo A, and alse two half tone bends. You will notice we have introduced another half tone bend D to Db. ‘This is played on the first hole af the harmonica which is an octave lower than the previous D to Dk bend played on the fourth hole. Mac by Don BalarnS TRIPLET TONGUING ee Now we will learn a technique lled triplet tonguing. This technique is widely used on most wind instruments to great effect. Asthe name suggests, triplet toncuing simply means Playing 4 note three times in quick suceeasion. The effect is achieved by bresking a single note into three short notes while drawing in your breath. This is done by using your tongue at the back of your teeth to ent ofthe intake of air An easy while draw to experiment with this method is to say the word Diddley Diddley in your breath. Now, practise the triplet tonguing exercise below Ex.77 333339 He e - Ex 78TRIPLET RIFFS ‘These have a very exciling feel and you should find them easy enough to play, 3 2 —— {ota J xt e— a AAA t Z —— 49BLUES FOR ELMER es __eeei This is a great lively blues tune which you skould find easy to play. ‘There is no note bending and itis played on holes 3 and 4. However, you do have to use triplet tonguing and the wah weh effect: Ex.83 Musie by Dor, SakerET Plate tore VARA eC) ——————~—————— Here is a slow moody solo for you to play that features most of the notes which can be produced from holes 1, 2 and 3 Exe Music by Don BalesnS GOOD TIME BLUES Hore is another lively blues number, played on holes 1, 2, and 3 Itfeatures triplet tonguing and the wah wah effect Ex.85 Music by Den Baberied = = m o = B = o = eI = This very laid back blues solo is played on heles 2, 3, 4 and 6. Music by Dan Batter Ex.86 Racali PINK BLUES ae ‘This solo is played on the first five holes on the harmonica As it cont riffs, you will have to ba careful with your breathing The rifis are played by going from one note to another using quick short breaths Ex.e7 Must by Den BalerThis is a slow moody piece, played on the frst five holes cf the harmonica. Ex.88 ae ae , wwe or ee | se ed | ee ee 4 BRROCKIN’ BLUES played on the rst six holes of the harmonica mpo solo is This up-te ome triplet tanguing, Its alively blues melody and feature om Baker Music zy Ex.89 57ee 3 w2e : 2 hee ; © Bea a 4 eee a8 B08 £3 |B soe Po ee se S gee a) | EM| a's an | Bgl 22 gs Fa] ga fe | PER) fe: oa |B) ie: gS ig: 5 a3 5 gaa 3 Do 4 aa Z aes : ae iS 3 2 aa I CAN'T KEEP FROM CRYING a TE Slow Memphis blues melody. 59BLUES FOR JO gq a 5 a a i B | a g lalla = = allas ‘3 By mallas gs 5 88 7 aa Bs +> g “| Bs = OL a ag albas g a @ ga 4 74 ag 4 re Be ee Ss | gg ae og 4 | a fe lll es Be 3 l] = el & a ir e- ts as 1 of Ho 60a: ea 4 =m mo Bio fae sie ads =e | + a Mees a ] ” me 8 @- at “o> aed tw BER @> st = 7 | . no rt a iy ¢. 4, 4 aoe a = = 2 le aS Sy Or ~ is 4 beep | | © +4 m+ cr 74 we @> aed 61= mo we = m4 ws aad ao > Ce 7 4 = ed Pad 4 ed tee jel mo z Pa Boe ao ao af Bo ee Saas ae @@sa' af Be a a Boe a ee a oe ce af a me a a Cre ast 3 as ae ao 3 222 ~7¢ 62Learn how to get those laid-back bluesy sounds from your harmonica with this great book by expert player Don Baker. Having mastered the ‘basics’ of breath control and straight playing, the easy-to-follow text then shows you haw to progress to complex note-bending techniques and achieve tone control, triplet-tonguing and the famous 'wah-wah’ and ‘train’ effects. Listen to all the exercises and solos on the matching CD and learn even faster! Twenty-eight blues solos for you to play... MICHAEL ROW THE BOAT ASHORE WHEN THE SAINTS GO MARCHING IN OH! SUSANNAH FRANKIE AND JOHNNY SAD MAN BLUES LITTLE BLUES RAINY DAYS MONEY IN MY POCKET IT DON’T COME EASY NO WAY OUT KANSAS CITY BLUES EMPTY STREETS DOWN IN NEW ORLEANS THE ONE HOLE HARP SOUTHSIDE BLUES WAH BASH BLUES CHICAGO BLUES STOMP DETROIT BOUND BLUES FOR ELMAR HEAR ME CALLING GOOD TIME BLUES EARLY MORNING BLUES PINK BLUES BESSIE’S BLUES ROCKIN’ BLUES MAKING TRACKS I CAN‘T KEEP FROM CRYING BLUES FOR JO ‘ving eesoety mags Mn big-oroen subst tee fl n The Nome Of he Fevnen, m0