bd hg bg bd * bs va x Ls * « bd bg bd b Vg * x Discover the techniques of cross-playing, note bending, triplet tong g and tone control to create all those great bluesy sounds...How To Hold The Harmanica 4 Brecth Control 4 Notes On The Harmonica 5 Play A Scale 5 The ‘C” Scale (Ex.|) 5 © Scale Exercises (Ex.2 - Ex.5) 6 Straight Playing 7 Michael Row The Boat Ashore Solo (Ex.6) 7 When The Saints Go Marching In Solo (Ex.7) 8 Take Care Of Your Harmonica 8 Oh! Susannah Solo (Ex.8) 9 Frankie And Johnny Solo (Ex.9) 10 Blues Harp - Some History And Some People || Cross Playing |2 Cross Playing Riffs (Ex.10 - Ex.13) 13 Note Bending I4 ATo Ab Bend (Ex.14 - Ex.16) 14 ATo Ab Blues Riffs (Ex.17 - Ex.20) 15 Sad Man Blues Solo (Ex.21) 16 Little Blues Solo (Ex.22) 17 FTo E Bend (Ex.23 - Ex.25) 18 Blues Riffs (Ex.26 - Ex.29) 19 Rainy Days Solo (Ex.30) 20 Tone Control 2/ Money In My Pocket Solo (Ex.3 |) 22 It Don’t Come Easy Solo (Ex.32) 23 D To D} Bend (Ex.33 - Ex.35) 24 Kansas City Blues Solo (Ex.41) 27 Empty Streets Solo (Ex.42) 28 Down In New Orleans Solo (Ex.43) 29 The ‘Wah Wah’ 30 “Wah Wah’ (Ex.44) 30 “Wah Wah’ Blues Riffs (Ex.45 - Ex.48) 31 BTo A Bend (Ex.49 - Ex.51) 34 Full Tone Bend Riffs (Ex.52 - Ex.55) 35 The One Hole Harp Solo (Ex.56) 36 Southside Blues Solo (Ex.57) 38 G To F Bend (Ex.58 & Ex.59) 39 Blues Riffs (Ex.60 - Ex.64) 41 Wah Bash Blues Solo (Ex.65) 42 Chicago Blues Stomp Solo (Ex.66) 43 Riffs Using Tone Control (Ex.67 - Ex.75) 44 Detroit Bound Solo (Ex.76) 46 Triplet Tonguing (Ex.77 & Ex.78) 48 Triplet Riffs (Ex.79 - Ex.82) 49 Blues For Elmer Solo (Ex.83) 50 Hear Me Calling Solo (Ex.64) 51 Good Time Blues Solo (Ex.85) 52 Early Morning Blues Solo (Ex.86) 54 Pink Blues Solo (Ex.87) 55 Bessie’s Blues Solo (Ex.88) 56 Rockin’ Blues Solo (Ex.89) 57 Train Effect 58 Making Tracks Solo (Ex.90) 58 1 Can't Keep From Crying Solo (Ex.?!) 59 Blues For Jo Solo (Ex.92) 60HOW TO HOLD THE HARMONICA You will notice that your harmonica has the numbers | - 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 below. - EEE ™— BREATH CONTROL ee When first learning to play the harmonica, or ‘harp’ as it is called by blues men, iti important for you to know how to breathe properly while playing. A lot of harmonica players use breath control to great effect as it enhances their playing. As you progress through this book you will find that your breath control ability will improve, at least for harmonica playing. It is quite simple. All you have to do is inhale through your nose on a draw note, and exhale through your nose on a blow not note.NOTES ON THE HARMONICA t Upward arrows indicate: blow into your harp (blow notes) | Downward arrows indicate: draw in your breath (draw notes) AB Tee Cah Prete nh rera 1 2 3 4 5 6 7 8 9 10 GB|CD|EF|GA|BC|DE|FG|AC| tehrite te tetitie tse tet PLAY A SCALE 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 scale. Try to play each note clearly without interference from neighbouring notes. This may be tedious at first, however with a little practice you will soon be able to play each individual note. THE ‘C’ SCALE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 triplet exercise as the notes are adjacent to each other. 555565666676 TLTLTL1tTltidd +--+ > -! This time we play an ascending exercise using the C note as the "pivot note”. Ex.4 : | a = 4 45 4546 4647 4 7 TLgtt tTltr titi tt This time we use the G note on the 2nd hole as the "pivot note” in this descending exercise. Ex.5 605 55 5 A 2423 2 $TLi sets s tetsu sdSTRAIGHT PLAYING This type of playing is called ‘Straight Playing’ because the tunes are played in the natural key of the harmonica. For 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 book will be played on the C harmonica. MICHAEL ROW THE BOAT ASHORE m x a a a 1 +a a su @ ea a or ¢ aa | — 4] ++ Q ye en =) +> a i tT - oh —> Ln #+u &WHEN THE SAINTS GO MARCHING IN You will find this famous tune quite easy to play. It is played on holes 4, 5, and 6. Make sure you can play each note clearly and distinctly, so take your time with it. 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 to slap it 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 it on both sides. When you are not playing it, keep the harmonica in its case. Never carry it loose in your pocket. Dust is one of the great enemies of a ‘harp’ and yours will sound much better if you keep it clean.EEE OH SUSANNAH Ne This popular tune is played on holes 4, 5 and 6. Although it is played on only three holes you may find it slightly more difficult than the last two tunes, due to the fact that it involves constant blow and draw notes. o—= PRANKIE & JOHNNY Sec Here's a bouncy little number played on the four holes 4, 5, 6 and 7. As this completes the last of our ‘straight harp’ selection, please make sure that you can play these solos clearly and distinctly before moving on. 10SOME METOET END SOME PEOPLE The harp was much in evidence as a part ofa musical tradition which flourished in the rural south of the USA in the 1920's and 30's - the jug band. Playing on street corners, in saloons and at country suppers, these bands usually consisted of banjo, guitar, washboard and kazoo, and sometimes fiddle, jugs and harp. Most often the harp was used for melodic-rhythmic support, with much of the playing in the upper register so the sound would carry.CROSS PLAYING ‘Cross Playing’ means playing in a key other than the natural key of the harmonica. We can, by bending notes, play in many keys, However, throughout the rest of this book we will be playing ‘crossed’ mostly in the key of G. The ‘Cross Playing’ method is widely used in Rock, Country, Folk, and especially the Blues, as it allows for more tone control and individual expression. 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 have used the 'C' harmonica for this book. STRAIGHT CROSS HARP POSITIONS HARP ‘ist Pasition 2nd Position | 3rd Position | 4th Position 6th Position TAD Ae | 8 | ct | es [se | Fr |e B B Fe C c..U|}!€UOCOG b | D dp = 6|.) (OA ES EB | F c | > | Gp C#/Db D | | ce | ct | | E B F DCE A/G? F po fo | a | © | ae =» |=» | 5s | Fr |. Te [= | 8 | ae | am | [se | «| H Cc The 4th, 5th and 6th positions are seldom used. 1°wi Boy = a oS) = = Au 7 e) Cae] fe) a= © These riffs are designed to get you playing in the cross key style, you should find them quite easy to manage as they don’t feature note bending. This is a bouncy boogie riff in the key of G. Ex.10 tpi] heer Ex.11 This riff only uses two holes of the harp. Ex.13 13PY NOTE BENDING a ‘Note bending’ is an essential part of playing the blues. You may find this technique slightly difficult at first. However with a little practice it will get easier. ‘Note bending' may require the use of the tongue in much the same way as whistling. While drawing in your breath, try whistling a scale from the top note down 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. Fn eeeeeeeeeerereclcrLLLLSC‘NN ATO A> BEND Ne For this exercise we are going to perform the half tone bend ‘A to Ab’. Drawing in your breath on the sixth hole of the harmonica play the note of A. Now using the "note bending” technique try bending it down a halftone to Ab. It is important that you master this bend and that you can play it with ease before moving on to the solo. Try the following exercise. The encircled numbers © indicate the bend notes. Ex.14 GEM FSi te | 6 © 6 6 6 6 t 1 J t L L L Ex.15 =. SS ee 6 © 6 6 6 © 6 s t 4 T 4 4 4 Ex.16 wll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. on © ® 6 © 6 7 6 ©6 6 ©6717 tT bub beset toes Here is a very soulful riff. Ex.18 he. __ - pot tebe ees a 6 © 6 6 © 6 6 5 6 Lid u i i® tlt Here we have an ascending run before playing the bend. Ex.19 $e err oe This is quite a lively little riff. Ex.20 ee Eee free 6@©65 6 ©6 6@65 554 $eet but {Ltt itt 15=D. SAD MAN BLUES This slow solo features the half tone bend A to Ab, which is played on the sixth hole of the harmonica. Although you can now bend a note on its own, you may find it a little more difficult when you try to play it as part of a solo. However it will get easier. Practise this solo until you can play it at an even tempo from start to finish without hesitating at any of the ‘bend notes’. Ex.21 Music by Den Baker 16TT — LITTLE BLUES Here is an up-tempo solo using the same bend A to Ab. The tempo for this solo is a litle faster than the last one, and is slightly more difficult to play but don't be discouraged. Remember, it is more important to play with accuracy than speed, so therefore play it slowly at first, and then, when you can play it with ease, gradually increase the tempo. Ex.22 Music by Don BakerFTOE BEND i ee =e This exercise deals with the half tone bend F to E which is played on the fifth hole of the harmonica. Drawing in your breath on the fifth hole play the note of F. Then using the ‘note bending’ technique, bend this note down a halftone to E. Practise this bend before moving on to the solo. Ex.25 4 4 5 ® 5 6 © T + L | ‘ t ‘ ‘ 18BLUES RIFFS This riff features the F to E bend. dy feetres fee er er ee 14 6 ©6 6 6 6 6 6 L$ sedbdlis This ascending riff contains both the F to E and A to Ab bends. Ex.28 a 3 eS 5@45 66@677 8 blidttesegrt a This descending riff should be played with a soulful feel. It also features the two bends we've dealt with so far, F to E and A to Ab. Ex.29 | 3 ’ 6 © 6 5 ® 5 4 L{tiwtdtbiswt¢EEE Ss RAINY DAYS This is a slow blues solo which features the bend F to E, and is played on holes 4, 5 and 6. Make sure that the bend and all the notes are played clearly, Ex.30 Musie by Don Baker 7S=— SSS ’ 5 © 5 4 5 © 5s 4 | Loyotsiog re | . o—.— __ (Sass Sere 5§@5 6658 45@5 4 $)so bribery soy 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 like Leadbelly, Woody Guthrie and Rev. Gary Davis. Sonny died in 1986. 90TONE CONTROL St Tone control is one of the methods of playing which personalises the sound of the harmonica. Most harp players play with different depths of tone. Some people develop their tone almost immediately, others take years in developing a tone which they are satisfied with. Technically tone control is achieved by applying pressure on the suction of air | through the hole or note, thereby causing a variation on the sound produced from the reed. It is this difference on the pressure of air which varies the tone from person to person. : From now on the solos on the recording will be played using tone control. Don't worry if your playing does not sound the same, as it can take some time to develop your technique. Bommy Terry. Phot by Pewed CaneEEE MONEY IN MY POCKET as Here is an up-tempo solo using the F to E bend. Play it slowly at first, then gradually increase the speed. Ex.31 Music by Don Baker _ — 2 — 5 5 4 5 6 5 5 5 4 t+tie L 1 Td 4 Lod L 5 6 5 5 © 5 4 5 5: 5 4 Lfd Lofld 1 fdudtd 1 @ = ——— Ser = 5 © 5 4 5 (5 4 4 4 1 dot 1 1 Jt | f \ SONNY BOY WILLIAMSON I Sonny Boy Williamson I (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 1930's 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 groundwork 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 and influential. He was murdered in 1948. ooEET —*D IT DON’T COME EASY This slow blues solo features the two half tone bends F to E and A to Ab. Up to now the solos have featured only one bend, and if you can play them accurately you should be ready for this one. Most people find that playing more than one bend in the same solo is slightly difficult at first, so don't worry if you make a few mistakes initially. Ex.32 Music by Don Baker Williamaon Tand Big Bill Broonzy, Acbdins/ Com teary of Blues Classivs Revues Sonny Boy Fhiotur Lay Choueype 23D TO D} BEND Drawing on the fourth hole of the harmonica play the note of D, now bend this note down a half tone to Db. If you 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 few exercises before moving on. a4BLUES RIFFS —_— This riff has a bouncy feel to it and although it features two half tone bends F to E and D to Db. You should find it quite easy to play. Ex.36 ® 4 455@5 5 4@4 5 4 gs¢e te dit esuuetTta This is a great riff for practising your half tone bends. Ex.37 2 - J 3 6@65645 4@4 56 5 $iilseitbd se tse dad Al -© nh) +1 4 @ 4 @ 5 6 doh oh $i You may find this fast lively riff quite dithcult to play. It's short, fast and mea Ex.38 See L friar eta Ex.39 pS 6 ©6565 65 4@4 HPddbd Ft bdbdd 25Here is a slow solo which features the halftone bend D to Db. It is played on holes 3, 4 and 5. Ate hy Ex.40 Music by Don Bakeren KANSAS CITY BLUES ee This lively number is similar to the last tune and also features the D to Db bend. Take your time and increase the speed as you progress. Ex.41 Music by Don Baker (HSS Se 4 @ 4 4 3 4 4 4 3 4 4 1 fda tT 1 f tft s ft d 4 4 4 3 4 4 4 3 4 4 1 g<£ ¢ | os ff sn ee ee 5 5 4 5 5 5 4 a} t L fT 4 t 1 7 =e eee a 4 @ 4 4 3 4 4 4 3 4 4 He odd T 1 T 1 tT + T 4This is a slow melody which features the two half tone bends D to Db and A to Ab. It is played on holes 4, 5 and 6. Make sure you can play this solo quite well, and that you can perform the bends with accuracy and ease, before moving on with this book. Ex.42 Music by Don Baker _ oe es a 4 @ 4 5 5 6 6 4 J J tT L fT J ee, — + + —+ oO eo * +e en +o Hun en +o on On z= ea +oern, DOWN IN NEW ORLEANS Ne This lively tune features the three half tone bends we have just learned, Ato Ab, FtoE, andDtoD), It is important at this stage that you can play these half tone bends quite easily as part of a solo. The next section of the book deals with full tone bends, so if you feel you need more time on the half tones, then go over the previous exercises and solos before moving on. Ex.43 be be: — Music by Don Baker oe — an ot =e 6 © 6 6 5 © 35 5 + + 1 Tt t 4 t T 4 @ 4 5 4 5 @© 4 l 4 4 t | 1 £ SSeS 6 © 6 6 5 © 3 5 4 1 l T re T 4 @ 4 5 4 5 © 4 + 4 L T 4 4 d 4 6 6 5 © 4 5 5 6 4 T + t 4 T 4 t —~~— 2. — 6 6 5 5 4 J t t T L — _ oo — 6 ® 6 6 5 © 5 5 1 J 1 t J L$ 4 T o—be— 0 = SSI 4 @ 4 5 5 © 4 4 4 L dl 4 t + 1 od t 4FN l*“N | THE ‘WAH WAH’ | I The “Wah Wah method” of playing is widely used by blues harmonica players. This exciting effect is produced by opening and closing your hands while playing the harmonica. First, form an almost airtight chamber around the harmonica then open and close the right hand to sound the effect. Although it is quite easy to do it is very effective. “WAH WAH’ A Ex.44 an“WAH WAH” BLUES RIFFS ee These great sounding riffs make full use of the wah wah technique. In this riff we also perform the wah wah on blow notes. | 2 4 + —ne Ee +P = Here the wah wah is played on each note, so you have to open and close your hand for each one. It also features blow and draw wah wah's. Ex.46 4 is —___»—_— 6 =e === W Ww W Ww W Ww Ww Ww WwW | 2 2 4@ 4 4 4@ 4 4 T L | L | This is quite an easy riff to play. Ex.47 So Ww WwW ww WwW Ww 4 4 4@ 4 2 3 4 4 sift oe + This riff has a staccato feel to it. Ex.48 * —_ = This Chicago blues number features the full tone bend G to F and is played on holes 1, 2, 3 and 4. This solo has some interesting blues harp riffs including the wah wah effect. Music by Don Baker Ex.65 ppritertererr nae as +t t + oo +t +H ao + te mao at ++ a + té — Qtr om t+— + + “i> + te nm +t— ot co om ae as “a “1 oo ma os 42Ee _.. CHICAGO BLUES STOMP eee This is a lovely urban blues stomp, featuring the full lone bend G to F. Although it is played only on holes | and 2, this solo may take some time to learn. Play it slowly at first, then when you can bend the notes accurately increase your speed. Ex.66 Music by Don Baker 43TT —™Fe RIFFS USING TONE CONTROL As you probably know by now you can make your harp weep, wail, sound sad or angry b using tone control. One way you can do this is by putting a very slight bend on the reed causing the note to waver. Another way is to say the word eh eh eh repeatedly on an inward breath feeling the sound at the back of your throat, this would have a more aggressive feel. As with speech, each individual has a unique sound and it is important to develop your ow: tone control on the harmonica. This riff has a very sad and tense feel to it. Ex.67 SSS SS 1 2 2 3 2 @ 2 + Tt J 41 t £ Of This is also a sad sounding riff. . Ex.68 W 3 3 3 #3@ Ll t we 2 @ 2 1 tof This one has a very aggressive feel to it, Ex.69 =e =| WWWWWwWWwWWh Ww ww D®@BOOOOD OO t+tiqdd¢e fF bieil ih ‘The wah wah is put into full use here to create a very wailing sound. Ex.70This is a great sounding riff although the notes are barely audible. Ex.71 | This riff has a great wah wah feel to it. Ex.72 = SI Ww W Ww Ww W 2@ 1 2@ l Ld 4 + 4 . This is a very slow bluesy riff. Ex.73 1 2 @® t| @ 1 $b £ ¢ 4 £ 8 This has a very tense and haunting sound. g /lthough this riff is played quite quickly it has a haunting feel to it. 34 fee 4@ 4 4 3 tbe teboud += a = \e) f= > po \e) = e ee A This is a slow bluesy piece featuring the two full tone bends G to F and B to A, and also two half tone bends. You will notice we have introduced another half tone bend D to Db. This is played on the first hole of the harmonica which is an octave lower than the previous D to Db bend played on the fourth hole. Music by Don Baker Ex.76 a) <4), | 3 @- a @- “a 46GOOD TIME BLUES It features triplet tonguing and the wah wah effect. Here is another lively blues number, played on holes 1, 2, and 3. Music by Den Baker Ex.85 fTT , TRIPLET TONGUING Now we will learn a technique called triplet tonguing. This technique is widely used on most wind instruments to great effect. As the name suggests, triplet tonguing simply means playing a note three times in quick succession. The effect is achieved by breaking 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 cut off the intake of air. An easy way to experiment with this method is to say the word Diddley Diddley while drawing in your breath. Now, practise the triplet tonguing exercise below. Ex.773 ww aw ow _ fa} = ee) — = al a These have a very exciting fee] and you should find them easy enough to play. Ex.79 Ex.80 Ex.81 Ex.82 @a- “> sed te + — ++ 1 t+ +— + + + + + + 49EN BLUES FOR ELMER OO This is a great lively blues tune which you should find easy to play. There is no note bending and it is played on holes 3 and 4. However, you do have to use triplet tonguing and the wah wah effect. Ex.83 Music by Don Baker 444444444444 4444444 tJ eee ddd dt BEd dd ELL$C TTT. HEAR ME CALLING 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.TTT — GOOD TIME BLUES Here is another lively blues number, played on holes 1, 2, and 3. It features triplet tonguing and the wah wah effect. Ex.85 Music by Den Bakera aa I CAN’T KEEP FROM CRYING th i TT Slow Memphis blues melody. Ex.91 Music by Don Baker 59Oe * EARLY MORNING BLUES This very laid back blues solo is played on holes 2, 3, 4 and 5. Ex.86 Music by Don Baker o> ———_ 5 —— a op — I ea a Be ee BAtw ra i] | =a no = = [=7 This solo is played on the first five holes on the harmonica. As it contains fast riffs, you will have to be careful with your breathing. The riffs are played by going from one note to another using quick short breaths. Music by Don Baker -_ oe | | _ ees peBESSIE’S BLUES This is a slow moody piece, played on the first five holes of the harmonica. Music by Don Baker Ex.88 + mo + ©- te + (> (> @Q- © 1 — qe =e md a eae te — —» eae ol “ — ol a ol “> eA* ROCKIN’ BLUES ee This up-tempo solo is played on the first six holes of the harmonica. It's a lively blues melody and features some triplet tonguing. Ex.89 Music by Don BakerE4 oO ee fy fy 7 = E by all of the great harp players. MAKING TRACKS The train effect has been played down through the years 33,58 When playing this solo, hold the harmonica loosely between your lips. This will enable you to concentrate on the rhythm and to move freely from note to note. While playing the riffs, it is important to keep the rhythm flowing. Music by Don Baker Ex.90 ane =e =- =- =e “a> ane oe —Ne =a Ae —_ = ae —nS ee “Ea rg tee te ff rm a (\—_# a eh erred errr eee eel eel eaMusie by Don Baker Slow Memphis blues melody. I CAN’T KEEP FROM CRYING Ex.91 a7 @-W> a a mS aod “a (ed @- @- on opie . —<— ++ + tT _~- as (“> ae ee > @- FS oe =—> +t ne ot 59Music by Don Baker BLUES FOR JO This up-tempo Chicago blues solo features most of the techniques we have learned in this book. fF) a a | hha se le ee ‘a8 Vv Ex.92 za) Bq) 2z€)> za) @- @- © @- @- @ a “a a © —— $= — i —Ii— +t os a ci ~ a ol @- eo@- +t +—- +— +— +— t+ t+ to to + to to t+ to t~- + + t+ mS ++ tt mo t+ t+ mo T+ +t os tt tt +r +t +t t+ + +t at a + ne + me na o- o—- i ed 1 +—* tt +t ~~ +t tT tT Ges rie a + + @- Bo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 how 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 Teed collec ap cand beaks and seiten ond os a player has performed with many leger * He has toured extensively and recorded many albums, and has featured in session work « Don Baker, whose music haa been recorded by the great Charlie McCoy, ia also an accom SOAS B+ BAKER having recently made his big-screen debut in the film In The Name Of The Father. BRGMATHG BLUES HARP «Cc HENAN TY * ' o a ty wn ' om rE So = a ro a 7 7. ts af ” - B 1" i of Be * * * te >