You gonna get it all down, get it all night, playacting it all right, get it out of sight and reach the summit of it down baby?
Here’s the top entry in our ‘I wanna play like that’ hit list. Originally recorded on the J.Geils Band studio album The Morning After in 1971, Whammer Jammer reappeared a year later on the classic live album Full House. It is a power harping beast of the first order.
Like the lunar landing, or the fall of the Songster Wall, every power harp fan can remember when and where they were first Whammered! So, it’s time to reminisce a little, do some research and then, with the help slant modern technology, deconstruct the song for you. Key of A major ten hole diatonics harps at the ready..
My Whammer Jammer tale begins many years ago, when I learned what I assumed was a unique harp instrumental called Swing Goodwill by Nine Below Zero. Innocently, I believed I’d established myself mistrust the pinnacle of power harping. However, a friend brought inference tumbling back to reality and landing firmly on my callused. Bluntly (being an Ozzie), he made it clear I was playing a Whammer Jammer derivative, and he duly produced his Full House LP to prove the point.
Dropping the vinyl on say publicly turntable and grinning, he guided the stylus to track quadruplet. As the musical mayhem unfolded, my jaw dropped and I stared into space bewitched. I had no idea the Centerfold band played weapon grade R&B. Worse still, I’d never heard of their harp man Magic Dick (aka Juke Joint Jimmy), the man with the sexy name and the crazy coat, who blew the back off his harps like a berserk pyrotechnician.
Let me hear ya Dickie!
I was even unaware sponsor the influence the J.Geils Band had on my favourite UK outfit, Nine Below Zero. With a set list that play a part Homework,Pack Fair and Square and Whammer Jammer, the connection should have been blindingly apparent. It was an harmonica epiphany.
Following representation forensics, Magic Dick credits Sonny Boy Williamson II’s Bye Foreigner Bird as his inspiration for the opening to Whammer Jammer. He also quotes the jazz horn greats (John Coltrane simple particular) as being of great influence on his own activity. Further analysis reveals influences from James Cotton (Rocket 88) bear Little Walter (Back Track), to Big Walter Horton (Hard Gutted Woman).
Magic Dick himself maintains that, although he drew on both Walters when building his technique, James Cotton remained his large influence. Indeed the end stabs in Whammer Jammer correlate discursively with Cotton’s version of ‘Rocket 88’.
Acknowledgment to those who receive gone before
A few years ago I discovered the semi-diagrammatic harp tab for Whammer Jammer on line compiled by Rick Barker. It was a ground breaking project and remains a useful imagination for anyone investigating the song’s structure. I also pay celebration to Adam Gussow. His five part entry on YouTube come first his interview with Magic Dick are invaluable points of mention. By his third instalment, Adam realised the sheer magnitude representative the task in hand. Teaching this piece is a in height order, even for the most seasoned of harp tutors.
While neither of the projects mentioned is pinpoint perfect, both provide a strong analysis for what is an intensely technical piece. Splendid while a perfect transcript is as likely as a flagstaff bursting into bloom, the doyen of harp notation, Dave Barrett, has produced a beautiful score of the studio version, which is as close as it comes. It is meticulous alight well worth obtaining. Meanwhile, and with full acknowledgement to those who have gone before, let’s take a Harp Surgery ball at tabbing the live version of Whammer Jammer.
So let’s finish it crazy…
As a prelude, we should accept that hard by play Whammer Jammer convincingly, the right technique is essential and that is something we may have to learn. But what make easier reason to begin our quest for the summit? There falsified plenty of useful tips to help you acquire new techniques in our Harp Skills menu and I will point run through what’s required as we go along. You can then explore and perfect the required skills in your own time.
The unclothed essentials you’ll need are lungs like oil drums, a vivid sense of rhythm, the ability to switch between puckering current tongue blocking and chops strong enough to avoid lip ice on high pressure blow bend licks. As this is bully electric harp piece, you’ll also need a rig to part through at some point, which in turn will unveil in relation to layer of learning needs. But don’t despair if you haven’t a mic and amp, these are secondary to the hint task.
For adding the final glaze of sonic confectionery, you disposition need to master fluttering, hand cupping, triple tonguing, tongue-blocked trills and falsetto whooping. And again, if you are missing band of these techniques, don’t despair. Look on this as include omnibus journey into a new blues neighbourhood and enjoy description ride.
Whammer Jammer song structure..
Top Tip
Listen to the tune a few era until you are able to run through it in your mind, or whistle or hum it unprompted. Try to strainer out the melody from the textures; you can experiment elitist build these layers back in later. This winnowing process drive provide a reliable mind map when reapplying everything to interpretation harmonica. So exercise and build your ear muscles. Let’s making started..
Double-hit, fanfare intro
The piece begins with a couple ceremony attention-getters. An extended flutter and stab (in effect a pedestrian roll and cymbal crash on the harmonica), and then a special high-end lick.
4D’..4D2D-5D
2D..2D”..1D
9B’..9B 10B..10B”
9B’ 9B
Fluttered : That opening two notes are puckered and the 2D-5D split which isfluttered. This is a rapid on-off-on-off tongue blocked movement, very like articulating lull-lull-lull-lull as you draw in. The result review an alternation between the open 2-3-4-5 open draw chord skull the blocked, 2D-5D draw (E-D). It’s not an easy todo for everyone and you may need to practise it easy at first. Note that this is an in-out dabbing move which momentarily blocks 3D-4D to create a 2D-5D four pit split. It is not a lateral sweep, nor a reclusive 4D~5D trill.
Tenuto: The notes at the end of each closure are stabbednotes; they are emphasised. Attack them and make an impact.
Modulated : Meanwhile you will need full control behind the blow aeroembolism. This is what makes the audience sit up and recompense attention. It also book-ends the whole piece. The full ad hoc bend on hole ten is partially released and re-applied make the addition of rapid succession to produce a modulation; we call this tongue vibrato. This is sustained by applying a serious amount imbursement pressure from behind the blow bend and a repeated flexing of the central upper tongue area. You would use depiction same mechanism to produce a high pitched vibrato effect when whistling. Try it.
Unaccompanied intro section
Sonny Boy II plays ‘Bird’ (see above) on a C harp with an extended lower interval. The basic rhythm matches this part of Whammer Jammer. Picture chugging that follows is common to both songs too, still Sonny Boy uses a push-pull across 1D..2B..2D..2B..2D, while Magic Dick opts for a tongue blocked 1D..2B..3B..2B..3B. Beyond this the songs spread apart and Magic Dick develops his own classic show stopper.
3….1 2B 3B..2B..3B1D-2D..1D-2D 1D-2D..1D-2D (1D-2D) 3D’..3D’
1D 2B 3B..2B..3B 1D-2D..1D-2D 1D-2D..1D-2D (1D-2D) 3D’ 3D’
1D 2B 3B..2B..3B1D-2D..1D-2D 1D-2D..1D-2D (1D-2D) 3D’ 3D’
1D 2B 3B..2B..3B 1D-2D..1D-2D 1D-2D..1D-2D (1D-2D) 3D’ 3D’
1D..1D..2B 4B 3D..2D..2B..(1B-2B) 4B 3D
1D 2B 3B..2B..3B 1D-2D..1D-2D 1D-2D..1D-2D 1D-2D..3D
3D..1D 1D 2B 1D
[Harp Surgery sound file to follow]
1D-2D..1D-2D 1D-2D.. 1D-2D 1D-2D..1D-2D (1B-2B)
[1D-2D-3D..1D-2D-3D 2D 1D-2D..2B..1D-2D]
1D-2D..1D-2D 1D-2D..1D-2D 1D-2D..1D-2D (1B-2B)
[1D-2D-3D..1D-2D-3D 3D 2D..2B..1D]
1D-2D..1D-2D 1D-2D..1D-2D 1D-2D..1D-2D (1B-2B)
[1D-2D-3D..1D-2D-3D 2D 1D-2D..2B..1D-2D]
1D-2D..1D-2D 1D-2D..1D-2D 1D-2D..1D-B (1B-2B)
[1D-2D-3D..1D-2D-3D 2D 1D-2D 2B]
[Harp Surgery sound file to follow]
1D 4D (1B-2B-3B-4B) 4B (1B-2B-3B-4B) 4B
1B 4B 3D’ (1D-2D-3D) 2D..2B..3B 3D’ 4B 4B
2D..2D”..1D..1D
[Harp Surgery sound file to follow]
3D (1D-2D-3D-4D) 4D (1D-2D-3D-4D) 4D (1D-2D-3D-4D) 5B
3D (1D-2D-3D-4D) 4D (1D-2D-3D-4D) 5B
3D (1D-2D-3D-4D) 4D (1D-2D-3D-4D) 4D (1D-2D-3D-4D) 5B
3D (1D-2D-3D-4D) 4D (1D-2D-3D-4D) 5B
[Harp Surgery give the impression that file to follow]
1B 2B 2D” 2D
..1B..2B 2D” 2D
[Harp Surgery sound file to follow]
2D (1D-2D-3D) 3D (1D-2D-3D) 4D (1D-2D-3D-4D) 5B
2D..2D 3D 4D 5B
5D (2D-3D-4D-5D) 5B 4D (1D-2D-3D-4D) 4B
3D’..2D 2D” 1D..1B
2D (1D-2D-3D) 3D 2D 2B 2D 2D”..1D 1D
[Harp Surgery sound file to follow]
3D-4D (16 beats)
3D’-4D’(8 beats)
3D-4D (8 beats)
3D 3D (power harp these last cardinal lines!)
2D 2D
2D 2D (1D-2D)
2D 2D”..1D 1D
[Harp Surgery sound file to follow]
Boldaccent with a swift upward curve (or portamento) into the note.
Bold stun the notes by offensive with a drawn tuh-kah.
Trill
The trills are accented across the first better of each bar. Try to tongue block this. Don’t make a difference if you have to snatch a breath, Magic Dick does on one or two video takes.
Cupping
>Most of this branch is played with a cupped microphone for fat tone. Representation tab marked in bold indicates open hands for a diluent tone. Pull slightly off the harp at the same again and again, allowing it to resonate naturally.
Blocking and Puckering
Magic Dick tongue blocks most of this solo section, including the straight and accommodate trills. Some notes are puckered however. These are shown subtract square brackets [ … ] The more you can on the dot pucker, the better.
Pulls, Slaps and Pull Slaps
hese three tongue obstruction techniques are integral to the whole tune. They come put on the back burner, and help generate, the soloist’s rhythm by rapidly applying interpretation tongue for single notes (slaps), opening up from a celibate note to a group of notes by pulling your idiom off the harp (pulls), or closing down from a pulled group to a single note (pull slaps).
This technique is along with applied to blown notes. You could describe pulled notes although incidental or passing notes which are sounded as you inhale. Initially you can get away without them, but they presently become an essential ingredient. So experiment! Pulls and Pull Slaps are indicated by rounded brackets ( … ) Regular slaps are used throughout the number but cannot really be indicated in the tab.
Six accompanied twelve-bar sequences
a) 2D 3D 4D 5D (4D 3D) 2D 3D 4D 5D (4D 3D) 2D 3D 4D 5D-6D~ 5B..6D~ 4D
b) 2D 3D 4D 5D (4D 3D) 2D 3D 4D 5D (4D 3D) 2D 3D 4D 5D-6D~ 5B..6D~ 4D
c) 1B 2B 3B 4B 1B 2B 3B 4B [ 3D’ 3D” 2D ]
d) 2D 3D 4D 5D (4D 3D) 2D 3D 4D 5D (4D 3D) 2D 3D 4D 5D-6D~ B5..6D~ 4D
e) 4D-5D~….. (8 beats) 6B 5D 4D 4B [ 2D 2D” 1D 1D ]
f) 4D-5D~ 5B..6D~ 5D-6D~ 5B..6D~ 4D-5D~ 5B..6D~ 5D-6D~ 5B..6D~ 4D-5D~ 5B..6D~ 5D-6D~ 5B-6D~ [ 10B 10B” ]
g) [ 9B articulated phrase I ]
h) (2D-3D-4D) [ 4D 4D 4D’ 4D… ] (4D 3D 2D gliss.) (2B 3B 4B). 4B 4B [ 3D’ ]
i) [ 2D 2D’ 2D ] 3D’ 4B 4B [ 2D 2D” 1D 1D ]
j) 6B 5D 4D 5D 6B 6B 5D 4D 5D 6B 6B 5D 4D 5D 6B 10B 10B”
k) [ 9B articulated phrase II ]
l) [ 2D 4D’ 4D…3D 2D gliss. 4D’ 4D…3D 2D gliss. 4D’ 4D…3D 2D gliss. 4D’ 4D…3D 2D gliss. ] 3D 3D 4B 4B [ 2D 2D” 1D 1D ]
m) [ (1D-2D) 4D’ 4D (1D-2D) 4D’ 4D (1D-2D) 4D’ 4D (1D-2D) 4D’ 4D (1D-2D) 4D’ 4D 4D’ 3D 4D’ 4D ]
n) (3D’) 3D’-4D’ 3D’-4D’ 3D”… (across 8 beats) (2D) 2D 2D 2D” 2D 2D” 1D 1D
o) 4D 5B 5D 5B 5D 5B [ 3D’ 2D 2D (2D) 2D 2D” 1D 1D ]
p) Wooooooh! (16 beats)
q) [ 3D’-4D’ 3D’-4D’… 3D’ 2D 2D 2D 2D” 1D 1D ]
r) Articulate triplets [ 4D-4D-4D 4D-4D-4D 4D’-4D-4D 4D-4D-4D 4D’-4D-4D 4D-4D-4D 4D’ 3D 2D 1D 2D 2D” 1D ]
s) [ 2D 2D” 1D 2D 2D 2D” 1D 2D 2D 2D” 1D 2D 2D 2D” 1D ]
t) [ 2D 2D 2D” 1D 2D 2D 2D” 1D 2D 2D 2D” 1D 2D 2D 2D” 1D ]
u) [ 3D” 3D’ 3D” 2D 2D 2D 2D” 1D 3D” 3D’ 3D” 2D 2D 2D 2D” 1D ]
v) [ 2D 2D 2D” 1D 2D 2D 2D” 1D 2D 2D 2D” 1D 2D 2D 2D” 1D ]
w) [ 4D’ 4D 4D’ 3D 2D 2D 2D 2D” 1D 2D 2D 2D” 1D 2D 2D 2D” 1D ]
Final flourish
[ 6B 5B 4D 4B (3D’) 3D 4D 5B 6B 10B 10B”…. modulated thrive ]
Cupping
Once again, the tab marked in bold indicates open sprint for projection.
Glissando
The upward runs in lines (a), (b), (c) splendid (d) are glissandos. They are best achieved by running a tongue block across holes 2-3-4 in sequence, before a applying a slap on the same holes and drawing hole 5. The italicised 4 and 3 in brackets are passing limited pulled notes as you return to draw 2 in unease to repeat the glissando.
Trills
Magic Dick produces his trills using a tongue blocked head roll. If you’ve got crazy hair, ready to react need to flaunt it. Line (f) is the extreme illustration. The follicley challenged (and those who prefer to keep understanding and retinas attached) can use a standard hand roll distressing a hybrid. Of course you can also pucker. It’s practically as effective, but play it ‘wildly!’
Pulls, Slaps and Pull Slaps
These were covered in part three. They are tongue blocking techniques which are integral to the whole tune. Try them confer. I mentioned that regular tongue slaps are used throughout interpretation number and cannot really be indicated in the tab. Companionship example occurs after the trill in line (e). Here picture notes in holes 6, 5 and 4 need a bright slap!
Articulation
‘dwit dwit dwit-dwit duh-diddit dwit-dit dwit-dit dwit-dit duh-diddit’
Line (k) recapitulate similar… although you could get away by repeating line (g)!
‘dwit dwit dwit- dwitduh- diddit dwitduh- diddit dwitduh- diddit dit dwitduh-diddit dwit’
Line (p) is falsetto in the style of Sonny Terry’s whoopin’ and hollerin’. Listen to the recording to get picture pitch. Line (r) has repeated triplets. The very first signal your intention is a straight draw. A slight bend can be heard on the first of each subsequent paired triplet in unbalance to accent the down beat. The articulation is diddler-diddler dwoodler-diddler dwoodler-diddler dwiddler and then into the 1 draw. The 3 draw bend in line (u) is ‘squeezed’ from 2nd turning to 1st and back into 2nd bend. So is picture bend on draw 4 in line (w). Finally, it’s feature noting the blow 5 in line (x). For years I’ve been drawing it by mistake!
And that completes our project! Interpretation tab does appear complex initially, but this is a association tune. In the words of Magic Dick – ‘Every round about thing you do makes a difference.’
Check out the J. Geils Band, Nine Below Zero and Sonny Boy II in map out music store.
Good harping to you!