San Jose, California 2007 Harmonica Masterclass Workshop
Pictures & Participant Testimonials
San Jose 2008 Class Information

This San Jose class offered the most popular class subjects attended by students over the past years of the Harmonica Masterclass Workshop as well as some very new and exciting classes. The four core instructors were: David Barrett, Joe Filisko, Dennis Gruenling and Kinya Pollard. Guest artists were: Rick Estrin, Gary Smith, Mitch Kashmar, Andy Just, Michael Peloquin, Winslow Yerxa, Rusty Zinn and John Garcia. 24 class subjects were offered in addition to evening jam sessions, concerts and a help room with guest artists. Below is an article by participant Brad Kava, followed by testimonials from the other participants.

"Dave Barrett has been giving his Harmonica Masterclass Workshops for more than a decade, but in his latest one, last weekend in San Jose, he seems to have stepped it up a lot and found the best way to teach harmonica techniques to a large group.

I've been taking lessons from him for six years and regularly attended the large classes—but this one was different. It was like entering the college of musical knowledge.

The people who taught alongside Barrett—Joe Filisko, Dennis Gruenling and Kinya Pollard—aren't just top caliber players. They are great communicators who have very different approaches to the instrument and very clear methods for helping beginners and advanced students pick up new ways to play.

I spent most of my time with Filisko, who usually teaches in Chicago. I took his courses in country blues, third position, first position, and tongue blocking. Let me put it this way: in six courses over three days, I got enough to practice for a year. And if I soak it all up by then, it will be just in time for next year's course. I've never played in third position in public, and I think Filisko helped push me out of the too comfortable crossharp nest. Maybe I'll even try first position too...

Students had choices of where to go for two three-hour courses a day. The best thing was that the classes weren't too crowded. With only 80 students allowed to enroll for the weekend, each class was around 20 people, and there was enough playing time to get evaluated on each new technique.

Filisko's motto was that if you want to learn how to play like the greats, you had to study the greats. He had transcriptions for us to practice and played bits of songs by the Walters, Junior Wells and George “Harmonica” Smith, to have us learn their licks in various positions.

I loved the country blues, which featured the old train imitations and whoops and hollers of the likes of Sonny Terry and DeFord Bailey. That's Filisko's main passion and it was contagious. I kept thinking if I could cadge some of this onto my usual electric blues and rock, it couldn't help but steal a set from a showboat guitarist. It's worth practicing, because this is stuff I'd like to entertain myself in the car with too.

I also took a course with Gruenling, the harp player who pushes furthest into jazz, called "Blues and Beyond" in which he turned students onto studying not scales or notes, but scale positions, so they can better communicate with other musicians and better understand what they are doing and why. One class wasn't enough. I need more. Next year.

The piece de resistance...the 10 blow bend wail, if you will... the real highlight of the weekend, was a four-hour-long concert by the teachers and some friends, that traced the history of the harmonica. It illustrated what they taught, and to a person, fired up every student beyond their wildest expectations.

Filisko started the show back in the 1920s, at one point literally eating his harp and playing it inside his mouth. Barrett covered the postwar blues, with some help from Gary Smith and a tone authenticity and presence that was so powerful, I wasn't sure that seeing the originals would have been any better. (Certainly the acoustics and equipment was better and the room smoke-free.)

Pollard did such a fantastic Paul Butterfield that if you had your eyes shut, you would have thought he was in the room. Gruenling, representing modern playing, did tandem lines with horn player Michael Peloquin that would have made James Brown proud.

And as icing, Rick Estrin popped in for a jam with all the other players and a band that included guitarists Rusty Zinn and John Garcia, keyboardist Steve Czarnecki, bassist Frank De Rose and drummer Kevin Coggins, who regularly back Barrett.

Although it was a Grateful Dead-length extravaganza, the concert flashed by fast, and many students left a jam session to catch some of it both nights. Luckily, it was recorded for a CD, but I wish they would get this on DVD. I would watch it over and over. There was a lot to learn, but it didn't feel academic. It was plain fun; harp-playing heaven.

There were two highlights on the last day (three days felt like a week, there was so much information and fun crammed in). First was jamming in a circle with the teachers and more guests (Winslow Yerxa; Andy Just, who plays with the Ford Brothers; Mitch Kashmar; Michael Peloquin; and Estrin).

Then, all of them set up in different rooms and held small help groups to answer questions and work on anything students asked them for. That included everything from autographs to breathing exercises and the dreaded overbends. Pollard's workshop on harmonica repair was packed. Filisko even showed how to do the harp in the mouth trick.

This was an amazing chance for one-on-ones with the people I've only seen on stages before this, and if this three hours was the only thing that we got for the weekend, it would have been worth the price. You can't buy this kind of instruction from the masters.

It really nailed the theme of the class: if you want to play like the masters, you have to study the masters. And, we got to learn that up close and personal from the next generation of masters.” Brad Kava

“This is the most valuable, well-rounded, complete, inspirational musical instruction I have every received. Incomparable and inspirational.” Michael "El Diablo" Wilde, Hudson Blues Band

“This workshop turned on numerous light bulbs for me in just a short time. The opportunity to get one-on-one, and small group instruction from master harp players, was incredibly helpful. I also enjoyed meeting and hearing other students play, and learning techniques, etc through networking. Course materials were extremely well written, thorough and well organized. Overall class structure showed great thought and preparation. I can easily see why so many people were return students.” John Lee

“Harmonica Masterclass is a mind-bending, fantastic music experience. Harmonica master players, who are also exceptionally kind teachers, helped us all become better players and aspire to learn more.” Dennis Low

“As always, I got tremendous instruction as well as great friendships out of the course. I hope to be back.” Hans Peter

“The HMW was a really fabulous and inspiring experience. The instructors are incredible—tremendously skilled at the instrument, and thoughtful, intelligent, and humble teachers. I’ve played for many years and have never learned so much of use to my playing in such a short period of time. I recommend it to harp players of all levels.” George Bisharat

“Superb! Very well organized—very professional, great instructors.” Rick McCombs

“I am an advanced beginning/intermediate player. I’m hardly perfect. This class was tremendously informative. It gave me a whole new perspective on my strengths and weaknesses and a program to work on. I received tremendous insight and tips on technique. The incredibly supportive environment helped me get through issues of playing in front of others.” Andy Hardy

“This weekend's workshop was outstanding. All I can say is WOW! Joe Filisko, David Barrett, Kinya Pollard and Dennis Gruenling are the finest teachers, students and players of the harmonica that I've ever had the privilege to study with. I've been to a few Harmonica Masterclass Workshops and they just keep getting better and better. I was truly inspired by the History of the Blues Concert on Saturday night. What phenomenal players these guys are. This weekend has changed the way I'll approach playing and studying the harmonica from now on. I can't wait until next year.” Jon Harl

“I want to testify! Excellent atmosphere—totally professional and friendly. Bad-ass players/teachers.” Jack Sugrue

“Dave, this Masterclass was nothing less than outstanding. The patience of the teaching and support staff was unwavering. This made being a student fun and stressless. As to the teaching, word-class is a description that still understates the quality of education provided. Thanks.” Keith Penney

“I enjoyed all my classes and learned a lot. There was enough of a variety of topics that I really feel there was something for everybody. I was able to have a lot of my questions answered and given enough information to really work on my rough spots. The staff was the greatest—not only exceptional players, but great teachers as well.” Steve Gardner

“The instructors are knowledgeable and generous instructors who meet each student at his or her level. My third Masterclass Workshop and I’ll be back for more. The workshop always inspires me to practice and play.” Kim Addonizio

“Joe Filisko called David Barrett the best harmonica instructor in the words today. Part of what makes David great is bringing in people like Joe Filisko and Dennis Gruenling. It just can’t get any better that this—the luxury of studying with the best players and teachers all in one place.” Bob Prentice

“The Harmonica Masterclass Workshop and the personal insights from the instruction, insights that would take years to discover have helped me improve my skills and enjoy playing, tons sooner than I ever believed possible. Thanks to the assistance of Kinya Pollard, Joe Filisko, David Barrett and Dennis Gruenling, I am closer to playing the blues than ever.” David Hopson

“The focus with a small group and an accomplished artist/teacher with specific topics has proved to be second to none. Well structured, yet informal. Inspirational! What better way to learn than from the pros. I will be the first to sign up for next year’s workshop.” Richard B. Ravel

“As a self-taught semi-professional musician (with a day job), the Harmonica Masterclass allowed me to review fundamental concepts, explore advanced concepts, and interact with touring professional musicians such as Rick Estrin, Dennis Gruenling, Gary Smith and Joe Filisko.” Richard “Doc” Malone

“The instructors were out of this world. Dave Barrett teaches in such a way as to instruct beginners, clarify for intermediates, and perfect for advanced students—across all varieties of material difficulty. Kinya Pollard kept me engaged in the bending class at my own level with each individual exercise, while others moved ahead. He made a tailor-made example for me to work on that I could succeed at. It was awesome. I never felt left behind and I’m a beginner—a newbie. And I can’t forget Joe Filisko. He taught my last class. Joe is a great instructor, very thorough and is passionate about going around to ensure each student has proper technique—with sound/tone, etc. I didn’t take a class from Dennis Gruenling because I don’t play the chromatic harmonica, but I had the opportunity to have him teach me some great techniques on tongue blocking at the help session! He’s a natural teacher and in 15 minutes I was able to tongue block bend and perform octaves, amazing others! Thank you all! I look forward to next year.” Christine Lynders

“I have been to several Masterclass Workshops and I’m amazed at how much new information I’m exposed to each time. It is definitely not the same each time. The instructors are awesome and WOW, what a History of the Blues performance.” John Nugent

“I can say with confidence that if you are a harmonica player and want to improve your playing, then you should come to a Harmonica Masterclass Workshop weekend. Where else can you find exceptional teachers/players who can break down the very basics of the harmonica all the way to the most complicated techniques that the harmonica has to offer. Kudos to David Barrett and all those involved with the Masterclass Workshop—you have a repeat customer in me.” Ken Deutscher

“HMW puts it all together in one weekend: dedicated and enthusiastic teachers, all levels of students, and a supportive and encouraging place for them all to interact. You can’t help but learn and be excited to take that learning further. Highly recommended!” John Rafferty

“After 40+ years of first position pucker playing traditional songs, my adventure into blues techniques and tongue blocking is very stimulating. The instructional materials and workshop instructors are excellent at communicating the tools necessary to learn harmonica blues techniques.” Kevin Rudolph

“I think that the recent three-day Harmonica Masterclass Workshop in San Jose was phenomenal on all accounts. I enjoyed thoroughly every minute with great choice of the best group of leaders and friends. They were all not only genuinely caring about advancing our knowledge and improving skills, but also enhancing our friendship and partnership. Their devotion and dedication inspired me tremendously. I agree that the Harmonica Masterclass is truly one of the best of its kind in the world as Joe Filisko mentioned at the workshop. Your leadership is highly regarded. Thank you, and congratulations!” Victor Yun

“This is my fourth HMC seminar and I have noticed drastic, measurable improvement after each one. The instructional material is without peer. But there is no substitute for personal interaction with the teachers, each having their own unique talents, which complement those of their fellow teachers. David has a Zen-like precision in his thought and expression that translates into the foundation of the program and his own killer, huge sound. Dennis is the brilliant contemporary innovator, perhaps the most masterful player, and a profoundly musical mind. Joe, the master of hand, throat, and tongue techniques with an amazing repertoire and knowledge of Blues history. Kinya the master educational psychologist who helps beginners and old set-in-their- ways players to ‘Get out of the way of themselves’ and get better.” Ted Bedard

“Greetings David, I wanted to take a minute to express my gratitude and tell you that the experience that I had at your Harmonica Master Class Workshop exceeded my wildest expectations (and knowing the high standards of quality you maintain, my expectations were pretty darn high to start with). The instruction was extremely helpful and inspiring. The teaching staff was varied and highly qualified, offering the student a wide array of choices. The performances at the concert were amazing!!! I came away awed, inspired and humbled. The information and instruction I received at the classes gave me a very clear idea of what I need to work on and the tools I require to get the job done. Bravo and kudos to you and your entire organization. Your efforts have allowed harmonica players all over the world to walk with pride and garnered some long overdue respect for the humble harmonica.” Michael "El Diablo" Wilde, Hudson Blues Band

“I was present at the Friday night show. First Filisko doing the pre-war rural stuff, then Dave Barrett doing the urban 1950s-70s, followed by Kinya Pollard with a Paul Butterfield tribute, culminating with Dennis Gruenling’s presentation of the modern blues harmonica. Rusty Zinn backed Dennis on guitar and Mike Peloquin on tenor sax in addition to the band already in place (John Garcia on guitar, Kevin Coggins on drums, Frank De Rose doubling on bass and second guitar and Steve Czarnecki on piano).

This was the first night of two, and there had been the usual variety of technical difficulties setting up the room, stage, and sound and recording equipment, on top of a full teaching schedule and the knowledge that this was being recorded for posterity. Naturally this led to some tension and awkwardness, but some really great music and playing were delivered once the participants warmed up. I wasn't there the second night, but I hear that things were more fluid the second time around.

It's easy to be dismissive about a concert (and CD) that re-creates music already recorded in superb performances, and the "why-do-it?" question certainly occurred to me. One could go out and find the dozens of CDs and out-of-print recordings that informed this concert; but you'd have to know what to look for, and for some folks this process of discovery has taken decades. OK, maybe you could cobble together the rights and access to put out some sort of historical anthology CD with the original recordings. But the amount of music would be huge, and again, people would have to know what to look for.

The value of a live presentation goes beyond just gathering significant music in a single package. There is a dimension to real-time live performance that goes beyond listening to old recordings. Re-creating music live in front of an audience brings it to life and makes it real in a way that can't happen with even the best old recordings. Seeing a real live person in front of you playing this music lets you know that this amazing music is playable by real, live humans and not supernatural beings that we can hear but never see. You can witness that the sounds the players create and the techniques they use are not recording tricks or the result of some sort of production process. Dave Barrett alluded to this briefly in his introduction to one of Walter Horton’s tunes, saying that Horton always had huge tone—even in home recordings made in someone's living room or at a party.

And the repertoire can be synthesized and combined in ways that are quite creative and very difficult to pull off. It's true that just recycling old riffs is not particularly creative; a casual visit to a blues jam will confirm the cynical credo that anything worth doing is worth doing badly. But that's not what was going on here.

For instance, Filisko's presentation method was something that could not be duplicated by playing old recordings. The most visible part of his creative process was his weaving together of the work of several old masters in the context of extended pieces. For instance, he opened the concert with an unaccompanied train piece that combined many of the most notable parts of train pieces by George Bullet Williams, De Ford Bailey, Lonnie Glosson, Palmer McAbee, William McCoy, and several others, calling out place names along a line as was done on so many of those old train pieces.  Ending the piece with a de-boarding call for San Jose, where the concert was given, placed all that history in a context of here and now.

Joe employed the full stable of acoustic harmonica tricks from the pre-war period, including whooping, falsetto singing, playing one harmonica with his nose while playing another with his mouth, and putting the harmonica in his mouth like a cigar and playing with no hands.

Joe did do a few standalone pieces, like Blues Birdhead's "Mean Low Blues" (with piano accompaniment, one of the few accompanied pieces in his mostly solo set). Before each piece he listed the players whose work contributed to the piece, and noted significant facts about their careers, places in history, styles and techniques. He followed the timeline up to John Lee Williamson bringing rural styles to Chicago, and ended with Rice Miller's “Bye Bye Bird” played no-hands.

Dave picked up where Joe had left off, with the development of the urban electric style after John Lee Williams. He started with an early Little Walter piece, "Evan’s Shuffle," and continued with "Juke" and "Roller Coaster" before going on to numbers from George Smith, Jerry McCain, Walter Horton, and Junior Wells. Once warmed up, he delivered these with great gusto and élan, really bringing the music to life. I had never seen Dave play more than perhaps one full number before, and his passion for the music (and his musicality and chops and delivery) really came to life before my eyes and ears; it was a very satisfying performance.

He brought Filisko up to play Little Walter's "Blue Lights," one of the rare instances of Joe playing chromatic harmonica in public--this is one of those tunes where Walter switched back and forth between chromatic and diatonic. At one point Joe even held the mic up to the amp at just the moment where feedback is audible on the original recording. (Joe's attempt here did not succeed, but it was fun if you knew why he was doing it, and it provided a humorous commentary on the whole premise of the concert).

Kinya Pollard's tribute to Paul Butterfield was as much about the effect on his own life of the discovery of Butterfield's music as it was about Butterfield's place in a timeline of harmonica styles. His storytelling over the "Everything's Gonna Be Alright" signature riff brought to life the transformation which occurred when a young man from a background that did not encourage exuberance found an album whose liner notes declared that the music sounded best if played loud (this was the first Butterfield album). His subsequent delivery of that song and the instrumental "Work Song" demonstrated the profound effect a musical discovery can have on a young person, and Kinya clearly conveyed his love and enthusiasm for Butterfield. In some ways this was the most personal statement of the evening.

While Joe and Dave had the nerve-wracking assignments of not only re-creating faithfully old recordings but bringing them to life convincingly in front of an audience very familiar with the originals, Dennis Gruenling had the easiest time of it in one respect—he wasn't trying to re-create or survey an earlier period or style. By way of presenting modern-day blues harmonica, he was just doing his thing and doing it very well, and the added support of Mike and Rusty really propelled him to some fine playing-- he had the crowd (and the other performers on the sidelines) howling in appreciation.

The concert ran late and there was no time for the "harmonica swordfight" promised. This might have helped open out the present-day side of the story. But it was nonetheless an ambitious project and one that, whatever the concept, produced some fine music and a very enjoyable evening.” Winslow Yerxa

“This is a concert [History of the Blues Harmonica Concert] Dave Barrett has been working on with various people for three years. Joe Filisko did 50+ minutes of absolutely masterful pre-war blues—he researched and studied a variety of artists, and presented their styles note for note from recordings dating back to the early 20's. This included a lot of names I forget, as well as Sonny Terry and Sonny Boy Williamson (I). Dave Barrett himself (who is a MONSTER harmonica player) spent the next 50+ minutes showcasing post-war blues, performing tunes by Little Walter, Big Walter, George “Harmonica” Smith and others. Again, ‘note for note, technique for technique, lick for lick.’ The School of the Blues band backed these guys up in appropriate style as well. The last "set" represented modern blues and was performed by Dennis Gruenling. Along the way, we were treated to some extra performances by guests Rick Estrin, Gary Smith, Michael Peloquin and Kinya Pollard. Not a bad show for an evening. It was amazing to watch not only these fine players, but also 40 or 50 rabid harmonica playing brothers and sisters all with their jaws on the floor throughout the night. If you haven't had the chance to attend a Harmonica Masterclass Workshop, this would be a good one to catch when it is near your town. Dave is, in my opinion (and that of just about everyone who has ever met him), probably the best teacher of harmonica that the world has to offer.” Greg Heumann


 

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