About Harmonica Jazz
A funny thing happened on the way to the 20th Century. This little 10-holed instrument, designed basically for simple melodies, (e.g. "Oh Susanna", etc.), suddenly emerge as a powerfully expressive instrument. Harp players in the early part of this century began discovering new ways of playing the harmonica quite by accident. As these new techniques evolved, the harmonica became perfectly suited to the blues. This was the first paradigm shift.
Years later, on the way to the 21st century that same instrument is beginning its own exciting voice in the world of jazz and beyond. This is its second paradigm shift.
The methodology for using this 10-hole "Blues Harp" in jazz isn't quite as readily accessible as it is for it's big brother, the 12 or 16-hole chromatic or push button harmonica (e.g. virtuosos Toots Thielmans, Stevie Wonder, etc.), Thanks largely however, to a few modem day pioneers (harp wizard Howard Levy in particular), the 10-hole diatonic harmonica has become a fully chromatic, (3 complete octaves-37 notes) instrument. This is as opposed to its original 19-note limited range.
That might sound a little technical, but what's really amazing about all this, is that the basic original design and tuning is exactly the same as it was back then. What has made the difference between then and now however is that all of these modem day pioneers refused to accept the harmonica's "apparent" limitations. In doing so, they discovered challenging and revolutionary playing techniques to advance this, the worlds' most widely played instrument. This recording is my contribution to the endless possibilities and wonderful beginnings of this, the 10-hole harmonica's second paradigm shift. Enjoy!
Sandy Weltman
REVIEWS
"It's hard to imagine someone being virtuosic on such wildly disparate instruments, but besides harmonica, Weltman is equally known as a banjo player... Unlike the more famous harmonica jazz players such as Toots Thielman, Weltman stretches the limits of the instrument by following his mentor Howard Levy as a pioneer of the basic 10-hole diatonic harmonica brand of blues harps. Weltman has chosen mostly from the jazz repertoire, including: Armstrong's "West End Blues". Goodman's "Slipped Disc", Monks "'Round Midnight" and Jobim's "Triste". Carolbeth True, although relatively unknown outside the Midwest, is a remarkable jazz pianist, whether she plays a lyrical line or bebop. The funkiest cut is by far Lee Morgan's "Sidewinder", which is given an arrangement that is nothing short of amazing"
-Dirty Linen
"All the musicians shine bright in "New World Harmonica Jazz", and Sandy Weltman deserves recognition as one of the future stars of the mouth organ"
-The Harmonica Educator
About the Artist
Harmonica virtuoso Sandy Weltman's talents are diverse to say the least. While at home in the jazz realm, he is equally skilled in blues, Celtic, Klezmer, Latin and more. Sandy learned much of his harmonica styling while under the tutelage of harmonica wizard Howard "Flecktone" Levy and he gained international recognition in the World Harmonica Competitions. Sandy has also won numerous awards and is equally skilled on the banjo, the mandolin and a wide variety of percussion instruments. Sandy has performed on dozens of albums nationally and has released four albums of his own: "Banjo Magic" (1987), "Escape Velocity" with his band The SanDROIDS (1996), "New World Harmonica Jazz" with The Carolbeth Trio (1998) and "The Klezmer Nuthouse" (2002). He is also a member of Farshid Etniko a world music group that has been called "The Persian Grateful Dead".
Sandy has performed with: Howard Levy, Richard Hayman, Brewer & Shipley, Bela Fleck, Bluegrass Alliance and others. Sandy has opened for: Norman & Nancy Blake, Beau Soleil, Peter Ostrushko, Cassandra Wilson, Trio Globo, Hot Rize, Leon Redbone, Victor Wooten, John Hartford and many others.
"Weltman deserves Praise as a soloist; his harmonica playing leaps out into inventive melodic territory while expressing the emotions inherent in the song." - St. Louis Post Dispatch
"Sandy Weltman is the most versatile harmonica player in St. Louis - bar none." - The Bluesletter
"Weltman stretches the limits of the instrument by following his mentor Howard Levy as a pioneer of the basic 10-hole diatonic harmonica." - The Riverfront Times
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