Tris Imboden, of the band Chicago, also plays both at the same time and we gas each other about doing both things. Sometimes it was just a casual meeting where I gave someone my number and told them I’d love to do it. It just sort of happened that he would play something and I would play something that I felt fit; it was very natural and spontaneous.
Everything I heard I just tried to internalize. Jimmie's playing outside of NGDB can be heard on many of their early albums. It made him want to kick back, sing, play his harmonica.
And on the other hand, I heard that moody thing that Bob Dylan was doing.
Vassar was the perfect vehicle for me to play along with and that record set a high standard for me in a traditional Bluegrass sense.
I’m not a real technical player, but I really enjoy playing a groove and keeping time for myself when I’m playing harmonica, which I do simultaneously. Take this and then add the daily comings and goings of all the music friends that just hung out and played together: Jackson Brown, Linda Ronstandt, Taj, Poco, Tim Buckley, Hoyt Axton, for starters, you get the idea.
Fadden, 69, does double duty in the band, playing drums and harmonica at the same time.
I’d see people and ask them why they didn’t have me play on a particular record and they’d tell me they didn’t think I was around; out of sight, out of mind! Somebody like Deford Bailey would be on my list. You can move in and out from the mic diaphragm and fade yourself in and out effectively, very much the way I do when playing live. There are few who have had as large an influence on modern harp players as Jimmie Fadden, with his over four decades of recording and touring, and his unique country blues style.
Now that I don’t have Vassar to play with anymore, it’s clear that we really had a great musical moment that was interesting and natural.
Jimmie Fadden There are few who have had as large an influence on modern harp players as Jimmie Fadden, with his over four decades of recording and touring, and his unique country blues style.
His harp mentor and teacher was Sonny Terry: "He let me hang out with him every time he came to town". He was so in love with that and imbued with the talent to make it work. JF: They’re pretty much people I either know personally and socially; Jackson (Browne) was in the Dirt band for a period of time, so that was pretty obvious; Linda was part of our group that hung out together in Southern California. …
His recorded work with NGDB spans four plus decades, thirty some odd albums, ("who's counting") for which the band has won 3 Grammies. Create your own unique website with customizable templates.
He’d put a little piece of tape on the base of the reed to tune it up. Nitty Gritty Dirt Band founding member Jimmy Fadden always admired early blues music.
He was very generous with me! RG: Any things you might share about some of the legendary harp players you’ve spent time with? I haven’t mentioned Al Wilson. The first experience in that respect was Sonny Terry who allowed me to spend quite a bit of time with him. Taj Mahal was not too far from being a country player. RG: Would you say you were “serious” about music at that time? I played on a couple of Alabama tracks; we had done some shows with them and had the same producer. There are some that I don’t really know how they came about. We had a lot common musical interests and shared similar harmonica influences in that we both primarily played from an acoustic perspective. I tended to hang more with the country guys, and even the blues I got tended to come through the country guys. was one of the earlier studio dates where I was asked to play something specific. I met Taj Mahal at the Ash Grove too. with Vassar Clements comes to mind. JF: Listening is the most important part, then comes applying what you hear to what you play, and hopefully editing yourself as you go. It’s really good!
Jimmy is a founding member of the Nitty Gritty Dirt Band, which spans five decades, thirty some odd albums, for which the band has won 3 Grammies. There’s a very funny story there---Charlie McCoy saw Dan Fogelberg and said, “I just heard, . As if this weren't enough, then there were the numerous country acts, such as Merle Travis and Earl Scruggs.
RG: What instrument do you consider your “main” instrument?
JF: Within our band, the work that I did on the.
It’s a lot of fiddle and harp playing harmony lines or playing off of each other in an unusual way. RG: What are some recordings that have inspired you? JF: I’m not as much a multi-instrumentalist now as I was; I’ve sort of let my guitar playing go by the wayside. If you can make people feel something, then you’ve succeeded. Butterfield on the other hand was more of a Chicago player. “In the beginning it was all about having fun and keeping the music going. We had a fantastic folk club in Los Angeles called the Ash Grove and a lot of incredible artists came through there.
I truly appreciate my audience and I’m entirely impressed by all of the young players, the interest they show in the instrument, and the vitality they bring to the world of harmonica playing.
We played a lot of the same gigs together and saw a lot of eachother. Keep it honest and keep it simple! Jimmy was a founding member of the Nitty Gritty Dirt Band, formed in 1966, when the members all agreed "It was a way to avoid legitimate work". Jimmie says: "The Seydel 1847 is the harp that I've been looking for all these years…. Sonny and Brownie used to play on the West Coast and we played a lot of the same clubs. JF: I’m not actually sure how I got my first harmonica, but I believe I was about 16 or 17; somewhere around 1964 or ‘65. I didn’t play electric harp, so that was interesting to me. I think it was a note he wanted from the melody that wasn’t on the harp, so he figured out how to get it. I still love every moment of it and even more so as I’ve gotten older and I don’t take things for granted. Thank you, Seydel!". RG: How has your multi-instrumentalist, songwriting, and touring background influenced your harmonica playing and your approach to the studio and sideman work?
I was really impressed by his vigor, the band, and the raw edginess of how that Chicago thing was being translated by a new group of people; going from old school to new school. RG: Any advice on the technical aspect of recording harmonica? It’s really easy to be your own producer because you know what you’d want for yourself is what you can give someone else. .
I’m pretty much a drummer that plays harmonica or a harmonica player that plays drums, either way you want to look at it.
JF: I was serious about girls at that time! Thirty-three albums, three number-one singles, and a couple of Grammys later, drummer/vocalist/harmonica player Jimmie Fadden is anything but complacent. So I got to hang out with him. I had played a little bit of mandolin and autoharp and I’m not sure how I got into the harmonica except that it was very evocative and said a lot beyond what it actually played; the intention of the musician was audible in a very easy to understand way.
His early harp buddy's were Allen Wilson and Taj Mahal, and he says you can hear similarities in their styles. He met some folks, and formed Suitcase Full Of Blues When Jimmie had some time off from Festivals and performances with the Nitty Gritty Dirt Band, he teamed up with Bluesman Al Fuller to have some fun playing the Blues. There was a growing folk, blues, and rock scene in the L.A. area in the 60's and Jimmie was right into it with Dirt Band. I don’t know what brought them on, and music was a great outlet for me.
RG: How did you get started playing music and the harp? RG: Which of your harmonica recordings are you most proud of? In between those two, I later found examples that I liked learned something from all of them. JF: Paul Butterfield was playing in California quite often then and I don’t think I missed too many shows. While I don’t hear music in the same way, it’s fascinating to hear their palate of notes, Howard’s jazz, and Brendan’s Celtic melodies. Our group has always had a history of swapping instruments. His opportunities to "sit in with the "Cats" that were passing through the area was a dream for a young player: Sonny Terry & Brownie McGhee, Manse Lipscomb, Lighting Hopkins, JB Hutto and the Hawks, Harmonica George Smith, and Muddy Waters (to name a few) were to be recalled as formative experiences. He was really my first teacher; someone who actually showed me how to play things that he was playing. Usually they say “play some of that train sounding thing”, “fill in between the second and third verse”, or “leading into the chorus, we’d like a nice big five note”; this was not that and they had a particular melody they wanted played. Both of those guys showed a path to me and I started pursuing that. I don’t remember when we did that!” And Dan told Charlie, “That wasn’t you, that was Jimmie Fadden!” That was quite a compliment to me that Charlie thought it was him.
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