Blues harp buffs who have a particular interest in the West Coast stylings of such stellar artists as Rod Piazza, Mark Hummel, and the late William Clark, are already familiar with the enormous reverence given by these artists toward the legendary chromatic harp genius, George “Harmonica” Smith. A Big City Rhythm & Blues harp issue would not be complete without acknowledging the enormous role Smith played in advancing the role of the chromatic harmonica in today’s blues scene. Rod Piazza, one of today’s top chromatic harp masters, who played with Smith and understudied with the pioneer harpist for several years, recalls Smith’s stage persona as well as his highly demanding professionalism on stage. “George commanded everyone’s attention. He was able to move people right from the get go,” says Piazza. In fact, through Smith, Piazza later employed many of the charming antics his former mentor used in captivating audiences. Table top tippling and Interior audience strolls is nightly De Riguer for the California bluesman. “I learned all that from George,” Piazza recalls. Contemplating the early years of his career Piazza remarks, “It wasn’t just about playing the notes, it was putting it across as part of the show.” He counts himself as the fortunate one for having come under Smith’s cuttledge. Remarks on today’s young musicians who seem to lack a flare for stage presentation Piazzza has this to say: “A lot of players today just didn’t have the opportunity that I had, so they are playing a lot of great stuff but they just sometimes have trouble getting it across to the audience, you know? I’m not putting anyone down. I am more interested in not amazing you at what I play, but rather moving you with what I play.”

George Smith is often credited as the leading force in creating the so-called “West Coast harp sound.” “The whole big octave chromatic thing really came from George,” remarks Rod Piazza. Smith would employ big fat chord blends on the chromatic harp in order to become a horn instrument while playing behind a horn section. That characteristically was found in '50s and '60s R&B bands in the Los Angeles Area. George Smith greatly admired the styles of Little Walter and Larry Adler. His unique octave blends would later influence a new wave of chromatic players with formative octave spreads and tongue block solos that are now the "patented signatures" that are the meat and potatoes of the West Coast movement. Comparing techniques between Little Walter and George Smith; Rod Piazza wieghs in: “Well, you had Little Walter playing the chromatic with a smaller aperture. Walter’s mouthing wasn’t as wide in getting those big octaves like George Smith. And Larry Adler was of course playing single notes, but George really made it happen.” The resulting impact is history now, having produced a style that is now dead center on the blues map.

Asked why George Smith did not enjoy a widespread base of recognition, Piazza replies “He did did get an opportunity to record for a big major label like Chess. Chess already had Big Walter. Perhaps Chess did not have a lot of faith in him. They weren’t looking for another harp artist. Little Walter was making them good money. So, George bounced around. Recording under so many different names did not benefit him [either], like Little Walter Jr., or Harmonica King, and names like that. When I began to work with him in the Watts area he was usually billed as Little Walter. He told me Walter told him that if it helped him get work then go ahead, use the name, because he knew George wouldn’t be making Little Walter look bad. [Chuckling] at least that’s what George told me." George “Harmonica” Smith died on October 2, 1983 in Los Angeles. He didn't have a wide range of recordings as noted by Rod Piazza. However, a classic George Smith release entitled Now You Can Talk About Me on Blind Pig Records is available at retail or through Blind Pig’s Internet sales outlet. The Rod Piazza-produced album Boggie’n with George on the Murray Brothers Label is also available in select record bins, but best found on the Internet. This was Smith’s last recording before he suffered a heart attack on October 2, 1983.

Rod Piazza
Rod Piazza is a noted disciple of the great harmonica master George Smith. He has recently completed a live DVD which will soon be available through Blind Pig Records and featured on HPNET Channel this fall.
What kind of harp do you use?
Well, I play the Herring Harmonica and I play a vintage 1923 model which is like an early Marine Band harp. And then I play the 12 hole chromatic and the 1964 chromatic.
A lot of people are wondering Rod, how long does a harp last?
There is no set time. Sometimes they will last a month or two, sometimes they last a minute or two, you never know.
Besides being influenced by the great George Smith, are there any other harp players that have had an influence on your career?
George had a great influence on me and so did Little Walter. I like a lot of other cats you know but when it really gets down to the wire, those were the two cats that really did it for me.
Do you play any other instrument?
No.
Who gave you your first harmonica?
Jimmy Reed gave me my first harmonica. I got my first guitar at age seven. At about age 11 my brother took me to see Jimmy Reed. We got backstage, and my brother told Jimmy that I was trying to learn to play the guitar. Jimmy Reed told me you need something to go with that guitar and he gave me one of his old harps, and I fooled around with that old harp. Later someone gave me another harp down the road. So I was playing guitar and harmonica both and when I got into my first group, the Dirty Blues Band, they told me to forget the guitar and just play harp. So I left the guitar behind after that.
Do you have a favorite harp song that’s near and close to you, or one that you like to play?
Oh there is so many, you know. I really can’t say, but I sure like “Blue Midnight” recorded by Little Walter.
We were wondering, do you have names for your harps?
Yeah, good, bad, and ugly.
If your harmonica could talk, what would it say?
Quit drinking all that beer you put in me.