Name	Harmonica
Image capt	A 16-hole chromatic (top) and 10-hole diatonic harmonica
Background	other
Hornbostel sachs	412.132
Hornbostel sachs desc	Free-reed aerophone
Developed	Early 19th century
Range	For 64-reeds (16-holes) chromatic harmonica: C below Middle C (C) to the D above C5; slightly over 4 octaves
Related	melodeon, melodica, Yu
Midi	022/023
Articles	List of harmonicists

The harmonica, also called harp, French harp, blues harp, and mouth organ, is a free reed wind instrument used primarily in blues and American folk music, jazz, country music, and rock and roll. It is played by blowing air into it or drawing air out by placing lips over individual holes (reed chambers) or multiple holes. The pressure caused by blowing or drawing air into the reed chambers causes a reed or multiple reeds to vibrate up and down creating sound. Each chamber has multiple, variable-tuned brass or bronze reeds, which are secured at one end and loose on the other end, with the loose end vibrating and creating sound.

Reeds are pre-tuned to individual tones, and each tone is determined according to the size of reed. Longer reeds make deep, low sounds and short reeds make higher-pitched sounds. On certain types of harmonica the pre-tuned reed can be changed (bending a note) to another note by redirecting air flow into the chamber. There are many types of harmonicas, including diatonic, chromatic, tremolo, orchestral, and bass versions.

Parts

The basic parts of the harmonica are the comb, reed-plates and cover-plates.

Comb

The comb is the term for the main body of the instrument, which contains the air chambers that cover the reeds. The term comb originates from the similarities between simple harmonicas and a hair comb. Harmonica combs were traditionally made from wood, but now are usually made from plastic (ABS) or metal (including titanium for very high-end instruments). Some modern and experimental comb designs are complex in the way that they direct the air.

Comb material was assumed to have an effect on the tone of the harp. While the comb material does have a slight influence over the sound of the harmonica, the main advantage of a particular comb material over another one is its durability. In particular, a wooden comb can absorb moisture from the player's breath and contact with the tongue. This causes the comb to expand slightly, making the instrument uncomfortable to play. Various types of wood and treatments have been devised to reduce the degree of this problem. has a main body, and a sliding mouthpiece. The body is a 24-hole diatonic harmonica that starts from b2 to d6 (covering 3 octaves). Its 11-hole mouthpiece can slide along the front of the harmonica, which gives numerous chord choices and voicings (seven triads, three 6th chords, seven 7th chords, and seven 9th chords, for a total of 24 chords). As well, it is capable of playing single- note melodies and double stops over a range of three diatonic octaves. Unlike conventional harmonicas, blowing and drawing produce the same notes because its tuning is closer to the note layout of a typical Asian tremolo harmonica or the Polyphonias.

Pitch pipe

The pitch pipe is a simple specialty harmonica that provides a reference pitch to singers and other instruments. The only difference between some early pitch-pipes and harmonicas is the name of the instrument, which reflected the maker's target audience. Chromatic pitch pipes, which are used by singers and choirs, give a full chromatic (12-note) octave. Pitch pipes are also sold for string players, such as violinists and guitarists; these pitch pipes usually provide the notes corresponding to the open strings.

Harmonica techniques

'Vibrato' is a technique commonly used while playing the harmonica and many other instruments,to give the note a 'shaking' sound. This technique can be accomplished in a number of ways. The most common way is to change how the harmonica is held. For example, by opening and closing your hands around the harmonica very rapidly you achieve the vibrato effect. Another way is to use a 'head shaking' technique, frequently used in blues harmonica, in which the player moves the lips between two holes very quickly. This gives a quick shaking technique that is slightly more than vibrato and achieves the same aural effect on sustained notes. The vibrato might also be achieved via rapid glottal (vocal fold) opening and closing, especially on draws (inhalation) simultaneous to bending, or without bending. This obviates the need for cupping and waving the hands around the instrument during play.

In addition to the 19 notes readily available on the diatonic harmonica, players can play other notes by adjusting their embouchure and forcing the reed to resonate at a different pitch. This technique is called bending, a term possibly borrowed from guitarists, who literally "bend" a string to subtly change the pitch. Bending also creates the glissandos characteristic of much blues harp and country harmonica playing. Bends are essential for most blues and rock harmonica due to the soulful sounds the instrument can bring out. The"wail" of the blues harp typically required bending. In the 1970s, Howard Levy developed the overbending technique (also known as "overblowing" and "overdrawing".) Overbending, combined with bending, allowed players to play the entire chromatic scale.

In addition to playing the diatonic harmonica in its original key, it is also possible to play it in other keys by playing in other "positions" using different keynotes. Using just the basic notes on the instrument would mean playing in a specific mode for each position. Harmonica players (especially blues players) have developed terminology around different "positions," which can be confusing to other musicians.

Another technique, seldom used to its full potential, is altering the size of the mouth cavity to emphasize certain natural overtones. When this technique is employed whilst playing chords, care must be taken in overtone selection as the overtones stemming from the non-root pitch can cause extreme dissonance.

Harmonica players who amplified their instrument with microphones and tube amplifiers, such as blues harp players, also have a range of techniques that exploit the properties of the microphone and the amplifier, such as changing the way the hands are cupped around the instrument and the microphone or rhythmically breathing or chanting into the microphone while playing. Blues and folk players refer to the instrument with a range of less-common names including: hand reed, Mississippi saxophone, pocket sax, toe pickle, tin sandwich, ten-holed tin-can tongue twister, and French Harp.

History

The harmonica was developed in Europe in the early part of the 19th century. Free reed instruments like the sheng were fairly common throughout East Asia for centuries and were relatively well-known in Europe for some time. Around 1820, free reed designs began being created in Europe. While Christian Friedrich Ludwig Buschmann is often cited as the inventor of the harmonica in 1821, other inventors developed similar instruments at the same time. Mouth-blown free reed instruments appeared in the United States, South America, the United Kingdom and in Europe at roughly the same time.

Early instruments

The harmonica first appeared in Vienna, where harmonicas with chambers were sold before 1824 (see also Anton Reinlein and Anton Haeckl). Richter tuning, invented by Joseph Richter (who also is credited with inventing the blow and draw mechanism), was created in 1826 and was adopted nearly universally in the subsequent years. In Germany, Mr. Meisel of Geschichte des Akkordeonbaus in Klingenthal, Schwarzmeisel and Langhammer, bought a harmonica with chambers (Kanzellen) at the Exhibition in Braunschweig in 1824. He and Langhammer in Graslitz copied the instruments; by 1827 they had produced hundreds of harmonicas. Many others followed in Germany and also nearby in what would later become Czechoslovakia. In 1829, Johann Wilhelm Rudolph Glier also began making harmonicas.

In 1830, Christan Messner, a cloth maker and weaver from Trossingen, copied a harmonica his neighbour had brought from Vienna. He had such success that eventually his brother and some relatives also started to make harmonicas. From 1840 onwards, his nephew Christian Weiss was also involved in the business. By 1855, there were at least three harmonica-making businesses: C. A. Seydel Söhne, Christian Messner & Co., and Württ. Harmonikafabrik Ch. WEISS. Currently, only C.A. Seydel is still in business.

Owing to competition between the harmonica factories in Trossingen and Klingenthal, machines were invented to punch the covers for the reeds. In 1857, Matthias Hohner, a clockmaker from Trossingen, started producing harmonicas, eventually to become the first person to mass-produce them. He used a mass-produced wooden comb that he had made by machine-cutting firms. By 1868, he began supplying the United States. By the 1920s, the diatonic harmonica had largely reached its modern form. Other types followed soon thereafter, including the various tremolo and octave harmonicas.

By the late 19th century, harmonica production was a big business, having evolved into mass-production. New designs were still developed in the 20th century, including the chromatic harmonica, first made by Hohner in 1924, the bass harmonica, and the chord harmonica. In the 21st century, radical new designs are still being introduced into the market, such as the Suzuki Overdrive and Hohner XB-40.

Diatonic harmonicas were designed primarily for the playing of German and other European folk music and have succeeded well in those styles. Over time the basic design and tuning proved adaptable to other types of music such as the blues, country, old-time and more. The harmonica was a success almost from the very start of production, and while the centre of the harmonica business has shifted from Germany, the output of the various harmonica manufacturers is still very high. Major companies are now found in Germany (Seydel, Hohner - the dominant manufacturer in the world), Japan (Suzuki, Tombo, Yamaha), China (Huang, Leo Shi, Suzuki, Hohner), Brasil (Hering, Bends) and the United States Harrison Harmonicas. Recently, responding to increasingly demanding performance techniques, the market for high quality instruments has grown.

Europe and North America

Early use

Shortly after Hohner began manufacturing harmonicas in 1857, he shipped some to relatives who had emigrated to the United States. Its music rapidly became popular, and the country became an enormous market for Hohner's goods. President Abraham Lincoln carried a harmonica in his pocket, and harmonicas provided solace to soldiers on both the Union and Confederate sides of the American Civil War. Frontiersmen Wyatt Earp and Billy the Kid played the instrument, and it became a fixture of the American musical landscape.

The first recordings of harmonicas were made in the U.S. in the 1920s. These recordings are 'race-records', intended for the black market of the southern states with solo recordings by DeFord Bailey, duo recordings with a guitarist Hammie Nixon, Walter Horton, Sonny Terry, as well as hillbilly styles recorded for white audiences, by Frank Hutchison, Gwen Foster and several other musicians. There are also recordings featuring the harmonica in jug bands, of which the Memphis Jug Band is the most famous. But the harmonica still represented a toy instrument in those years and was associated with the poor. It is also during those years that musicians started experimenting with new techniques such as tongue-blocking, hand effects and the most important innovation of all, the 2nd position, or cross-harp.

The harmonica's versatility brought it to the attention of classical music during the 1930s. American Larry Adler was one of the first harmonica players to perform major works written for the instrument by the composers Ralph Vaughan Williams, Malcolm Arnold, Darius Milhaud and Arthur Benjamin.

The United States experienced a shortage of harmonicas during World War II. Wood and metal materials that were used for harmonicas were in short supply due to military demand. Furthermore, the primary manufacturers of harmonicas were based in Germany and Japan, who happened to be the Axis powers opposed to the United States and the allied forces in the war. It was during this time that Finn Harkon Magnus, a Dutch-American factory worker and entrepreneur, developed and perfected the molded-plastic harmonica. The plastic harmonica used molded plastic combs and far fewer pieces than traditional metal or wood harmonicas, which as a result made the harmonica more sanitary and far more economical to mass produce. Though these harmonicas produced a less distinctive (and, to many ears, inferior) sound than their metallic counterparts, Magnus harmonicas, as well as several imitators, soon became commonplace, particularly among children.

1950s blues players

The harmonica then made its way with the blues and the black migrants to the north, mainly to Chicago but also to Detroit, St. Louis and New York. The music played by African Americans increasingly began to use electric [[instrument amplifier| amplification]] for the guitar, harp, double bass, and a crude PA system for the vocals. Alec Rice Miller, better known as Sonny Boy Williamson II, is one of the important harmonicists of this era. Using a full blues band, he became a popular act in the South with his daily broadcasts on the 'King Biscuit Time', originating live from Helena, Arkansas. He also helped to popularize the cross-harp technique, which became an important blues harmonica technique.

A young harmonicist named Marion "Little Walter" Jacobs revolutionized the instrument by playing the harmonica with a microphone (typically a "Bullet" microphone marketed for use by radio taxi dispatchers cupped in his hands with the harmonica, giving it a "punchy" mid-range sound that can be heard above radio static, or an electric guitar). He cupped his hands around the instrument, tightening the air around the harp, giving it a powerful, distorted sound, somewhat reminiscent of a saxophone.

Big Walter Horton was the favored harmonicist of many Chicago blues bandleaders, including Willie Dixon. His colorful solos used the full register of his instrument and some chromatic harmonicas. Howlin' Wolf's early recordings demonstrate great skill, particularly at blowing powerful riffs with the instrument. Sonny Boy Williamson II used the possibilities of hand effects to give a talkative feel to his harp playing. Williamson extended his influence on the young British blues rockers in the 1960s, recording with Eric Clapton and The Yardbirds and appearing on live British television. Stevie Wonder learned harmonica at age 5 and plays the instrument on many of his recordings. Jimmy Reed played harmonica on most of his blues shuffle recordings.

1960s and 1970s blues players

The 1960s and 1970s saw the harmonica become less prominent, as the overdriven electric lead guitar became the dominant instrument for solos in blues rock. Paul Butterfield is a well known harp player of the era in the blues and blues-rock arena. Heavily influenced by Little Walter, he pushed further the virtuosity on the harp. Chicago harmonica player James Cotton specialized in slow, magnificent note-bends.

Blues harmonica players who are primarily or mainly associated with the instrument include Norton Buffalo, Jerry Portnoy, Lazy Lester, Bob Dylan, Rabini Zami, Sugar Blue, Billy Branch, Charlie Musselwhite, Corky Siegel, Kim Wilson, Slim Harpo, Al "Blind Owl" Wilson of Canned Heat, Jack Bruce of Cream and John Sebastian of The Lovin' Spoonful.

Musicians who are primarily known as singers or performers on another instrument who also have recorded and performed harmonica solos include Bruce Springsteen, Donovan, Taj Mahal, Mick Jagger and Brian Jones of The Rolling Stones, Huey Lewis of Huey Lewis and the News, John Mayall, Peter Green of (the original) Fleetwood Mac, Roger Daltrey of The Who, Steven Tyler of Aerosmith, Robert Plant of Led Zeppelin, and Richard "Magic Dick" Salwitz of The J. Geils Band. Billy Joel famously plays the harmonica, in addition to his piano, on his signature song, "Piano Man". includes the harmonica throughout the piece. John Lennon played harmonica on early hits as "Love Me Do", "Please Please Me" and "I Should Have Known Better" and in his solo career on songs such as "Oh Yoko!".

2000s blues players

Contemporary harmonicists Howard Levy, Chris Michalek, Jason Ricci, and Carlos del Junco have pushed the envelope of the instrument. Levy explored and pioneered the over blow technique in the early seventies, which enables the diatonic harmonica to play full chromatic scales across three octaves, while retaining the particular sound of the harp. Overblowing is used by Howard Levy, Frédéric Yonnet, Adam Gussow, Chris Michalek, Paul Nebenzahl, and Jason Ricci and Carlos del Junco are starting to integrate it in a more blues or rock oriented music. Richard "Magic Dick" Salwitz, Billy Branch, John Popper, Tom Ball, "Dirty" Patrick Walsh, Big Dave Perea, Joe Filisko, Miles Ryan and others are keeping the harmonica tradition alive. Peter Doherty of The Libertines and Babyshambles has also been known to use a harmonica especially during songs such as Albion and Killamangiro.

Other styles and regions

European harmonica player Philip Achille, who performs Irish, Classical, Jazz, Qawali and sufi music, has won jazz competitions and his classical performances have led to appearances on the BBC as well as ITV and Channel 4. Performers include French harmonicist Nikki Gadout, and Germans Steve Baker and the late Johnny Müller (who played the title melody of the Winnetou-movies). The Brazilian Flávio Guimarães performs a variety of styles. From France Yvonnick Prene plays jazz on chromatic harmonica.

In Nashville, P. T. Gazell has an influential style, as does Charlie McCoy, an American music harmonicist. Irish stylists include John and Pip Murphy, Noel Battle, Austin Berry, James Conway, Andy Irvine, Mick Kinsella, Brendan Power, Joel Bernstein, Don Meade, Paul Moran and Rick Epping. Peter "Madcat" Ruth maintains a website that links to the sites of contemporary players around the world. Wade Schuman, founder of the group Hazmat Modine, has fused overblowing with older traditional styles and middle European harmonies.

East Asia

In 1898, the harmonica was brought to Japan, where the Tremolo harmonica was the most popular instrument. After about 30 years, the Japanese developed scale tuning and semitone harmonicas to be able to perform Japanese folk songs.

Harmonica music started to develop in Hong Kong in the 1930s. Individual tremolo harmonica players from China moved to Hong Kong to set up different harmonica organizations such as The Chinese Y.M.C.A. Harmonica Orchestra, the China Harmonica Society, and the Heart String Harmonica Society. In the 1950s, chromatic harmonica became popular in Hong Kong, and players such as Larry Adler and John Sebastian were invited to perform.

Local players such as Lau Mok (劉牧) and Fung On (馮安) promoted the chromatic harmonica. In the Chinese Y.M.C.A. Harmonica Orchestra, the chromatic harmonica gradually became the main instrument. The Chinese YMCA Harmonica Orchestra started in the 1960s, with 100 members, most of whom played harmonicas. Non-harmonica instruments were also used, such as double bass, accordion, piano, and percussion such as timpani and xylophone.

In the 1970s, the Haletone Harmonica Orchestra (曉彤口琴隊) was set up at Wong Tai Sin Community Centre. Fung On and others continued to teach harmonica and also set up harmonica orchestras. In the 1980s, the number of harmonica learners decreased steadily. In the 1990s, harmonica players in Hong Kong began to participate in international harmonica competitions, including the World Harmonica Festival in Germany and the Asia Pacific Harmonica Festival. In the 2000s, the Hong Kong Harmonica Association (H.K.H.A.) (香港口琴協會) was established.

The history of the harmonica in Taiwan began around 1945. By the 1980s, though, as living standards increased, many instruments that were once too expensive to buy could be bought by the Taiwanese in preference to the harmonica.

Medical use

Playing the harmonica requires inhaling and exhaling strongly against resistance. This action helps develop a strong diaphragm and deep breathing using the entire lung volume. Pulmonary specialists have noted that playing the harmonica resembles the kind of exercise used to rehabilitate COPD patients such as using a PFLEX inspiratory muscle trainer or the inspiratory spirometer. Learning to play a musical instrument also offers motivation in addition to the exercise component. Many pulmonary rehabilitation programs therefore have begun to incorporate the harmonica. Harmonicist Frédéric Yonnet suffered from childhood asthma and credits the harmonica for helping him manage his asthma through adulthood.

Competitions

The World Harmonica Festival is held in the autumn every four years in Trossingen, Germany, home of the Hohner harmonica company. The last World Harmonica Festival was in 2009, and a harmonica workshop is held every year. The Asia Pacific Harmonica Festival is held regularly; in 2008 it was hosted by China.

In Hong Kong, Schools Music Festival is held every year for school students to compete in different music classes. Harmonica classes include band for primary and secondary schools, ensemble for secondary school, duet for secondary school, solo (junior, intermediate, and senior), and concert work (open).

Every August there is a harmonica contest in Idaho. The contest has been running since 1989. The contest is held in Yellow Pine about 150 miles outside of Boise, Idaho and is called the Yellow Pine Harmonica Contest.

Related instruments

The concertina, diatonic and chromatic accordions and the melodica are all free-reed instruments that developed alongside the harmonica. Indeed, the similarities between harmonicas and so-called "diatonic" accordions or melodeons is such that in German the name for the former is "Mundharmonika" and the later "Handharmonika," which translate as "mouth harmonica" and "hand harmonica." In Scandinavian languages, an accordion is simply called "harmonika," whereas a harmonica is a "mundharmonika" (mouth harmonica). The names for the two instruments in the Slavic languages are also either similar or identical. The harmonica shares similarities to all other free-reed instruments by virtue of the method of sound production.

The glass harmonica has the word "harmonica" in its name, but it is not related to free-reed instruments. The glass harmonica is a musical instrument formed from a nested set of graduated glass cups mounted sideways on an axle. Each of the glass cups is tuned to a different note, and they are arranged in a scalar order. It is played by touching the rotating cups with wetted fingers, causing them to vibrate and produce a sustained "singing" tone.

Notation

Tabulature

Tabulature notation (often abbreviated as "tab") is a method of writing melodies by indicating where the notes are played on the instrument, rather than by indicating the pitches with circles and note heads printed on a staff, as with standard notation. One of the advantages of tab is that it can be easier for performers without formal training to learn, because the notation directly indicates where to play the note.

While tab is most often associated with fretted stringed instruments such as the guitar, tab is also used with other instruments such as the organ and harmonica.

There are many harmonica tab systems in use. A simple tab system appears as follows:

Diatonic Harmonica tab:

2 = blow the 2 hole < Also: +2 > -2 = draw the 2 hole -2' = draw the 2 hole with a half bend < Also -2b > -2" = draw the 2 hole with a full bend < Also -2bb>

Chords are shown by grouping notes with parentheses

(2 3) = blow the 2 hole and the 3 hole at the same time

Chromatic Harmonica tab:

2 = blow the 2 hole -2 = draw the 2 hole <2 = blow the 2 hole with the button in <-2 = draw the 2 hole with the button in

Text Tab is another common type of harmonica tablature. It indicates when a player should "blow" or "draw" on a note by appending a letter suffix (B for blow or D for draw) to the appropriate harmonica hole number. Text Tab is used by harmonica instructors such as Dave Gage and Jon Gindick. It can be found on their websites and books and web forums.

Harmonica tab is usually aligned with lyrics to show the tune and the timing, and usually states the key of the harmonica required for the song.

Complete example of harmonica tab:

Cockles And Mussels (Molly Malone):
6  7  7     7    7 8   7     -8    -8  -8 -8  -9
In Dublin's fair city, where girls are so pretty,
-8 9    9   9  9     9  7     -8 8  7 -8
I first set my sight on sweet Molly Malone.
6   7   7 7   7  8    7   -8    -8     -8 -9
She was a fishmonger, and she'd stroll along,
8   8    9  8    7   9  8     7 -8   8 -8   7
Singing "Cockles And Mussels, Alive, Alive, Oh."
6 7   7 7   -8 8  7 -8  -8 -8 -8 8
Alive alive oh-oh Alive alive oh-oh
7   7   9   8   7   9  8    7 -8  8 -8  7
Singing Cockles and Mussels alive alive oh

Regular notation

Below the sheet music manuscript, there will be the number (sometimes inside a circle) with an arrow beneath that number. An upwards arrow means to blow, and a downwards arrow means to draw. Bend notes will have a curved arrow, slightly to the left for a flat half tone, and a long one for a full bend. (For a sharp bend, the arrows will point to the right).

Real music notation and harmonica education

The use of harmonica in public school systems required the use of real music notes, such as is used with all other instruments. Until the mid 1990s, there were no instruction methods that taught using real music notation. With the publication of The Perfect Harmonica Method by Jerry Perelman, harmonica was now officially a recognized instrument in the New York City school system. Thousands of students learned to play and numerous other schools throughout the world have incorporated this method into their general music programs. To date, there is still no other harmonica method approved by the New York Department of Education for use as a textbook in their schools.

Notable performers

See also

List of Famous Harmonica Solos

Harmonica concerto

The Society for the Preservation and Advancement of the Harmonica

Asia Pacific Harmonica Festival

References

Notes

Sources

http://www.prweb.com/releases/World/Record/prweb574418.htm

http://www.guinnessworldrecords.com/records/arts_and_media/music_feats_and_facts/fastest_harmonica_player.aspx

External links

Layout of 12 Keys of Richter-tuned Diatonic Harmonica

12 Keys of Pentatonic Scales on one Richter-tuned Diatonic Harmonica in C

HarmoPoint Diatonic harmonica initiation using a multi-media concept that allows you to visualize the playing

Riccardo's Harmonica Tutorial Free lessons on harmonica theory, positions, scales and chord structures.

"Free shared harmonica links" International harmonica weblinks grouped by theme

Frequently Asked Question about harmonica playing Questions about how to play harmonica

"Mark Purintun's Harmonica Tutorial"

The Tremolo: Learning to Play

Category:Free reed aerophones Category:Sets of free reeds *

Name	Terry McMillan
Birthdate	October 18, 1951
Occupation	Writer
Nationality	American
Alma mater	University of California, Berkeley
Notableworks	How Stella Got Her Groove Back

Terry McMillan (born October 18, 1951, in Port Huron, Michigan) is an American author. Her interest in books comes from working at a library when she was sixteen. She received her BA in journalism in 1986 at University of California, Berkeley. Her work is characterized by strong female protagonists.

Her first book, Mama, was self-published. She achieved national attention in 1992 with her third novel, Waiting to Exhale, which remained on The New York Times bestseller list for many months. In 1995, Forest Whitaker turned it into a film starring Whitney Houston. In 1998, another of McMillan's novels, How Stella Got Her Groove Back, was made into a movie. McMillan's novel Disappearing Acts was subsequently produced as a direct-to-cable feature, starring Wesley Snipes and Sanaa Lathan. She also wrote the best seller A Day Late and a Dollar Short. The Interruption of Everything was published on July 19, 2005. Getting to Happy, the long-awaited sequel to Waiting to Exhale, was published on September 7, 2010.

Personal life

McMillan married Jamaican native Jonathan Plummer in 1998. When they married, McMillan was in her mid 40s, Plummer, his early 20s; he was the inspiration for the love interest of the main character in the book How Stella Got Her Groove Back. Her life did not follow the movie when in December 2004, Plummer told McMillan that he was gay; in March 2005, she filed for divorce. The divorce was settled for an undisclosed amount. In March 2007, McMillan sued Plummer and his lawyer for $40 million citing an intentional strategy to embarrass and humiliate her during the divorce proceedings; McMillan eventually won a judgement intentional infliction of emotional distress but had also withdrew the suit before the case went to trial, and Plummer was never ordered to pay the intended amount.

On September 27, 2010, the two sat together with Oprah Winfrey to discuss their post-divorce relationship and partial reconciliation; both acknowledged that he fulfilled the role of boyfriend and husband before his coming-out, although McMillan stated that "he's not my BFF".

References

Nishikawa, Kinohi. "Romance Novel." The Greenwood Encyclopedia of African American Literature. Ed. Hans Ostrom and J. David Macey, Jr. Westport, CT: Greenwood Press, 2005. 1411-15.

External links

Official Web Site

Terry McMillan at the Notable Names Database

Interview with Terry McMillan on the Tavis Smiley show.

Terry McMillan at the African American Literature Book Club

The Smoking Gun: Terry McMillan Sues Her "Little Fag" Ex

Category:1951 births Category:Living people Category:African American novelists Category:Writers from Michigan Category:Chick lit authors Category:People from St. Clair County, Michigan

Jason Ricci (February 3, 1974) is an American harmonica player and singer.

Biography

Raised in Portland, Maine, Jason Ricci is the son of the controversial businessman/politician/activist Joe Ricci. Ricci started playing music in punk bands at the age of 14. After discovering a love of the harmonica and Blues music, he turned his attention in that direction. In 1995, Ricci moved from Portland to Memphis, TN, where shortly there after he placed first in the Sonny Boy Blues Society contest at 21 years of age. Later that same year Ricci recorded his first album, Jason Ricci.

In Memphis, Ricci began playing with David Malone Kimbrough, son of blues great Junior Kimbrough, and soon was a part of the bands of both Kimbroughs and was sitting in with R. L. Burnside. This also marked a dark period for Ricci, as drug addiction led to a one-year stint in jail. Ricci claims to have been sober ever since. Ricci and New Blood were signed to Eclecto Groove, a new subdivision of Delta Groove Records. His first album with the label, titled Rocket Number Nine, was released October 23, 2007. Later in 2009 the band recorded "Done With The Devil" for the same Label. The band as a whole has been nominated for Blues Band of the year three times by Blues Wax magazine. Ricci won the Blues Critic Award for Harmonica player of the year (2008) and was nominated for Harmonica Player of the year by the B.M.A. awards as well in 2009 and 2010.

Today, Jason Ricci and New Blood can be found playing almost 300 days per year in cities all over the United States, Canada, and Europe. Ricci has also accompanied guitarist Walter Trout on his recent European tours.

Jason received "Best Harmonica Player" at the May 6, 2010 Blues Music Awards at the Cook Convention Center in Memphis, Tennessee.

Controversy

Ricci is one of the only openly gay male performers touring on the blues circuit today. This has been a professional obstacle as well as an opportunity for Ricci to challenge both gay stereotypes and traditional Blues expectations:

"The [gay] community doesn't like drum sets and guitars and actual live music. They're used to lip-synching, and dudes in dresses, and Madonna, and Cher, and techno beats. Those are the things that kept me from coming out earlier. I felt like I had nothing in common with the gay community, and I still don't feel like I have a lot in common with the community. I'm hoping that changes, but the majority of their icons are press-friendly little Mickey Mouse-doll figureheads that you're more likely to see on a show redecorating somebody's house than onstage at a blues festival...When I came out of the closet as a gay white male from an upper-middle-class suburban home, I came out as not just gay, but as a white guy, and as a guy who likes punk, and as a guy who didn't come from total poverty, and all those things that we associate with being 'blues' things. And when I did that, I wanted to sing about that. I wanted to write songs about what my life was like, and I wanted to use terminology that was modern."

Though Ricci does not generally wear his sexuality on his sleeve on stage, his openness with being gay has occasionally been a difficult issue in the traditionally conservative Blues world, as he's been "disinvited" from a number of venues and events.

"Done With The Devil" signaled a new direction in Ricci's musical inspiration, as his study of the occult strongly influenced the writing on the album. Ricci has become a student of Thelema and the writings of Aleister Crowley, and Ricci has gone so far as to call him "a great holy man." This has prompted more controversy for an already controversial artist, prompting an extended online mea culpa from Ricci himself, in which he fervently denied accusations of Satanic worship.

Discography

1995 Jason Ricci (self titled debut) North Magnolia Music

1997 Down At The Juke North Magnolia Music

2001 Feel Good Funk Self Produced

2004 Live At Checkers Tavern Blue Sunday Records

2005 Her Satanic Majesty Requests Harmonica Music (Compilation) –Self Produced

2006 Blood on the Road Rah Fox Records

2007 Rocket Number 9 EclectoGroove Records

2009 Done with the Devil EclectoGroove Records

2010 Down That Road..., compilation of live tracks

Note: This discography does not include appearances by Jason Ricci or other members of New Blood on other artist’s albums, or various compilations.

References

External links

Official site

Live Music Archive

Category:1974 births Category:Living people Category:American blues singers Category:American blues harmonica players Category:LGBT musicians from the United States