Jimmie says: "The Seydel 1847 is the harp that I've been looking for all these years…. 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". Tris Imboden, of the band Chicago, also plays both at the same time and we gas each other about doing both things. Keep it honest and keep it simple! There are players out there who have an ability to play incredibly complicated music, but as a listener I need a break after listening to about twenty minutes of that approach. There were a couple of guys my age I had met who played music; one played guitar and one played mandolin, the Agajanian brothers. We had a lot common musical interests and shared similar harmonica influences in that we both primarily played from an acoustic perspective. 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. His playing has evolved into a very rhythmic country blues style which compliments the many forms of Americana music that he is immersed in and identified with today. 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. You know structure, chord progressions, how songs are put together and thus, how you might approach someone else’s song. I spent quite a bit of time with Al talking about the instrument. In our band we didn’t need harmonica on every song and it was nice to have the opportunity to do something else. I listened a lot more to how people played than what they played; the enthusiasm in Sonny Terry’s playing, Taj Mahal’s tongue blocking, what Sonny Boy did with those big hands, etc. I’ll say that because it’s funny, but the truth of the matter is that I believe all young guys who start playing music want to meet girls! So somewhere between Sonny Terry, Charlie McCoy, Bob Dylan, and Paul Butterfield, who was another guy who played in our area that I got to hang out with; a pretty diverse group! 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. Fadden, 69, does double duty in the band, playing drums and harmonica at the same time.

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. JF: I think if you play another instrument, like guitar, and write songs, I think you’ll kind of know where you want the harmonica to play. JF: What catches my imagination is the likes of Howard Levy or Brendan Power and listening to how they’ve taken the instrument and applied it to the way they hear the world. He was so in love with that and imbued with the talent to make it work. It made him want to kick back, sing, play his harmonica. Just a really special cat who had a really personal view of that musical genre (Blues). The Nitty Gritty Dirt Band is an American country rock band from Long Beach, California. 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. 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 still love every moment of it and even more so as I’ve gotten older and I don’t take things for granted. His recorded work with NGDB spans four plus decades, thirty some odd albums, ("who's counting") for which the band has won 3 Grammies. 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. I don’t know what brought them on, and music was a great outlet for me. Thirty-three albums, three number-one singles, and a couple of Grammys later, drummer/vocalist/harmonica player Jimmie Fadden is anything but complacent. RG: How did you get started playing music and the harp? At some point during highschool I suffered a series of depressions. The first experience in that respect was Sonny Terry who allowed me to spend quite a bit of time with him. I haven’t mentioned Al Wilson. 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! 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.

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“I’ve been very lucky,” Fadden says. JF: Within our band, the work that I did on the. To all the harp players out there, keep harping on; you allow the audience to feel what you play and enjoin their emotion with yours and that’s one of the greatest feeling we can have! It’s funny, in Nashville, where I lived for twenty years, there’s a bit of pecking order; if you’re a road guy, you stay a road guy, and if you’re a studio guy, you stay a studio guy. He is one of the greats. Jimmie Fadden, member of Nitty Gritty Dirt Band was born March 9, 1948 in Long Beach, California, plays guitar, drums, harmonica and other instruments. 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. If you can make people feel something, then you’ve succeeded. JF: Well, I’m still having a lot of fun and am a really lucky guy!

He was very generous with me! JF: I was serious about girls at that time! RG: How has your multi-instrumentalist, songwriting, and touring background influenced your harmonica playing and your approach to the studio and sideman work? And on the other hand, I heard that moody thing that Bob Dylan was doing. I never just stand right in front of the mic; I usually move into the mic when I want it to be more full, and I’ll usually back away on a long, sustained part that I want to back out of the track. We played a lot of the same gigs together and saw a lot of eachother. I tended to hang more with the country guys, and even the blues I got tended to come through the country guys. Nitty Gritty Dirt Band founding member Jimmy Fadden always admired early blues music. It’s just as well, playing live is my favorite thing to do! 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. Our group has always had a history of swapping instruments. It blows my imagination when I hear about these conferences and harmonica festivals! JavaScript is disabled. Sonny’s thing was about rhythmic stuff; he taught me about breathing through the harp and how to keep playing without running out of breath. In between those two, I later found examples that I liked learned something from all of them.

Jimmie says: "The Seydel 1847 is the harp that I've been looking for all these years…. 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". Tris Imboden, of the band Chicago, also plays both at the same time and we gas each other about doing both things. Keep it honest and keep it simple! There are players out there who have an ability to play incredibly complicated music, but as a listener I need a break after listening to about twenty minutes of that approach. There were a couple of guys my age I had met who played music; one played guitar and one played mandolin, the Agajanian brothers. We had a lot common musical interests and shared similar harmonica influences in that we both primarily played from an acoustic perspective. 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. His playing has evolved into a very rhythmic country blues style which compliments the many forms of Americana music that he is immersed in and identified with today. 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. You know structure, chord progressions, how songs are put together and thus, how you might approach someone else’s song. I spent quite a bit of time with Al talking about the instrument. In our band we didn’t need harmonica on every song and it was nice to have the opportunity to do something else. I listened a lot more to how people played than what they played; the enthusiasm in Sonny Terry’s playing, Taj Mahal’s tongue blocking, what Sonny Boy did with those big hands, etc. I’ll say that because it’s funny, but the truth of the matter is that I believe all young guys who start playing music want to meet girls! So somewhere between Sonny Terry, Charlie McCoy, Bob Dylan, and Paul Butterfield, who was another guy who played in our area that I got to hang out with; a pretty diverse group! 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. Fadden, 69, does double duty in the band, playing drums and harmonica at the same time.

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. JF: I think if you play another instrument, like guitar, and write songs, I think you’ll kind of know where you want the harmonica to play. JF: What catches my imagination is the likes of Howard Levy or Brendan Power and listening to how they’ve taken the instrument and applied it to the way they hear the world. He was so in love with that and imbued with the talent to make it work. It made him want to kick back, sing, play his harmonica. Just a really special cat who had a really personal view of that musical genre (Blues). The Nitty Gritty Dirt Band is an American country rock band from Long Beach, California. 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. 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 still love every moment of it and even more so as I’ve gotten older and I don’t take things for granted. His recorded work with NGDB spans four plus decades, thirty some odd albums, ("who's counting") for which the band has won 3 Grammies. 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. I don’t know what brought them on, and music was a great outlet for me. Thirty-three albums, three number-one singles, and a couple of Grammys later, drummer/vocalist/harmonica player Jimmie Fadden is anything but complacent. RG: How did you get started playing music and the harp? At some point during highschool I suffered a series of depressions. The first experience in that respect was Sonny Terry who allowed me to spend quite a bit of time with him. I haven’t mentioned Al Wilson. 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! 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.

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