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James Harman had the swag and natural self-confidence which is a statement in itself of a flexible, but authoritarian, stage presence. He didn't use any attractive physical poses or any sound gimmicks or devices. He didn't need them. Once on stage, either performing at a big festival or in your neighborhood bar, he was James Harman, simply a bluesman, always insisting on his rural Anniston, Alabama origins and hated to be called a Southern Californian/West Coast stylist. His juicy 'Countrypolitan' swing on harmonica was rooted in both the electrifying tenor style of Little Walter and the roughness of Sonny Boy 'Alec Miller' Williamson. As a gospel-trained child, he knew how to handle the lyrics and deftly adapt his vocal tones, like a genuine storyteller. With James Harman, we used to go to those roadside diners, with ketchup-stained tablecloths, where you had to ask for more napkins ('Extra napkins') because life was like a game of dice, often loaded ('Crapshoot'). James Harman's Belgian popularity is reflected again in this live recording tracked at the Spring Blues Festival in Ecaussinnes, 2003. Backed by the most swinging of our blues guitarists, Marc 'T' Thijs, who had assembled a band with a meaty sound, including sax and keyboard, Harman was able to let it flow in full confidence, displaying his verve as an inspired harmonica player and singer. He invited us to his revels ('It's your party') and the audience joined him instantly. A concert is never as successful as when the artist, his band, their vibes, and those of the audience are in synch, heart beating on the same wavelength. Today we can enjoy this privileged moment, thanks to the expertise of Pierre Degeneffe who recorded it and John Stedman who was not willing to let it lie dormant, in conjunction with his master sound engineer cum mixer Martin Atkinson. André Hobus

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