Updated 1:42 p.m.
The harmonica may not be the first instrument you think of when it comes to jazz and soul music. But acclaimed French-born harmonica player Frederic Yonnet has used the instrument to transcend musical boundaries and reimagine its role in music as a main instrument — not just a secondary or supplemental one.
Originally a percussionist, Yonnet became drawn to the unique sound of the harmonica as a teenager and took up the instrument. Yonnet has asthma, but said playing the harmonica strengthened his lungs to the point of no longer needing to carry around an inhaler.
Yonnet, who grew up steeped in jazz, added that he noticed the instrument was rarely utilized in the genre.
CapRadio’s Chris Campbell spoke with Yonnet to learn about what inspired him to take up the harmonica, his unique artist collaborations, and his upcoming participation in one of this year’s most anticipated musical events — the Blue Note Jazz Festival in Napa.
This interview has been edited for clarity and length.
On Yonnet’s approach to making the harmonica the main voice of various musical compositions
I would refer to the tribal approach to music. In Africa, for example, most musicians I met over there were not writing music on paper like we [do] here. They were speaking the language of the drums to one another, so they could replicate those percussive intonations and syllables and words.
Jazz musicians do it when they scat. My goal is to reproduce what I hear naturally on an instrument that does not play it naturally. I’m morphing into the harmonica and using it as my main voice.
On his collaboration with numerous artists, including Prince and Stevie Wonder
It feels like living a dream before you get to dream it. When I was touring with Prince, I felt I had the best seat in the house, sitting in the middle of the band and waiting for him to cue me to play my solos.
The first time I played with Stevie Wonder, I jammed with him on “Boogie on Reggae Woman,” it was after Tony Bennett played “For Once in My Life” with him. Those experiences make me feel so thankful for those magical moments that I will never forget.
On the differences between performing live and producing music for films
When I gather with my band to perform live, we are generating energy together. We are using this vortex of energy to feed an audience that energy we give them comes right back to us on stage — it’s a constant communication during the performance.
For film, you have to reach deeper into your own experience because it’s an introspective investigation of emotions.
On his foray into playing music in Martin Scorsese films
The big link in that process is a gentleman named Robbie Roberston. They have been collaborating since the 1970s and have a long friendship.
When they decided to attribute the dark emotion of a movie they were working on to the harmonica, they reached out to me to contribute to what would turn out to be “The Irishman.” They enjoyed the results and again reached out to me to contribute to the movie “Killers of the Flower Moon.”
On his plans to perform at the Blue Note Jazz Fest in Napa and his musical kinship with festival host Dave Chapelle
Let’s start with the host, Dave Chapelle. He is as much a comedian as he is a music lover. He has done so much for the culture. He introduced me to Prince and Stevie Wonder, and they both took me on the road for years. I’m forever grateful to Dave Chapelle for how he impacted my career.
The difference between this festival and the others is that artists will be doing spontaneous jams, jumping from stage to stage and connecting. You won’t see that anywhere else.
On his upcoming new music projects
I will be releasing another album with more covers and originals. It will be more of the same, collaborating with artists, more recording and drawing attention to the harmonica like it was 50-60 years ago. Above all, I look forward to connecting with those who are supportive about music.
