Paul De Lay is quite clear about his intention to be an original stylist of the instrument. "The traditionalists can go their way," he says, "and I'll go mine." His playing is laden with influences of the great blues players of 10-hole diatonic harmonica, but they are simply mannerisms in a wider style that is all his own. Outside the northwest where he has lived and played his whole adult life he not widely known, but many harmonica players consider him among the most original players of his generation. It is his melodic sense that keeps me coming back to play his CD's (The Other One , 1991, Paulzilla, 1992, on Criminal Records, and Oceans Of Tears, 1996, and Nice & Strong, 1998, on Evidence Records. Criminal Records. "It's no crime to have a Criminal record.") In his mind the top five holes of the diatonic are a great vein of musical gold to be mined, not for the pig squeals usually associated with those high notes, but for ethereal melodies. He mixes his flights into the high range with soulful, distinctive melodic lines on the bottom end, formed with a tone that makes me feel like I've got salt water taffy in my jaw. His chromatic work sounds to me like his mind belongs to Toots Thielemans and his heart belongs to Little Walter.