Author: Archie

English Traditional Harmonica Players

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Whilst there is a lot of information on the use of the harmonica in Scottish and Irish Traditional music, little has been written about its use in England. This reflects the lower profile of traditional music in England and the relative isolation of most of the harmonica/mouth organ players. Musicians usually use tremolo or diatonic harmonicas. Here is a brief summary of what we could find. More details will follow about specific players from England. This is work in progress.

This review was written by Roger Trobridge with the help of Katie Howson. Thanks also to Jane Bird and others for their input.

Northumberland shares a border and many cultural links with Scotland, especially musical ones. It’s mainly rural location in the North of England has helped it to retain its musical traditions when other regions have struggled to do so.

The Northumberland Moothie Tradition

Will Atkinson (1908-2003) from Northumberland is the best known English traditional harmonica player. Will came from a musical family and was a shepherd for most of his life. He played mouthorgan and melodeon as a child before moving to the accordion and playing in a local group. Later in his life he returned to the tremolo harmonica. Will knew and played with many of the musicians like Jimmy Shand at musical festivals in the Scottish Borders. His repertoire included a very large number of local and Scottish tunes and he was renowned for precision of his playing. There are several CDs of him playing solo or with The Shepherds (Joe Hutton and Willie Taylor).

Ernie Gordon (The Geordie Jock) from Alnwick was a friend of Will’s and spent a lot of time with him, learning many of Will’s tunes. He is a fine musician who also plays the pipes and drums as well as music from countries like Greece where he lived for a few years. Ernie has been a big supporter of HarmonicaUK for 20 years which has help to raise the profile of the moothie. He has recorded one CD. You can see many videos of Ernie Gordon and Will Atkinson here.

Roy Hugman is another Geordie moothie player from Morpeth, who has promoted music from Northumberland and taught tremolo for HarmonicaUK is . He plays locally with his band and has an active YouTube and Facebook page.

Jimmy Little is a prominent moothie player from the Alnwick area who has released a couple of CDs.

Jimmy Hunter was recorded by collector Peter Kennedy in 1954 at his home at Haydon Bridge, Northumberland, England, when Kennedy was working for the BBC’s Folk Music & Dialect Recording Scheme.

Other Geordie moothie players include Anita James and Rob Say.

Other Regional Traditional Players

Some other areas, particularly East Anglia and the West Country also held onto their traditional music, including harmonica players. Here are some who have been picked up by collectors and local clubs.

Jim Small (1913-n.d.) Learned to play from his father and played for folkdancing at school as a teenager, growing up near the Mendips in Somerset. He was involved in national radio broadcasts from 1938 to the mid 1950s, playing mostly folk dance music, and was then rediscovered by the revivalists of English traditional music in the 1970s. He was featured on a cassette / CD on Peter Kennedy’s Folktrax label, which sadly, no longer exists.

Alfie Butler was a Gloucestershire gypsy who played harmonica as well as piano accordion.

Bill Elsom and Jasper Smith were Travellers recorded in southern England; the latter can be heard on the CD “My Father’s the King of the Gypsies” on the Topic label.

Peter Roud, from Hampshire, was the subject of an article in EDS Spring 2011. He made a few recordings which are held by his family.

Sam Bond, again in Hampshire, played polkas, step dances, marches, singalong tunes etc, and recorded a cassette on the Forest Tracks label.

Stan Seaman was, a Hampshire melodeon player who also plays harmonica who made some recordings.

Dave Williams (1934-1997) was a harmonica, melodeon and banjo player in the New Forest area, who performed with Stan Seaman on many occasions, and was part of the Forest Tracks record label which recorded both Stan and Sam Bond.

Two more Hampshire players, Jimmy Dixon and Ron Whatmore can be heard on the Topic CD: “Rig-A-Jig-Jig – Dance Music of the South of England”.

John Cole played chromatic with a few of the folk song and skiffle groups in the London area in the 1950s before moving to Spain.

Bill Train of Teignmouth recorded a selection of old song tunes, polkas hornpipes and a nice jig.

The musical and dance traditions from the Dartmoor area have been well documented through the twentieth century.

Jack Rice (1915-1994) and Les Rice (1912-1996), cousins from Chagford, played harmonica in the pubs, and for dancing. There is a CD of their playing available, called “Merrymaking”:

Bill Murch played in the Dartmoor Pixie Band from 1973 to 1992 and can be heard on their CD “A Dartmoor Country Dance Party”

Mike Bond (1943-2014) was a real enthusiast and inspired everyone he met, and there’s a nice interview with him here: https://www.flaxey-green.co.uk/Devon%20Folk/pdf/WA%20archive/WA87.pdf

The county of Suffolk has been well covered by folk music collectors throughout the course of the 20th century and just a cursory scan of the sources produces: Albert Smith, Tom Thurston, Harry Fleet, Charlie Philpots, Fred Pearce and George Ling in the coastal village: some of these can be read about on the “Sing Say and Play” pages on the Musical Traditions website – https://www.mustrad.org.uk/ssp . In Mid Suffolk there are even more names to be found including George Wade, Glyn Griffiths, Clemmie Pearson, Tom Williams, Lubbidy Rice, Jack Pearson, Bill Smith and Reg Pyett, who are all featured on the double CD “Many A Good Horseman” on the Veteran label. Others including fiddler Fred Whiting, melodeon players Walter Read and Fred List were known to play the harmonica as well. Most of these men played in the their local pubs on a Saturday night and for outings with darts and quoits teams, and their repertoire would include sing-a-long songs as well as hornpipes and polkas for stepdancing.

Harold Covill (1910-1993) from March in Cambridgeshire started by playing his father’s mouthorgan and played all his life for local entertainments and dances. In later life he featured on Topic Records’ 1974 LP “English Country Music from East Anglia”. He also taught children through a local youth club.

Jack Hyde played for Abingdon Traditional Morris Dancers (now Oxfordshire, but then Berkshire). There are tracks of him on two CDs on the Topic label: “You Lazy Lot of Boneshakers” and “Rig-A-Jig-Jig – Dance Music of the South of England”.

Players In English Ceilidh Bands etc.

Martin Brinsford (b. 1947) started playing drums in 1962 and then discovered traditional English dance and music and took up playing tremolo harmonica. He was a founder member of Old Swan Band, England’s premier country dance band, and Brass Monkey with Martin Carthy and John Kirkpatrick. He has played in many other bands and recording sessions He plays a wide range of music drawn from around the world as well as England. currently plays vintage Québécois dance music with The Pigeon Swing. He has played at HarmonicaUK festivals. You can read more here.

Terry Potter (b. 1935) is another tremolo player who has been active since the 1960s with the modern tradition musicians like Ashley Hutchings (‘The Compleat Dancing Master‘, ‘Kicking Up The Sawdust‘) as well as playing with the Etchingham Steam Band, Potters Wheel and his family group, Cousins and Sons. You can read more here.

John Tams (b.1949) is a multi-instrumentalist, singer, songwriter, composer and actor. He is known locally in Derbyshire for his work with the Derbyshire Volunteers, but is known worldwide as the driving force behind such hugely influential groups such as Home Service and the Albion Band and also for his creative input into productions such as “War Horse” and “Lark Rise to Candleford” at the National Theatre, and for composing TV and film music including “Sharpe”.

Katie Howson (b.1956) is known mainly for playing the English melodeon/ diatonic accordion but has in fact played tremolo harmonica for nearly as long. A member of several English ceilidh bands, including PolkaWorks, whose 2014 CD “Borrowed Shoes” features her harmonica playing.

Chris Taylor (b.1946) from Kent, played in the Oyster Ceilidh Band, Gas Mark V and Polkabilly. Gas Mark V released a number of recordings featuring his harmonica playing.

Simon Booth (b.1955) from Lancashire, plays tremolo harmonica and recorded with the Ran Tan Band.

Barry Parkes (b.1952) from Cheshire, plays tremolo harmonica and recorded with Dr Sunshine’s Pavement Show, All Blacked Up and The Ironmasters.

Des Miller whilst living in Norfolk played and recorded with the Old Hat Concert Party and Rig-a-Jig, both bands specialising in localised repertoire.

Jaime Gill was featured in “Harmonica World” playing his large Hohner “683” double sider with the Clog Morris Band. He plays in “The Bicton Inn” in Exmouth.

Steve Harrison played mouth organ (and melodeon) in a couple of barn dance bands around Halifax (Yorkshire) and occasionally further afield. He was a member of HarmonicaUK and played tremolo and later, diatonic, until his death in 2018.

Eddie Upton took up harmonica more seriously in the 1970s. He played and recorded with The Pump and Pluck Band and toured Internationally. He set up Folk South West in 1992 and he appeared at a HarmonicaUK festival.

Ted Crum (1947-2020) from Coventry played blues style harp to accompany folk songs with Somerville Gentlemen’s Band, and driving dance music with “rock ceilidh band” Peeping Tom and jazz-influenced Steamchicken.

Jon Fletcher plays diatonic, chromatic and tremolo harmonicas and is a guitarist and singer, performing both solo and with the band Magpie Lane.

Keith Holloway plays tremolo harmonica, although he better known as a melodeon and bass player in bands iincluding Random, The Old Chapel Band & Bosun Higgs.

The New Generation

Traditional music never stands still and young musicians will always find a way to keep it fresh and relevant for the new generation. Two in particular are very talented, original International performers who include traditional music in their compositions and performances, but in very different ways.

Will Pound comes from a folk music family and he has worked with other musicians like Dan Walsh (banjo) to develop his own style and repertoire. He has been nominated for the BBC Folk Awards ‘Musician of the Year’ and has released six varied CDs. You can find out more about him here and on his website.

Phillip Henry is one of the UK’s top guitarists as well as a harmonica player who has developed his own style of beatboxing and diatonic harmonica playing. He has been nominated for Instrumentalist of the Year in the FATEA Awards and has released several CDs alone and with collaborators like Hannah Martin (Edgelarks). You can read more about Phillip here and on his website.

Sean Spicer and Simon Joy are two younger players who are continuing in the tradition. Sean played in the National Youth Folk Ensemble and at Twickfolk and Simon looks after traditional music within HarmonicaUK.

Jane Bird plays diatonic and tremolo harmonicas, mainly in sessions. She also plays anglo concertina and is probably more widely known as a dance caller and event organiser.

Scottish Traditional Harmonica Players

Nigel Gatherer has a list of Scottish traditional recordings and musicians including moothie players

George Current has more background on the Scottish moothie players.

Irish Traditional Harmonica Players

Don Meade has written a very detailed document about The Harmonica and Irish Traditional Music which includes an Irish/Scottish/Quebecois Harmonica Discography.

Geoff Wallis’ The Irish Music Review has a slightly updated version of the list of players.

Dave Hynes has assembled a large gallery of images of Irish traditional harmonica players, as well as a list of the All Ireland Champions and BDs and DVDs of harmonica music.Additional Information

Additional Information

Will Atkinson – 3 CDs (2 were LPs) have been released – Mouth Organ (Solo), Harthorpe Burn (Joe Hutton, Willy Taylor and Will Atkinson), An Audience with the Shepherds (Joe Hutton, Willy Taylor and Will Atkinson). Will also plays on several CDs of Northumberland Traditional music. Here is a video from a concert at Morpeth Town Hall.

Martin Brinsford – He has recorded one CD under his own name, Next Slide Please (Keith Ryan with Gareth Kiddier) and he is present on several recordings with Brass Monkey. He has several videos on YouTube from the HarmonicaUK festivals.

Ernie Gordon – He has a privately recorded CD, The Geordie Jock and several YouTube videos including this Tribute to Will Atkinson from an HarmonicaUK concert in 2003. You can see many other videos of Ernie Gordon and Will on my Vimeo site.

Roy Hugman – Has several videos on Youtube including a moothie workshop for HarmonicaUK.

Art Daane – harmonica performer and collector

Archie
Art Daane Cartoon
Art Daane

Art M. Daane was born in Rotterdam, Holland, in 1934 and he died in Eindhoven, Holland on 23 January, 2021. He was 87. He had lived a full life with his family and he will be missed by the world wide harmonica community for the work he did to document the artists and music he loved. He produced an exceptional archive which he shared with other collectors.

Art started out playing chromatic harmonica but he moved to bass harmonica after hearing the 5 Hotchas. He played with many harmonica groups.

In the 1951 he moved to South Africa to work as a butcher. Art met a chromatic player, Vincent van Rooyen, and in 1954 they formed The Relda Trio. Art moved back to Holland in 1961. He continued to play, even during his six year stay in New Zealand.

In 1989 Art went to the Word Harmonica Festival in Trossingen, Germany where he was reunited with Vincent von Rooyen and many other harmonica friends. On his return to Helmond he started the Catstown Harmonica Club.

Art loved to teach and promote the harmonica and the people who play it. He spent a lot of time doing research and writing articles about them. With support from his friends he established a Harmonica Museum in The Netherlands, in 1999. Part of the collection is the “Harmonica Hall of Fame” collected by Art and ex-Harmonica Rascal Lou Delin. After the opening, Art restarted The Relda Trio again but this time with Art on chord.

Unfortunately his deep involvement in harmonica organisations like the IHO, led to visits to South Africa and various European countries to promote the harmonica and a visit to Singapore and Malaysia, so he resigned from the trio in March 2002. More visits to South Africa followed to set up a harmonica school and he reformed the original Relda Trio from the 50’s with Vincent van Rooyen to record one of Vincent’s own compositions “Wineland Seties” for Art’s CD project in Holland. This project is a compilation of Dutch harmonica players 1947-2002.

Art emigrated to South Africa in 2004 where he met up with an old friend Johann Kok and they performed as the Helderberg Harmonica Duo until Johann’s death in 2008.

Art moved to Florida, USA in 2017, but in November 2020 he returned home to Holland. He had been ill for many years and he died from complications caused by covid in Jan 2021.

I have been involved with the National Harmonica League (UK) – now HarmonicaUK – as Chairman, Archivist and Editor of its magazine, Harmonica World, for around 20 years. I first met Art in 2000 in Bournemouth and we stayed in contact until his death.

We had many common interests in chromatic players like Ronald Chesney and Art’s fellow countryman, Max Geldray as well as the well known European, Asian and American soloists and harmonica groups.

Art was in contact with many other collectors of harmonica music, including two from England, John Bryan and Brian Holland, who probably had the largest collection of information about the members of the Borrah Minevitch Rascals and many other groups. Following the death of John and Brian these collections came to me – Roger Trobridge

Max Geldray

Archie

The First Harmonica Jazz Player – by Art M. Daane

The Beginning.

Max Geldray

Max Geldray was born Max van Gelder in Amsterdam in 1916. It was not until 1932 that he first saw a chromatic harmonica; the shop owner offered it to him when he was taking refuge from a torrential rainstorm in his shop.
By 1934 Max had become a star on national radio and on two occasions he was asked to change his name. Max van Gelder was too Dutch. After listening to the Borrah Minevitch Harmonica Rascals and watching them on the screen, it occurred to him that harmonica bands would be the thing of the future.

The Bands.
In those days harmonica players were far from, and yet he found seven other harmonica players of his own age. When they found an agent they were soon told that a name had to be found the “Max van Gelder Harmonica Band” was too amatuerish, and too Dutch.
They soon became “Mac Geldray and his Mouth-Accordeon Band”. Max gave in but re-named himself Max at a later occasion.
The showbusiness didn’t pay very well and four members quit the band and returned to a more seriously way of life. The remaining four, Henk Lodema, Geert van Driesten, Rob Lodema and Max himself began taking it more serious and were engaged to tour Great Britain. Tom Moss, a very popular English comedian, was in Amsterdam for a few weeks seeking entertainers for his vaudeville show. He renamed their act. They became “The Hollander Boys”.
Their tour was a success, but after returning to the Continent again, they could not find work. Max had taken a fancy to travelling, and made plans to go to Brussels to see if he could get any bookings. The other three weren’t as enthusiastic as he, and told him to go by himself.

The Jazzplayer.
Brussels wasn’t actually waiting for a Dutch harmonica player, and after a couple of weeks Max started to get desperate for work. It was at the “Le Boeuf sur la Toit” that Max was allowed to play a piece with the house orchestra. At the end of the song the public broke down the house, and he was offered a job as a Jazz Harmonica Player, which lasted over a year.
A boyhood friend, Johnny Fresco, came to see Max at the “Bull on the Roof” the English translation of “Le Boeuf sur la Toit”. Johnny had formed a successful danceband, and offered him a job with his band in a dance palace in The Hague. It was the first time that he played in front of a Dutch audience, and this was also the first time he ever performed in front of his father, who seemed happy to see his son on stage.
Because of the warm family atmosphere, the time in The Hague was very memorable to Max but he was pleased to hear from Johnny that he had another engagement in Ostend, Belgium. This would be a nice working holiday and an investment in his future as the Ostend Casino was just across the road from where they were playing. The Casino was the place where aristocracy, industrialists and other rich people of Europe came gambling. The Casino also hosted great artist like Coleman Hawkins, Teddy Stauffer from Switzerland, Jo Bouillon from France and Ambrose and his orchestra from England.
It wasn’t the fame Max was looking for but the players in the groups. He was learning so much so fast that he felt like a real jazzman. Non of the musicians ever looked down on him because he played the harmonica and became good friends.

The Paris Connection.
It was during his stay in Ostend that Max met Ray Ventura. Ray told him that whenever he would come to Paris he would set him up with a place to live. Ray kept his promise and Max became a full member of the “Ray Ventura Orchestra” untill the second world war broke out.
It was early in 1938 when Max met Django Reinhardt at the “Hot Club de France”, Django had already heard about Max. There were about six musicians playing some light melodic jazz and after about 15 minutes Max was asked to join in. The friendship with Django lasted till early 1940 when Max fled to England. He was jewish and didn’t like the idea of falling into the hands of the Nazis. The fact that Holland was a neutral country made it easier for him to leave.

The Soldier.
The vessel that took him across the channel docked in Liverpool but it wasn’t untill The 20th of September of that year that he was introduced to the Royal Dutch Army Brigade “Prinses Irene”, and was send off to camp. By 1942 Max had become very popular by the people at the BBC, and Max’s harmonica was on radio very often in wartime Britain. It was on Princess Elizabeth’s sixteenth birthday that Max and his friend, pianist Ben de Koning, were part of the entertainment to the Princess’s party. At no lesser place than Windsor Castle.
Max was wounded during the landing at Normandy, 4 months later he set foot again in Brussel, but had to wait untill May 1945 to go Amsterdam where he was unable to find his family. Sadly, both his parents and younger sister had been killed by the Nazis. Having nothing to stay in Amsterdam for he went back to Ray Ventura for two years before returning to England.

The Goons.
Max [The Conk] was a member of the Goons from start to finish. The show was first called “Crazy People” in May 1951 and re- named “The Goon Show” in November 1952. The end came on the 28th of January 1960. During those years he acclaimed International recognition. He was invited by the Austrlian Broadcasting authorities to appear on a Nation-wide television show in 1961, On his way back to England he made a stop- over in Hawaii and Los Angeles where he looked up his old friend Johnny Fresco and some other musicians he had known in Europe, most of them had become studio musicians. This wasn’t what he was looking for and returned to England.

The change in his life.
He had only be back in England a few days when he had another job offer, this time as an entertainer on board the Queen Elizabeth. Four crossings later Max decided to pack his bags and take a one-way ticket to Los Angeles, not because it was the place to be for a musician, but because of old friends. His first booking was in Reno, Nevada, where he had some marvellous opportunities, working with Sarah Vaughan, Dinah Shore, Billy Daniels and many more others. He didn’t feel at ease in Reno though and went back to L.A., where he landed a job in a local bar as a harmonica player.
He was longing to settle down permenantly and met Suzan, a small, gentle and pretty mother of three just at the right time. She was divorced, just like him. It was only a matter of weeks before he proposed to her, and soon after the five of them moved into a small bungalow in the San Fernando Valley. Max got a steady job in a department store as a clothing salesman. Two years later Philip was born; he was a gift from heaven for Max and Susan, and adored by the other kids.
Two years after they moved to Boston, Massachusetts, where Max worked for the the “Christian Science Monitor” as a regional sales supervisor. They missed the warmth of California and decided to return there. While in the midst of planning their move back to L.A., a letter from England arrived. They were going on a short trip to England first.

The very last Goon Show.
During all the years that he had been away from England, Max had kept contact with Peter, Spike and Harry and often saw Peter when he was in Hollywood. The Goons had never lost track of each other. The reason for the Goon Show reunion was the fact that the B.B.C radio was to celebrate their 50th anniversary. Max, Susan and Philip arrived just one day before the production in London. Everyone had arrived except Wally Stott, the musical arranger from the beginning who declined for personal reasons.

The Final Chapter.
After returning home from England it would take another seven years before they returned to L.A. Max and his family often visited Palm Springs where Susan’s relatives lived. By April 1973 her father became ill and they decided to move to Palm Springs to take care of her dad. Max had found himself a job in the “Trinidad Bar”, hardly a name for a place that featured jazz. One evening he was approached by a man who introduced himself as Doctor Hirshleifer. He told him that he was a jazz fan, and that he had founded the “Stroke Center” in Palm Springs. He asked Max to volunteer to put up a show for the patients, and this he did just one week later. Max returned every week, much to the pleasure of the patients. They formed a group and called themselves “The Blow Hards”. A wonderful co-operation that lasted nine years! The combination of taking care of her father and their son Timmy, who tragically died after being very ill for a year, took their toll of Suzan who eventually was treated at the “Betty Ford Center” in Rancho Mirage, California. Max immediately volunteered his services, and after a short period of volunteer work he joined the staff full time. Considering the hand of cards dealt him by fate. He is a truly remarkable man, and an example to us all. Let’s take a few minutes silence to pay homage to this great man.

Max and Art at the 1995 Dutch Harmonica Festival

When he visited me in September 1995, for the Dutch Harmonica Festival in Rotterdam, he was still working full time.

Early 1996 Max was advised by his physician to stop working. At the age of 80 he still found it difficult not to go to the Betty Ford Center daily.

Max was still playing in 2002, but 2002 had not been a good year as it slowed him down quite a bit. But he’s on the mend.But as of November, at least, all the maladies had been cured and Max was just trying to regain his former strength, something that doesn’t happen quickly at his stage of life.

Max’s son in law, Dr. Roger Blomquist, recorded a new jazz album; Jazz for Charity. This jazz album features Max, and each of the following tracks Roger played the same song on the alto saxophone.

Max lives in scenic splendor on the edge of a golf course in Palm Springs, enjoying the company of his wife of over forty years, Susan, and entertained by two delightfully frisky small dogs, Ruth Ann and Ebby.
Max turned 87 on February 12, 2003, and still plays gigs at jazz clubs around his home town Palm Springs. Max played Hering 12 hole harmonicas exclusively.

 Listen to Max playing Crazy Rhythm during an episode of The Goon Show

You can listen to Max and other players of his vintage on “Harmonica Swing“

Max passed away on 2 October 2004.

He will be sadly missed by his family and friends.

“Max and Susan Geldray at their home in Palm Springs with Ruth Ann, the newest member of the Geldray household.”

Photo by Dick Baker – Auburn, California, USA, archivist of the Goon Show Preservation Society and webmaster of the US Archives 

Contact Art: e-mail

Webmaster: The-Archivist/Art Daane
Copyright © The-Arctivist/Art Daane©
All rights reserved

Jim Hughes “Live @ Stratford (UK)”, 1983

Archie

This concert was recorded by someone and a CD-R of the concert was found in the archive I got from John Bryan.

This was the second annual convention of the independent National Harmonica League run at that time by John Walton. He had taken it over from Hohner in 1981 and it was run by a committee of members.

The concert was a part of a day long event in the Queen Elizabeth Hall in Stratford-upon-Avon, the home of William Shakespeare.

Jim was accompanied by Harold Rich (piano) and Richard Wright (guitar). One of Jim’s pupils, World Champion Ivan Richards, joined Jim to play the Mozart Double Flute Concerto.

Jim Hughes “Live at Stratford-upon-Avon, 1983”

01, STAR EYES, 00:00
02, SERENATA FOR A VEILED LADY , 02:48
03, BULGARIAN WEDDING DANCE , 06:13
04. SPRING CAN HANG YOU UP THE MOST , 9:45
05, GIRL WITH THE FLAXEN HAIR, 13:25
06, FIREBRAND, 15:25
07, MOZART FLUTE DUO (with Ivan Richards), 19:56
08, GERSHWIN PRELUDE , 22:45
09, CAPRICE-CRADLE SONG by Gordon Jacob , 28:57
10, BACH GOES TO TOWN ,PRELUDE AND FUGUE by J. S. Bach, 33:54
11, MOON RIVER, 37:43
12, SERENADE FOR UNACCOMPANIED HARMONICA , 40:55
13, CONCERTO FOR HARPSICHORD by J. S. Bach, 44:00
14, MARCH HARE,49:06

Dror Adler – The Classical Project

Archie

I originally published this article in Harmonica World in June 2006. I think it is worth including it here. Dror wrote:

I have been a member of the Adler Trio since we formed it in 1963.

Here is a little bit of history and the background that led to the recording of my new CD, The Classical Project. A unique 8 year activity in which full symphonic works were recorded by myself playing all the parts on harmonica.

I have been a recording freak ever since professional tape recorders became affordable. The Adler Trio’s first LP record was recorded on a British made ‘Brenell’. Other LPs were recorded using Swiss ‘Revox’ recorders. At the end of the tape recorder era we owned an 8 track Tascam machine with DBX noise reduction system, on which we recorded our last vinyl record of Israeli music.

Next came hard disk recording, which revolutionised the recording industry and made it affordable for anyone to achieve recordings of unprecedented quality. When I first started recording on a computer it was not possible to handle more than about 6 separate tracks of music and yet the feeling was like leaping from the Stone Age to the Space Age. The pristine sound, the editing possibilities and the ease of work were amazing. After gaining reasonable control of the computer recording I started an experiment – the experiment that led to the Classical Project.

Since I can play chord, lead and bass harmonicas, I decided to record a classical piece that I loved – all by myself – playing the different harmonicas on different tracks. That was in 1997.

The piece was taken from Khachaturian’s ‘Spartacus’ ­ Variations of Aegina-Bacchanal.

The score I had was for two pianos, out of which I made an arrangement for two chromatics, chords and bass. In some cases the bass role was separated to two different tracks.

I was so excited by the results that I decided to record another piece, and this time, a more ambitious one – Elgar’s ‘Pomp and Circumstance March Op. 39 No.1’. For this I went to the Tel Aviv Music Academy and got the orchestral score from which I made an arrangement for about 8 different roles. For trombones and french horns I used several tracks of bass harmonicas. I also used Hohner special effects chromatic harmonicas and any other type of harmonicas to get different ‘colours’ of sound.

After completing the second piece I knew that I would not rest until I had completed a full CD. As time went by, the computers got more powerful and the software smarter and I got more ambitious. The last piece recorded was the most ambitious one: again, from Khachaturian’s Spartacus – Adagio of Spartacus and Phrygia (This was used as soundtrack of the British TV series ‘The Onedin Line’). Here I recorded all the different roles of the original orchestral score. This is a short extract to show what I achieved.

I did the same with the full ‘Dance of the hours’ by Ponchieli. These are the two most demanding works in this project. The fact that I was able to record each role in it in short phrases or musical sentences made the whole thing possible. Here is how I did it.

I learned the phrase on the Lead, bass or chords and recorded it by loop recording, playing it again and again until I got a good take, and then on to the next phrase. The auto punch-in function of the computer enabled seamless continuity. I always started with the lead role. Each role was recorded on a different track. For all the treble instruments I used chromatics – Hohner 270 and Suzuki Magic Garden. For a piece of ballet music from Faust I even played the harp arpeggios on chromatic. For violas, bassoons, contrabasses, horns, etc., I used standard Suzuki bass harmonicas and the Tombo Contrabass harmonica. Chords were played by my unique slide chord, developed by me and built for me by Suzuki.

In order to play the score as written I sometimes had to retune my harmonicas to produce the correct trills or passages. I tuned a bass harmonica so that impossible passages would be on one deck only, and in a row, to allow them to be to be played as written. In fact, this project can be compared to the movie making process where small segments become a one full length creation. There were many times when I almost decided to quit, but when I listened again to what I had already done, I could not help going back to it. It was finally completed in October 2005.

For further information and copies of the CD, contact Dror Adler
email: droradler3@gmail.com

Visit the Classical Project website for the rest of the music.

Captain James Reilly, RMSM

Archie

Captain J. Reilly, R.M.S.M. (1886-1956)

Copyright – David Reilly

Captain Reilly was a conductor and taught trumpet at The Royal Military School of Music, Kneller Hall, London. Immediately after WW1, he moved to Canada to become the bandmaster of the 153rd Wellington Battalion Band that was stationed in Guelph. His son, Tommy Reilly, was born there in 1919. He set up a jazz and concert band for the military and then he took charge of the Elgin County Military band. In the late 1920s, James Reilly moved to the Elmdale Public School in St Thomas, Ontario. He was very successful and his orchestra, accordion and harmonica bands won many prizes – more here.

In the early 1930s, Captain Reilly wrote to Dr Meyer, who was head of Hohner (UK), asking if he could bring the Elmdale School harmonica band to play concerts in England. Unfortunately this was not possible.

Later, when Dr Meyer and Charles Millard were discussing setting up an organisation for harmonica players in the UK, which became “Harmonica Song Band League”, they realised that they needed a good musician who could write the necessary tutors, arrangements for bands, and supervise the training of groups which were being formed by Mr. Millard. They approached Captain Reilly about their plans for forming the National Harmonica Song Band League (HSB) and it was agreed that he was the man who could develop the musical side of it. History proved them right.

James Riley - The Right Way to Play Book

Capt. Reilly returned to the UK with his family and helped to get the new Hohner organisation going. He helped to arrange the music published by Francis Day & Hunter, he wrote the HSB Tutors, and arranged new pieces for the growing number of harmonica bands in the UK. Initially tremolo based bands but later chromatic harmonica bands. See end.

His son, Tommy Reilly, started playing harmonicaprofessionally aged 16 years.

When the British College of Accordionists (BCA) was started soon afterwards, he took a lively interest in this it too, building on his experience teaching the accordion in Canada. He also took on the training of the Junior Band of the B.C A. which very soon reached a remarkably high standard under his conductorship.

Captain James also wrote several highly successful elementary pieces like “Windsor March,” “Searchlight Tattoo.” etc., which found a ready sale amongst the many elementary bands springing up throughout the country.

When the B.C.A. set up examinations, they opened a number of Examination Centres, and Captain Reilly was appointed as one of the College Examiners, a role he carried out for many years.

After WW2, Captain Reilly was also appointed Sales Manager of the Hohner Musk Department. He persuaded a number of new composers to write for the accordion and the harmonica, and built up the largest Accordion and Harmonica Music Catalogue in this country.

As the popularity of the harmonica and accordion grew, he was much in demand as an adjudicator for Music Festivals all over the country. He also contributed a lot to the smooth running of the competition section of the annual “Accordion Day” festival.

In the early 1950s he started a Harmonica Staff Band for the Hohner Organisation He developed this into a successful orchestral group which gave many successful demonstrations and concerts.

Captain Reilly retired from Hohner in 1954, when he was a Vice President of the National Harmonica League (formerly the HSB). He died a year later.

He was probably responsible for teaching the majority of the harmonica players in the UK over his time with the HSB/NHL through the many tutors he wrote, the guidance he provided and the music he published.

This is based on an appreciation by Dr. O. Meyer, the MD of Hohner (UK), when Captain Reilly retired in 1955.

Back to the Future – Skiffle and Blues Harp (1956)

Archie

Lonnie Donegan was the King of Skiffle. In the 1950s he played some great country blues songs like Rock Island Line, Stewball,  Midnight Special, Mule Skinner Blues… but he never had the chance to play with a blues harp player.  

30 years later Lonnie got more recognition for what he has achieved and made a tribute album with Rory Gallagher, Elton John, Brian May Ringo Starr and Leo Sayer on blues harp.

One of my favourite Donegan recordings is one called “I’m a Roving Rambler” and earlier this year I was playing this track for my friend , Marty McFly, who was over from Chicago. I said I thought it was crying out for a bit of blues harp.

Here is how it starts….

Lonnie Donegan – Roving Rambler intro

Marty was playing around with his valve amplifier at the time and suddenly there was a blue flash and some white smoke and he disappeared. The clock was about to strike midnight so I sorted out the amplifier. I plugged it back in and it sparked, crackled back to life and the valves (tubes) started to glow.

Suddenly Marty reappeared looking all excited. He said that when the smoke cleared after the explosion he had found himself in the studio with Lonnie Donegan, back in 1956. And then, just as they finished recording a take of Roving Rambler, he had a blackout and when he woke up, he was back in the UK with me again in 2020.

It did not make any sense to me or my other friend, “Doc“ Brown. Then I noticed that there was an alternative, previously unreleased take on the CD I was listening to. I played the track and I began to wonder if it might have been true. Have a listen….

Lonnie Donegan and Blues Harp

Who do you think is playing harp on the recording?

The answer is at the end.

It wasn’t Michael J. Fox!

More Skiffle information.

I have been through a few hundred Skiffle tracks from the 1950s from the UK, in the last few weeks, looking for any bands that featured the harmonica with little success.  What I found was that the only person playing anything like blues harp at this time was Cyril Davies.

Cyril recorded sessions with Beryl Bryden and his own group with Alexis Korner which played at the Skiffle, and the Barrelhouse and Blues Club at the Round House Club in Soho. Cyril eventually became the friends with Sonny Terry and James Cotton on their trips to the UK and he moved to amplified harp and in 1962 he and Alexis recorded the ground breaking “R&B at the Marquee” which helped to launch the British Blues Boom.

Other examples of harmonica in Skiffle bands include Chris Barber on the “Backstairs Session” and some melodic chromatic solos by John Wadley Original Barnstormers Spasm Band. In the mid 1960s the blues music scene split into pop music and a more traditional blues scene in the folk clubs where many good blues harp players could be heard.

Skiffle came out of the British interest in US country blues and traditional jazz. The interest in American music of the people went back before the Second World War and was heightened during the war period with the mixing of American servicemen, coloured and white, and their music and recordings, with the British people. One attraction was the associated dances. After the war, British traditional jazz bands were formed and regular venues were established where you could listen, dance and even get to play.

By the early 1950s this had become very popular and the bands of Ken Colyer, Humphrey Littleton, Sandy Brown and Chris Barber were well established. It was quite normal to have a beer break and in this interval, some of the musicians would get together and play songs by Leadbelly, Woody Guthrie, the Jug Bands, and other country blues numbers. The instrumentation was very basic – guitars, a wash-tub bass and maybe a suitcase for percussion.  As the Chris Barber Band started to play concerts in the big theatres they included some of their interval “skiffle” music into their performances. These songs were led by their banjo player, Lonnie Donegan, who played guitar on these songs. It was the unexpected success of their recording of their concert version of Leadbelly’s “The Rock Island Line” which launched Skiffle as a mainstream music style.

The success of the recordings by professional bands led to the proliferation of skiffle bands in youth groups, church groups, scouts and schools. They were the sort people who had previously started harmonica groups.

The Pioneer Skiffle Group

The Pioneer Skiffle Group of Sidcup, Kent.
The Harmonica is an ideal instrument for taking the melody line with the usual skiffle backing of guitar, bass, drums and piano. The instrument is regularly featured by the popular Pioneer Skiffle Group, shown in this photograph sent to us by Mr. K. S. B. Clark of Sidcup. From Harmonica News, December 1957

The fire of the Skiffle movement burned brightly for three or four years but it became much more of a pop music style. Out of the ashes of Skiffle came many young people who had got a taste for performing and playing guitars and they started to make their own Rock and Roll and Blues music, the Beatles, the Shadows, Jimmy Page …

Skiffle still lives on. There is a band called The Lonegans who play around the South East of England and raise money for the MIND Charity. Lonnie Donegan’s son Peter is a well known musician and singer of Country Music.

The harp player on the Lonnie Donegan track is Joe (one-take) Filisko – www.joefilisko.com !

THE HANDBOOK OF CHORD AND BASS HARMONICA

Archie

by Gianandrea Pasquinelli – with contributions from Roger Trobridge, Steve Jennings, Pat Missin, Dror Adler, Al Smith and Brendan Power.

This blog post gives links to information and media about the artists who are discussed in my introduction to the book written by Gianandrea. The Handbook of Chord and Bass Harmonica.

Biography – Borrah Minevitch and the Harmonica Rascals
Video Tribute – Compiled by Brian Holland (30 mins) from John Bryan’s archive recordings
Videos – Borrah Minevitch and His Harmonica Rascals from the film Tramp, Tramp, Tramp (1942) and their comedy routine on stage.
Audio recordings – The Best of Borrah Minevitch on Spotify or Amazon

Larry Adler
Biography – Larry Adler
Video – The young Larry playing St Louis Blues and Stardust , Clair de lune from the film Music for Millions in1944, and a great video of Summertime from when he was 80.
Audio – Larry Adler on Spotify and Amazon

John Sebastian Sr
Biography – On Wikipedia
Video – No videos are available.
Audio – There are audio tracks on YouTube, and his recordings appear on eBay. 78s, vinyl and a CD – John Sebastian Plays Bach , A Harmonica Recital, Profile of John Sebastian, and John Sebastian Plays Villa-Lobos/ Tcherepnin Concertos for Harmonica.

Captain James Reilly
Biography – Captain James Reilly
Publications – see bottom of the page

The Harmonicats and Pete Pederson
Biography – Jerry Murad web site and this one , plus Pete Pedersen’s biography available on used book sites
40th anniversary party – cassette recording (audio)
Videos – Peg O’My Heart and Scheherazade

Tommy Reilly
Biography – Tommy Reilly
Videos – Michael Spivakovsky’s Concerto for Harmonica – Midnight Cowboy , Serenade for unaccompanied harmonica and a medley of five Standards: Thanks for the Memory, Smoke gets in your eyes, One night of love, Misty, The way you look tonight and When the begin the Beguine.

The Hotchas
Biography – Wikipedia
Videos – Hungarian Rhapsody No 2 – Bi-Ba-Butzemann-Boogie , Jazz me blues (Trio) , Bambino Rag , Der Onkel Jonathan

Toots Thielemans – jazz guitarist, whistler and harmonica player
Biography – Here is a great Wikipedia page ,
Videos – with Billy Joel Leave a tender moment alone , with Sting Shape of my Heart , Dolphin Dance , Three views to a Secret with “Jaco” Pastorius, and here is a collection of performances with some images

and a segue through one of my most favourite harmonica videos.
Toots Thielemans meets Stevie Wonder – Bluesette

Stevie Wonder
Biography – Wikipedia
Videos – here is his fantastic performance at the age of 12!, Fingertips , For once in my life , Isn’t she lovely , All Blues , Spain .

Cham-Ber Huang
Biography – Website biography
Videos – Cham-Ber in his workshoP (1972) , Cham-Ber with Larry Adler (1987) , Chordomonica Demo Recording .

Adler Trio
Biography – The Adler Trio website
Videos – The Good, Bad and The Ugly, and Tico Tico.

Fata Morgana
Biography – Website biography
Videos – Medley 1993 , Putting on the Ritz , Profile of Fata Morgana

Asia and The Far East – the future of Orchestral playing?
Biography – Sirius Facebook , Judy’s Harmonica Ensemble
Videos – Fata Morgana and Sirius play Toledo , and The Adler Trio and Judy’s Harmonica Ensemble play HarmoniCadence – Roots

Sväng Harmonica Quartet
Biography – Website biography
Videos – Interview with Sväng , Hedwig Theme

Brendan Power
Biography – Website biography
Videos – Three Kerry Polkas , The Future of the Harmonica

Borrah Minevitch & His Harmonica Rascals

Archie

By Art M. Daane

The Immigrant

Born in Kiev, Russia, November 5, 1902 [real name Borah Minjevic].
At the age of ten, Borrah’s family immigrated to the United States. Because of ill health father Minevitch was refused an entry permit, and had to return home almost immediately. However a short time later the family was reunited, but not for long though, Minevitch Sr. passed away very suddenly. Mrs. Minevitch now had to raise the family, two boys and five girls, all by herself. She turned their home into a guesthouse to support all of them.

Settling down

After school, Borrah sold newspapers, studied the violin, and practiced his harmonica. Against the wish of the family, he left for New York when he turned 18. He went on to study at the City College, and worked in a greengrocer’s store, a shoe store and a kindergarten to earn his living. For his graduation thesis subject he chose the harmonica and called it ” The History and Shortcomings of the Harmonica as a musical instrument .” A harmonica manufacturer sold 50.000 copies.

The Half-tone Harmonica

His biggest wish was to own a Half Tone Harmonica, so that he would be able to play real music. The firm that manufactured these had stopped production because of low sales. During one of his habitual strolls, he saw one in a music shop for five dollars. He could not afford it but asked the salesman if he could try it at a deposit of ten cents. Several times a week he used to hop into the store to play it and pay his ten cents. Not having sold one in three years the salesman must have found him a bit strange.
When one of his sisters came to visit, she wanted to treat Borrah to a show and dinner, instead he asked her to buy the chromatic. She didn’t like the idea but eventually gave in. He mentioned to the man in the shop that it looked rather worn and should come down in price, he refused at first but let it go for 3 dollars and twenty-five cents, he was frightened that it would be in the window for another three years. A few weeks later, the instrument became faulty.
Borrah then went to see the manufacturer and asked the man in charge for a refund. The man told him that he was crazy to ask for a refund on a ten-year-old instrument. Borrah apologized and started to play a tune which left the man so surprised that he gave him a brand new one.

The Band It was in 1925 when Minevitch formed his first group. In 1926, when playing as a soloist in a charity show at the famous Carnegie Hall, he told the public that he had a surprise in mind. When the curtain opened, the public saw a group some thirty boys, formally dressed and looking like serious musicians, sitting with harmonica in hand. They played ‘Deep River’ and received an enormous ovation and requested for more, which left them satisfied and yet embarrassed because it was the only piece they had studied.
Buoyed up by the success with the first harmonica band at the famous Carnegie Hall, it was clear to him that there could be more success with a harmonica band in Vaudeville theaters. The time was right for a professional approach.

Miscalculation

The first invitation for the Symphonic Harmonica Ensemble came in 1927. Because of the classical touch to the name, the public expected them to play classical music. Minevitch probably tried what Edwin Frank Goldman had done for the brass band, making it exceptable for concert halls. The vaudeville public was bored stiff and Minevitch dropped the act.

The Harmonica Rascals

During a show at the Hebrew Orphans Asylum (H.O.A.), a Daily News photographer had shot Lou Delin with three boys, one on each arm and one on his shoulder. They wore W.W.1 uniforms and all four-played harmonica; the photograph was published nation wide. This picture gave Borrah the idea of a new vaudeville group. A few weeks later he visited H.O.A. and met Lou and the leader of the mouth-organ orchestra of Charles Snow. He was introduced to the band members, one of them was Ben Dansky who together with Lou was invited to join Minevitch.

“Borrah Minevitch and his Harmonica Rascals” became very popular despite rivals like; Charlie Snow’s Broadway Pirates; Charles Bennington’s N.Y. Newsboys Harmonica Band; Cappy Barras Harmonica Ensemble; Johnny O’Brien’s Harmonica Hi-Hats; Murray Lane’s Harmonica Scamps, and many, many more. Almost every city in the United States had one or more harmonica groups during the “Harmonica Madness.” Minevitch assembled well over 100 quality players over the years.
Best known are undoubtedly; Ernie Morris (his tone still has to be equalled), Louis ‘Fuzzy’ Feldman ( Borrah’s favourite called the chugger), Johnny Puleo (the shortest with the largest harmonica of that time).

Missing

Borrah’s Rascals had become immensely popular, they had success after success. It was a big shock when, in June 1932, an article appeared in all major newspapers, “Borrah Minevitch feared drowned” when two days overdue in Tunis.
In a telegram to S. Jay Kaufman, Mrs. Minevitch reported that her husband had already been missing for four days, and that she was extremely worried because he had not arrived in Corsica.
Borrah had been on his way to Abbessinia, Ethiopia, to go hunting, to pay his debt from a gambling spree. He sailed on his schooner “Lydia”, named after his daughter. On June 2, 1932, the New York Times announced his safety; his Corsican crew had kidnapped him.

Hollywood and Europe

A New York newspaper announced in 1934, under the heading “Borrah Minevitch auditions” the following message: “The famous harmonica virtuoso Borrah Minevitch will hold auditions on Friday next from 17.00-19.00 hours, for harmonica players in the age group 16-30, for American and European groups at Malin Studios on 225 w, 26th Street. This was a natural progression of what started in 1933, when the Rascals appeared on the screen in many so-called “shorts”. Borrah, as a soloist, featured in the 1935 movie “Dreamland” with Eddie Cantor.
Their big success came in 1936 when they featured in “One in a Million” with Sonja Henie and Don Ameche. There was no end to their success, 1937, ” Love under Fire ” with John Carradine and Frances Drake, 1938, “Rascals ” with Jane Withers and Robert Wilcox, Hit Parade of 1941 ” with Phil Silver, also in 1941 ” Always in my Heart ” with Walter Houston and Kay Francis, 1942, “Tramp, tramp, tramp”, and “Top Man” in 1943 with Donald O’Connor.
The 1935 European tour was a tremendous success. It was in Amsterdam, when a Dutch harmonica group went to see the “Harmonica Rascal Show”, that Borrah took the time to listen to these five players. Borrah said, ” You’re not musicians! You’re Hotchas “. From then on they called themselves “The 5 Hotchas”.
The concert in “Queens Hall”, London, on Sunday Feb. 16, 1936 was a memorable performance. Although mentioned on the program as an orchestra of 12 virtuosi. The photograph, taken during the show, only shows 10 performers. The list of players on page 7 of the program also only mentions ten.
A puzzle indeed.
Borrah Minevitch and His Symphonic Harmonicas Harold Liechtenstein
Leo Diamond
Ernest Morris
Abe Diamond
John Puleo
Al Furbish
Irvin Crane
Alex Novelle
Louis Feldman
James Kenneth
The repertoire on page 4-5 of the program:
1. Scheherazade by Rimsky-Korsakov
2. The Bumble Bee by Rimsky-Korsakov
3. St. Louis Blues by W. S. Handy
4. Mississippi Suite by Grofé
(a) Fathers of Waters
(b) Huckleberry Finn
(c) Old Creole Days
(d) Mardi Gras
5. Suite Philharmonica by Minevitch-Diamond
6. Rhapsody in Blue by Gershwin
7. First Composition by “Pastoral” (aged 15) Eric Coates
8. Tango Land by …arr. Minevitch
9. Retrospections by Forsyth
10. Bolero by Ravel

Pete ‘n Jerry

It was in Chicago, where Pete Pedersen, and some of his friends, were rehearsing in the park (The Park Harmonica Band), when he was trying to get an impossible note from his harmonica. They played the song faultless, except for that single note, when suddenly a man appeared. The man was at least six years older than Pete, who was 15 at the time, was. The man showed him a chromatic harmonica, and Pete was allowed to try it. Immediately he got the impossible note. Pete.. “I never let him out of my sight”. The man….was Jerry Murad.
Shortly after, Jerry and his brother, Pete Pedersen, Al Fiore, and the Hadamik brothers had formed a band, and when the Rascals came to Chicago, they visited them “back stage”, where they were playing when suddenly “Mr. Harmonica” appeared in the doorway. They stood perplexed, standing eye to eye with “The Maestro”, and they were not dreaming.
Minevitch asked them to play something, and then he asked Pete, who was the youngest, if his parents would allow him to join the Rascals. Pete didn’t hesitate a second, and said…”Yes!” Even if his parents would not agree, he would go anyway.
He walked around, head in the clouds, but….no word from Minevitch. He had already put it out of his head as just one of those things, when, just before Christmas, a telegram and a train ticket arrived with the request to join the group in Los Angeles. Jerry Murad had received the same, and together they went into the big world of entertainment.

The Rascals

During the period that Pete and Jerry joined, Richard ‘Dick’ Hayman asked Hugh ‘Pud’ McKaskey if he wanted to join Johnny Puleo’s group. Johnny had left Minevitch about a contract problem, and wanted to set up his own group. Pud grabbed the opportunity, because the “Stagg McMann Trio” had dissolved. His two friends, Paul Steigerwald and Mannie Smith, joined the army.
The complete group lived at Johnny’s parents home, in the basement to be correct, where they also rehearsed. This episode only lasted a little while, Borrah had soon found Johnny’s whereabouts. Johnny had no option as to return. His contract was for life!
This is one of the reasons for the so-called ‘second group’. Insiders talk of the East and West Coast groups. The other reason, Borrah had contracted Sammy Ross to replace Johnny while he was in hiding. It was Sammy who performed in the movie short “The Borrah Minevitch Harmonica School”. Other players were: Dave Doucette, Carl Ford, Ben Burley, Ernie Morris, Hugh MacKaskey, Etto Manieiri, Pat Marquis and Frank Marquis.
Other movie shorts that were enjoyed in many movie theaters were:
“My Shawl”, “Boxcar Rhapsody”, “Camping”, and “New York Radio”, all with the so-called “Leo Diamond group”.
Borrah went into semi-retirement in 1949, and gave the scepter over to Johnny, afterwards he was seldom seen. He died of a stroke in Paris, France on June 26, 1955. He was 52 years old.

Borrah´s gravestone at the Paris Cemetry
photograph by René Haboyan
René cleaned the grave in 2002 with the above result

Johnny Puleo Harmonica Gang

Johnny was under the impression that, “Harmonica Rascals” was a registered trademark owned by Minevitch. Johnny changed from ‘Rascals’ to ‘Gang’, and stayed successful with ex-Rascals like Eddie Gordon, Al Smith, and Dave Doucette. New Gang members were, Bill McLean, George Whitcombe, Hal Harmon. During the “Gang” period, seven LPs were recorded. Johnny is also mentioned on a double LP “Johnny Puleo and the Chimes Family”, re-released on CD “Harmonica Gold.”

Lydia Minevitch Harmonica Rascals

In 1959, Lydia Minevitch tried to revive the “Harmonica Rascals” with Alex Novelle as the leader, Bobby Dimler became the new ‘comedian’. On August 7, 1959 ‘Variety’ wrote, ” Borrah Minevitch Harmonica Rascals – Instrumental Comedy – 20 minutes – Black Orchids”. The critics however were not mild. “The world wasn’t waiting for another ‘Johnny Puleo Harmonica Gang’.”

Paul Baron Harmonica Rascals

When Paul Baron realized that the ‘Harmonica Rascals’ was not a registered trademark, he made it his own.
Together with Bob Bauer – ? Bonden – Bruce Broglie – Gene Broglie – Michael Burton – Pat Candelorie – Pete Candelorie – Don Cardie – Peg Carter – Debbie Dell – Bobby Dimmler [diminitive] – Monti Dowdy – John Duffy – Al Duffy – Nick Fashenbauer – Joe Fresna – Eddie Gordon – Henry Graham – Frank Groven – Phil Gula – Kim Gutin – Hal Harmon – Arnold Lundberg – Kearney, Bill – Kerner, Nick – Kibber, Jack – Koss, Ed – LeFever, Robert – Levine, Howard – Levine, Harriet – Little, Tiny – Bill McLean – Richie Miller – Ralph Mindo – Dick Mobley – Charlie Moll – Charlie Newman – Tom O’Brien – Ralph Orsello – Andy Paskas – Vito Patierno – Don Powell – Bobby Pursell – Paul Reel – ? Rico – Bob Rudd – Roy Rumfelt – Tom Scerbo – Mike Sheppard – ? Smith – Larry Stutz – Bob Stutz – Tubby Tee – Ernie Terino – George Wagner – Greg Walker – Frank Warner – Paul West – Gary Wheeler – Danny Wilson – Willie Wolfschmidt and Dave Zaval he revived the ‘Harmonica Rascals’.

Larry Adler

Archie
Bronze of Larry Adler in the Pizza in the Park

Larry Adler, the President of the NHL, passed away peacefully, surrounded by his family, in St Thomas Hospital, London, aged 87, on 6 August , 2001. He was born 10 February, 1914.

He was the torch bearer who lit the way for many aspiring chromatic players who were inspired by his style, technique and musicality. More than just the best mouth organ player, he was the consummate professional entertainer and performer to the end. He opened many doors through which others have since passed. There can never be another.

Here is a Press Release issued on the Centenary of Larry Adler’s birth 10/02/2014.

The Fishko Files, a NPR broadcast from New York on 30 January 2014, about the life and contributions of Larry Adler

This page has been be left as it was before Larry went into hospital, where he died, to give a feeling of his desire to keep working up to the end and not to let down his fans everywhere. First, here are some links to news of his death. Let me know of any others I should add.

Larry continued to perform up to his death, aged 87, despite severe problems with gout in his fingers. His stories and jokes were as vivid as ever.

If you want to know more about Larry’s life, there are two books written in his own inimitable style. “It ain’t necessarily so“, his first autobiography written in 1987 is out of print, but I found a copy via the remainders book merchants. The more recent “Me and my big mouth” was written in 1994 and includes the making of the all star Gershwin recording session with George Martin, as well as stories from the rest of his life. It is a paperback and costs around £5.

  • Larry Live in Australia 1997, is currently my favourite CDs (and one of Larry’s) as it contains all the jokes and conversation. Try eBay…

Links to videos by Larry Adler

Links to other pages about Larry Adler

His final performances in 2001

  • January – Larry entertained on the P&O cruise ship Aurora which sailed from the UK to Caribbean.
  • February 11th – Larry’s 87th Birthday party at “The Pizza on the Park”. The concert room was named Larry’s Room in his honour. Here is a copy of the bronze displayed in the performance.
  • February 23rd – Two evening performances at the Komedia club in Brighton, UK.
  • March 1st – 2:15pm Channel 5 TV, Gloria Hunnicot, UK.
  • March 29th – Larry recorded a TV show for Carlton TV which will be shown later in the year – May/June?
  • May 3rd – Larry performed on a QE2 cruise from the UK to New York. He was taken ill.
  • May – Another appearance at the Pizza on the Park, London.
  • May 24th – Larry left the hospital “unofficially” to be at the Duke of Edinburgh’s 80th birthady show at the Albert Hall.
  • Larry died in St Thomas Hospital, London, aged 87, on August 6th, 2001.
  • September – Another cruise was being planned.