My harmonica video archives on YouTube and Vimeo

My uploaded harmonica video archives can be found in several places.

YouTube – My first attempts at video production were to capture the annual National Harmonica League (NHL, now HarmonicaUK) concerts in the Folk House in Bristol, starting in 2001 until they were moved after 2018. I also began to digitise some earlier NHL concerts from VHS tapes and early camcorder tapes mainly from recordings by Victor Brooks. Around 230 videos can be viewed on my YouTube site.

Here is the video introduction for this channel.

Vimeo – I prefer the videos to be viewed without ads, and I like the control that a paid Vimeo account allows. The downloading and embedding of the videos can be specified and if a video needs updating or editing it can be uploaded over the original without affecting the original link/url.

My more recent harmonica videos have been uploaded to Vimeo where they can be linked to my websites like this blog. There are over 75. You can view them here

The videos are organised into Showcases where similar videos are grouped together.

Playing the Thing – One group of the Vimeo videos is part of a project to reverse engineer a harmonica film from 1972 – ‘Playing the Thing‘ – directed by Chris Morphet. These are now embedded on a dedicated web site for this project which is recreating the original interviews which were edited to create the original film – Larry Adler, Sonny Terry, James Cotton, Cham-Ber Huang, Duster Bennet, Bill Dicey, Andy Paskas, Hohner’s Factory, Dutch Harmonica Championship … You can watch the original film here,

Martin Häffner

and the German Harmonica & Accordion Museum

Martin Häffner has dedicated his life to educating people about the history of the harmonica, especially the Hohner harmonica company. He has set up a museum, taken the story around the world as a mobile exhibition, written books and led guided tours around Trossingen, Germany, the home of the original Hohner harmonica factory.

This detailed history was co-written with highly regarded harmonica artist and author Steve Baker. He has been a consultant to the Hohner company since 1987 and has been able to gain a unique perspective on the company story. Thanks also to Diana Rosenfelder from the German Harmonica Museum for help in writing this blog page.


Martin was born October 7, 1958, in Schönau near Heidelberg. He graduated from high school in Heidelberg in 1977, and studied history and theology in Tübingen and Vienna until 1986 when he started work as an assistant at the State Museum of Technology and Work in Mannheim.

In 1987 the Hohner Harmonica Collection was sold to the state of Baden-Württemberg as part of a company rescue deal and Martin was commissioned to write a report on it. To complete his work on Hohner, its history and the Hohner collection and to get all the necessary information, Martin was employed by the Hohner company on 1 January 1988. Three years later he became an employee of “Trägerverein Deutsches Harmonikamuseum” (Sponsoring Association of the German Harmonica Museum).

Steve Baker joined Hohner as a consultant in 1987 and when they met there for the first time, Martin led him up into the cavernous attics in Bau V, the accordion works which today houses both the new Harmonica Museum and the Hohner Conservatory and has now been beautifully renovated.


He showed Steve what appeared to be literally tons of unidentifiable stuff, packed in dusty cartons and piled up all over the place without any apparent semblance of order. It looked as though the custodians of Hohner’s company history had simply dumped it all up there and forgotten about it.

Steve Baker

On closer inspection this jumble of relics revealed itself to be a huge collection of historic instruments, documents and advertising material relating to all kinds of aspects of the commercial production of free reed instruments, the largest of its kind in the world. As Steve wrote “Thank heavens the state of Baden Württemberg thought it was worth saving!”

In cooperation with the town of Trossingen, Hohner had agreed to co-finance a modest museum to house the Hohner Collection in the annex of the actual town museum on the high street. Martin began sorting through the vast piles of artefacts and arranged for the most interesting looking articles to be transferred to the new premises. Sifting through a century’s worth of unsorted leftovers was a huge task. Not all of it was of value and some was literally junk, but there were many real gems as well.

Martin had hoped the museum would be ready for the World Harmonica Championships in Trossingen in 1989 but they did not make it. Hohner’s CEO at that time, Dr. Johann Schmid, decided that he wanted to present every festival visitor with a free harmonica from the historic collection. Fortunately Martin was able to intervene and prevented him from giving away any of the really valuable historic instruments. He selected several hundred pieces which he reckoned the museum could do without and every visitor did indeed receive one.

The museum opened to the public in 1991 with over 25,000 harmonica exhibits in time for Hohner’s second World Harmonica Festival, and it has gone from strength to strength ever since. I was fortunate to visit the original museum in 2001. Lots of exhibits were displayed in small rooms with steep stairs. Martin set about producing programs of exhibitions and concerts to publicise the museum and raise money for its development. He took some of them around the world.

When the old Hohner (1911) factory buildings were restored and refurbished for small business use in 2016 the harmonica museum raised the money needed to move the exhibits a short distance to new premises in BAU V.

This provided a large open, bright, space on one floor of the building with more opportunities to display items and documents from the archive for the visitors to the museum.


Other features included office space, a shop, a small cinema and a flexible space for presentations and music performances.

Specially designed units were built to exhibit the most interesting instruments in a structured way, as well as thoroughly documenting the development of the industry.

Martin ensured that the earlier harmonica and accordion companies from the Trossingen area and Klingenthal were featured as well as other Hohner instruments like keyboards.

The permanent exhibition gives an overview of the whole sector including the Hohner family and the many other companies involved, both in Württemberg, Saxony, Vienna and elsewhere.

It is important to remember that Hohner once employed 5000 people, and swallowed up all its regional competitors to become an international household name, so the social component in terms of local history was very significant and is treated accordingly.

Martin was initially attracted to the harmonica by the beautiful packaging and innovative marketing introduced by the first Hohner generation, and a lot of space is devoted to this. Much of the advertising material is well preserved and the exhibition includes numerous examples. The strategies which Hohner developed later became more widespread, but in the 1880s it was not always usual to adapt one and the same product to meet the needs of different national markets worldwide. Hohner was a true pioneer in this area, and one of Martin’s most important goals was the documentation of both the means by which Hohner’s remarkable commercial success was achieved, and its impact on the social history of Trossingen and the region as a whole. It’s pretty amazing to think that within the space of a single generation, this isolated Black Forest village became the hub of a worldwide commercial empire, a development which alone is worthy of the interest of historians.

Another more controversial aspect of Martin Häffner’s work was his documentation of the history of the Hohner company during the Third Reich. As a historian, Martin felt unable to ignore the documentary and photographic evidence of its involvement in the war effort and extensive use of forced labour which was preserved in the Hohner Collection. The permanent exhibition shows a range of photos depicting the factory and its workers during the Nazi era, as well as historical instruments from both world wars. He didn’t presume to judge, but felt duty bound to document what had happened.

Mattiias Hohner

Martin’s hero is Matthias Hohner (1833-1902), and he takes visitors on tours around Trossingen to show where Matthias and his family lived and worked.

Occasionally the ghost of Matthias can still be seen talking to people in the museum about the company he created.

Martin “Matthias” Häffner

The existence of a museum like this is always dependent on its financing and the German Harmonica & Accordion Museum is no exception. Though both Hohner and the town of Trossingen continue to contribute to its upkeep, the purchase of the new premises and their renovation and maintenance would not have been possible without the generous support of the board of trustees and the numerous members of the support association. Many musicians have also been happy to donate their services in support of the museum. Today it offers both a comprehensive documentation of the history of free reed instruments, and an instructive and entertaining view of the people who both made and played them. If you can’t get to the museum you can learn a lot from the videos and books which Martin has researched and written or supported. You can find more about them in the Museum shop.

Martin Häffner has devoted the greater part of his working life to collecting and sharing the history of the harmonica and anyone who has more than a passing interest these instruments has every reason to visit and be grateful. We have been friends for about 20 years and I help at museum when I can.

Martin will retire in 2024 and he will find it hard not to stay close to the museum to help who ever takes over. I am sure, however, that he will probably have even more time for his other passion – enjoying long distance railway journeys.


The Museum charity receives no funding from the State of Baden-Württemberg and so one if the most important activities for Martin and his successor is and will continue to be is fund raising. Martin has established a fantastic resource for lovers of the harmonica and anyone who can should visit it and support it financially.

Additional LInks

Pre Harmonica Blues

I met up with some friends in Ealing, West London, last week for a post-Covid meeting of Vinyl Addicts Anonymous. After a nice lunch in the Kings Arms we wandered down to the Oxfam Charity Shop, which specialises in second hand music recordings and books. We wanted to test our ability to fight the temptation to buy more vinyl and failed miserably. My wife tries to enforce a strict “one out, one in“” policy but when I saw the new box full of records from a collector of traditional jazz (mainly British) my resistance crumbled. I resisted buying over 20 recordings including 78rpm discs by Bessie Smith and Mead Lux Lewis but could not resist 4 10″ LPs which were a part of my music education in the mid 1950s.


The first was “King Joe” (Columbia 33S 1065) by the King Oliver Band (1923) with a young Louis Armstrong on cornet. Great blues tunes like “Dippermouth Blues” but unfortunately not “Canal Street Blues“, the two sides of one of my early 78s.

Dippermouth Blues

The second was a solo piano recording by Jelly Roll Morton (1939) on Vogue L.D.E 080. One of the founders of jazz, he recorded many tracks by his band “Jelly Roll Morton and his Red Hot Peppers“. Here he shows the range of his own compositions including blues. He was ill when these recordings were made for the Library of Congress and he died two years later.

Mamie’s Blues

Josh White was thought by serious blues collectors to be unauthentic but his more sophisticated vocal and guitar style was more appreciated by mainstream British listeners. This collection “Josh White – Ballads and Blues” (Brunswick LA 8562) was recorded in 1949 and released in Britain in 1952 also features a track with Sonny Terry and Brownie McGee.

Sometimes

The final 10″ LP was “New Orleans Joys” by the new Chris Barber Jazz Band, with Pat Halcox on trumpet. It was issued in 1954 and it contains two tracks by the Lonnie Donegan Skiffle GroupRock Island Line and John Henry. Lonnie was the band’s banjo player and they played during the band’s concerts. Trad Jazz had taken off and the Skiffle boom was about to start.

Chimes Blues

This is where harmonica starts to come into my story. You can read more about this in my blog about Cyril Davies


Art Daane – harmonica performer and collector

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

John Bryan Harmonica Collector

John Bryan – Collecting before the Internet

Based on my article in Harmonica World April 2015

Ronald Victor John Bryan – Born 8th September 1924 – Died 14th September 2014, in Southampton.

John amassed what is probably the best collection of harmonica media ever – audio and video recordings, magazines, and photographs- everything but harmonicas. He did this without the benefits of modern methods of communication – he never used email or searched the Internet.

How did he do it?

John was born in Portsmouth. He and Nora married young and had a son who went to live in the USA.

John worked as a fitter for Ford for most of his life and never lived far from the Ford factory in Southampton, apart from a two year spell in Australia, which did not suit them. He was a successful middle-weight weightlifter and he took part in competitions as far away as Germany. He loved his motor cycle, an AJS Matchless Twin, until he had a serious crash. He survived a cancer scare in the 1980s and was active until his death in 2014.

John was a quiet man who kept himself to himself but was quite adventurous. He built up a large network of harmonica contacts. This cutting from the NHL magazine from 1962 shows how he set about doing it..

When I took over as Chairman of the NHL in 2000, I was interested in the history of the organisation back to the 1920s. It soon became clear that I should talk to John.

I met John at the International Harmonica Festival (IHO) in Bournemouth in 2000, along with two others people with similar interests – Art Daane and Brian Holland. All three had been involved in collecting information and recordings by the early harmonica groups and chromatic soloists. They contributed a lot to what has been preserved.

It was not easy to write the story of John’s harmonica journey as he outlived most of his friends. Fortunately I had asked John about it and I have the letters he wrote to me about the collection. Here is the story in his own words.

The History of my Collection by John Bryan

My interest in the harmonica started during the mid 1930s when I saw a music hall performance by the Borrah Minevitch Rascals in my home town of Portsmouth. Ten years later I started buying 78s by Larry Adler, Ronald Chesney, Max Geldray, Tommy Reilly, and the BM Rascals, but little else was known of such records in other countries.

In the early 1950s I saw a copy of Harmonica News, joined the NHL and got their magazine. I learned of recordings in other countries. I sent details of my record collection to the NHL and SPAH magazines, and then made the offer on the opposite page, in an effort to make contact with other collectors in other countries and to work out a Record Exchange System between us.

One of the first to respond was Andy Paskas, the technician at Hohner (New York) and a one time bass player with for the Paul Baron and Johnny Puleo Groups. He was really a collector like no other and he really got me going.

I made many pen-friendships and set up extensive record exchanges between us. This let me get copies of harmonica records not available here- from the USA, Argentina, Canada, Brazil, South Africa, France, Holland, Spain, Portugal, Germany, France, Israel, Austria, Sweden, Switzerland, Australia, Czechoslovakia, and Singapore.

Without friendships from those countries my collection would not exist! My visits to harmonica events in the USA (SPAH in Detroit 1979) and other European venues also brought me into contact with many of the greats of the harmonica world and invitations to their homes – Harry Feinberg, Bill Fox, Alan Pogdon, Norm Dobson, Andy Paskas, Charlie Leighton, Jerry Murad, Stagg McMann, Hal Weiss, Al Smith and Gene Finney.

I will be forever grateful to the harmonica for making all this possible.

John Bryan


Here are two collections of harmonica group favourites put together by John Bryan

Harmonica Favourites – Part One – Quartets, Trios, Duos and Soloists

Harmonica Favourites – Part Two – Quartets, Trios, Duos and Soloists

Harmonica History in Books

Harmonica History in Books.

Today’s harmonica world is the result of the pioneering activities of manufacturers, composers, performers and amateur players.
A lot has happened in the last 100 years but it is not very well documented or understood.
These books provide some of the backgound to the artists and the way the music developed.

         AuthorBook Title
#1Louis DelinBackstage Harmonica – Autobiography
#2Larry AdlerIt Ain’t Neccessarily So – Autobiography
#3Larry AdlerMe and my Big Mouth – more autobiography
#4Al SmithConfessions of Harmonica Addicts – A History of American Ensembles
#5Jane RodackBe of Good Cheer – Memories of Harmonica Legend, Pete Pedersen
#6Kim FieldHarmonicas, Harps and Heavy Breathers – Interviews and stories
#7Albert RaisnerLe Livre de l’Harmonica – History of The Harmonica to 1960
#8Ray GrieveA Band in a Waistcoat Pocket – The Story of Harmonica in Australia
#9Ray GrieveBoomerangs and Crackerjacks – The Harmonica in Australia, 1825-1960
#10Jerry AdlerLiving from Hand to Mouth – Larry Adler’s Younger Brother
#11Max GeldrayGone With The Wind – Autobiography of a Dutchman in England
#12Peter KrampertThe Encyclopedia of the Harmonica – Short Bios ofHarmonica Players
#13Kurt Roessler   Sie Spiel(t)en Mundharmonika – Harmonica Players
#14Fabrizio PoggiIl soffio dell’anima: armoniche e armonicisti blues
#15Martin HaeffnerHarmonica Makers of Germany and Austria
#16Martin HaeffnerHarmonicas – The Story of Hohner Brands
#17Christoph Wagner Die Mundharmonika – ein musikalischer globetrotter
#18Martin HaeffnerMade in Germany – Played in the USA
#19 Martin Haeffner“Hohner The Living Legend” – 150th Anniversary
#20Zong XiaohuaChinese Made Harmonica Illustrations
#21EditorsSeventy Years of Hong Kong Harmonica (2004),
#22CMA, NUS Harmonicist’s Handbook, 1991, Singapore
#23Gian PasquinelliSoffiando e Risoffiando – by Armonauti Trio (Italian)
#24Bruno KowalczykThe Harmonica and Traditional Québécois Music
#25Charlie McCoy50 Cents and a Box Top
#26Jean LabreMusique en bouche

   

You can read more information about these books and where you might be able to find them on Pat Missin’s fantastic web site about all aspects of harmonicas.

The Archivist’s Harmonica Archive Blog

The history of the harmonica is told by the performers and the music they recorded. Most of the major music collectors have died but this website shares some of the recordings from their collections – shellac, vinyl, cassette and reel to reel tapes, CDs, film and video tapes. It includes all music styles and harmonica types.

Old Harmonica Favourites – Part 1 – Quartets, Trios, Duos and Soloists

These popular harmonica group favourites from the 1940s and 50s are from a large collection of recordings assembled by John Bryan (1924-2014) who built up contacts and friendships around the world who exchanged music with him. This broadcast covers tracks from many groups and soloists. Some of the tunes are from the period of the musicians’ recording ban in the 1940s.  Harmonica players had not been allowed to join the Musicians’ Union and so were brought in to accompany singers.  As a result of their success harmonica players were finally admitted to the MU. See also Old Harmonica Favourites – Part 2.

1. POLKA DOTS – Intermezzo – 2:48
2. HARMONICATS – I love you – 2:34
3. PLEHAL BROTHERS – Saturday – 2:34
4. PLEHAL BROTHERS – Dalbacks – 2:27
5. DON RIPPS – Its a dew dew dewey day – 2:06
6. TOMMY REILLY – Family joke – 2:22
7. THE MULCAYS – Caravana – 2:15
8. LARRY ADLER – Sur le chein de Bahama – 2:35
9. TRIO HARMONIE – June night – 2:00
10. TRIO HARMONIE – Get up on the stairs – 2:39
11. MORTON FRAZER’S – Gang medley number one – 2:13
12. HILL BILLY’S TRIO – La danse des petite loups – V2:52
13. TOOTS THIELEMANS – The Sheik of Araby – 2:08
14. HARMONICA GENTLEMEN – In our old home town – 2:50
15. HARMONICA GENTLEMAN – Am I all of your future? – 2:30
16. HOTCHA TRIO – Goody goody – 2:47
17. CARL FREED – Ridin’ the reeds – 2:41
18. PHILARMONIC TRIO – Two o’clock boogie – 2:20
19. THE MADCAPS – Limehouse blues – 2:16
20. BORRAH MINEVITCH – Jamaican rumba – 2:34