Har monica happenings

A quarterly publication of the Society for the Preservation and Advancement of the Harmonica

Harmonetta 101 spah The Sgro Brothers

& a New Rascals Movie Winter, 2011 Vol. 45 No. 1

Harmonica happenings In this issue: Vol. 45, No. 1, Winter 2011 ©2007, The Society for the Preservation Cover photo: “Everett’s Harmonica” by Paul Charette, and Advancement of the Harmonica. www.cimagery.ca All rights reserved. No portion of this publication may be reproduced in any form without permission in writing from SPAH, Inc. Printed in U.S.A. Harmonica Happenings is published quarterly by SPAH, Inc., Contents: a nonprofit organization, incorporated in the State of Michigan on October 23, 1963.

6 THE DON HENRY TRIO — SPAH Correspondence should be sent to: The tale of the legendary harmonica trio continues. SPAH, Inc. Part 2 of 3. P.O. Box 865 Troy, MI 48099-0865

12 HARMONETTA 101— EDITOR & PUBLISHER JP Pagán Phil Lloyd gets the inside scoop on this little known instrument ASSOC. EDITOR Jaine Rodack from one of the masters, Bob Herndon. COPY EDITOR Danny Wilson SPAH BOARD OF DIRECTORS 17 RASCALS AT THE ‘ROUGE— Tom Stryker President L.J. Atkison Vice President A Harmonica Rascals movie 50 years in the making. Eugene Hansen Treasurer Elizabeth Atkison Secretary 21 SPAH 2011 Factsheet— Roger Bale Membership Director JP Pagán Magazine Editor The early word on the next convention! Bob Cohen Webmaster Warren Bachman Marketing Director 22 Harmonicas & Health— Two reports from the SPAH 2010 convention. Paul Metris Sergeant at Arms Norm Dobson International Liaison Danny Wilson SPAH Historian 26 BEHIND THE BASH— Paul Davies Advisor What it’s like to be the host club at a SPAH convention. COMMITTEES Harmonicas & Health 28 Spotlight— Terry Rand Chairman The one and only Sgro Brothers. Entertainment Winslow Yerxa Chairman SPAH Advisory Committee L.J. Atkison Chairman Convention Committee Elizabeth Atkison Chairwoman

Harmonica Events SPAH FOUNDER For the latest information on these events, see the Earl Collins 1924 -1988 Events page on the SPAH website: www.spah.org SPAH MEMBERSHIPS Jon Gindicks’ Blues Harmonica Jam Camp All memberships are on a calendar year basis, beginning Jan. 1. Clarksdale, MI May 24-28 and Sept 27-Oct 1 Membership entitles each member www.bluesharmonicajamcamp.com to receive a full year’s issues of or call Jon at 310-457-8278 Harmonica Happenings plus discounts at SPAH’s annual conventions. Hill Country Harmonica: CHANGE OF ADDRESS A North Mississippi Blues Harp Homecoming To insure receiving your next copy, send Waterford, MI May 21-22 both your old and new address to: www.hillcountryharmonica.com Membership Director, SPAH, Inc. or contact Adam Gussow at [email protected] P.O. Box 865, Troy, MI 48099-0865 SPAH 2011 SPAH’S WEBSITE Virginia Beach, VA Aug 9-13 www.spah.org www.spah.org HARP-L INFORMATION or contact Elizabeth Atkison at [email protected] www.harp-l.org 2010 - 2011 Corporate Sponsors

The SPAH Corporate Sponsorship Program benefits SPAH, its members and the sponsors. The sponsors listed below have demonstrated their dedication to the preservation and advancement of the harmonica by actively participating in SPAH conventions and other activities and by financially supporting the organization. They deserve the thanks, recognition and support of SPAH members.

Hohner, Inc. Andy Garrigue, Harmonica Marketing Manager 804-591-3741 www.hohnerusa.com

Suzuki Musical Instruments Daron Stinton Harmonica/school Division Manager (800) 854-1594 www.suzukimusic.com/harmonicas

Rupert Oysler (828) 262-1088 www.seydel1847.com President’s Letter

STEP RIGHT UP

half with great expertise and dedi- I ask that all of you that have cation. Without this, SPAH would the skills and experience con- not survive and we all know that we sider running for office. Let Win- want it to live on. slow know you are interested —or With this in mind, I have ap- let him know of others that might pointed Winslow Yerxa with one qualify— at Winslowyerxa@yahoo. person from our membership, yet to com. This is your SPAH and your be announced, to head an election opportunity to give back. committee to seek candidates to run Soon, we will be converting our for the office of president and vice membership program to an on- president. A little early you might line system with a company called ask? Not so when you consider that MemberClicks. We will begin this the only opportunity to chat openly year and complete it by 2012. opefully, the winter is with the candidates will be this year With the new system, we will fur- starting to subside. We at the SPAH convention because the ther our goal of complete integra- have all experienced ma- election occurs in April of 2012. tion of SPAH’s business in one lo- jor climate changes that This year we will have a “Meet the cation which provides access from Hwere not expected while our econo- Candidates” forum at SPAH where any part of the nation. This will be my, national and world affairs con- the candidates can introduce them- a huge step forward and members tinue to be in turmoil. The best part selves, share their vision for the fu- will also benefit. Roger Bale will is we are overcoming all of this and ture, tell you why you should vote be on board with us through 2012 making progress. for them and answer your ques- but we will need another member- Looking forward and rearward, tions. This is a first for SPAH, but ship director to start training. This it is now time to start planning for the changes and growth demand it. is very important and I ask those of the administration change that will Further, candidates must become you who may be interested to con- occur in August of 2012. That is fully informed of SPAH’s internal tact me for further discussion. when SPAH will have a new presi- activities prior to taking office so I also need a financial person to dent, vice president, cabinet and di- he/she can hit the ground running. begin learning the duties of SPAH rectors. This is important stuff and I feel it is an honor to be an ad- treasurer. If you have this experi- not to be taken lightly. SPAH has ministrator for SPAH. Hard work ence, please contact me. been moving in a very positive di- yes, but great satisfaction in know- By the way, we have experienced rection and it must continue. Easy ing that I am giving back to an or- some difficulties with distribution to say, but not easy to accomplish ganization that has given so much of Harmonica Happenings. Please without leadership. to me and everyone else. The posi- let us know if you are not receiving Leadership comes at a price for tions of president and vice president your copy. individuals. There is no compensa- will require many business skills Thanks and keep warm, tion for the administrators except to which Winslow will speak, but their paid trip to the conventions. most of all dedication and hard Tom Throughout the year, the adminis- work. These are not “sit back and (775) 853-5118 tration works diligently on your be- let others do the work” positions. [email protected]

Winter 2011 3 What is SPAH? SPAH is an organization whose objective is to preserve and respect the colorful past of the harmonica, while advancing its acceptance, in all its many forms, as a bona fide musical instrument. Among the mem- bership are individuals and entire families, accomplished musicians as well as beginners, and people of all ages. Many members have played or do play the harmonica professionally. Their music styles, ranging through Country, Blues, Popular, and Classical, can be enjoyed via recordings or live performances.

The many benefits of SPAH will be available to you as a member. You are welcome to join SPAH regardless of playing ability or style. SPAH also welcomes members who just like to listen to harmonica music. You will be joining people from around the world to preserve and advance the harmonica. For more information on SPAH visit our website at www.spah.org.

Join SPAH - The Society for the Preservation and Advancement of the Harmonica What SPAH does: * Sponsors an annual International Harmonica Convention featuring classes, entertainment by professional harmonica players, and camaraderie. * Distributes information on harmonicas and harmonica playing * Recognizes and honors those who preserve and advance the harmonica * Encourages the formation of local harmonica clubs * Supports groups organizing harmonica conventions * Maintains a website at www.spah.org * Sponsors an online harmonica discussion group and an online harmonica club news service

Member benefits: * Subscription to Harmonica Happenings, our quarterly magazine with harmonica news from around the world including seminar and convention listings, articles on playing techniques, repairs, harmonica clubs and famous harmonica players and groups, and information on recently released recordings and harmonica products. * Discounts on SPAH’s annual International Harmonica Convention

NEW MEMBER SPAH APPLICATION

NAME ______BIRTH DATE ______

ADDRESS ______PHONE (______)______

CITY ______STATE______ZIP ______E-MAIL ______

COUNTRY (if other than USA) ______

CLUB NAME ______CITY ______ST _____

I Play These Harmonicas: Other Harmonica-Related Activities:  Diatonic  Chromatic  Chord  Compose  Arrange  Bass  Other: ______ Teach  Collect Harmonicas

Enclose $45 for individual membership or $60 for Family. U.S. funds only, made payable to SPAH, Inc. Mail to: Membership Director, SPAH, Inc., P.O. Box 865, Troy, MI 48099-0865 If you prefer, you can fill out the membership form and pay your membership fee using a credit card by logging onto the SPAH website: www.spah.org.

4 Harmonica Happenings Editor’s Letter

WInTRy MIx

love winter. Maybe that’s why a peek at what’s in store for SPAH we at HH seem to hang on to 2011, including some of our per- the Winter issue a little lon- formers and seminars and informa- ger than we probably should. tion on special room rates (if you IWhile a mention of winter may hit can’t wait, just head on over to page many of you like an unexpected 21 right now!). blast of cool, Arctic air on an oth- Remember, online registration erwise fine spring morning, I hope for the convention opens up soon you notice a hint of bloom and col- (www.spah.org), and registration or in this issue, a bright start to the packets will be going out with the new year. next issue of HH, which you should Speaking of the new year, we ac- have around May 1st. tually had so many stories from last I’d like to thank Eero Grund- year’s SPAH convention that not all ström and Paul Charette for the of them fit into our post-convention photos they contributed to this is- issue. So two of this issue’s features sue, and I’d like to remind the rest will be from the convention: our of you that if you have harmonica- Harmonicas & Health report and related photos, please send them to a look at the convention from the me or, better yet, post them to our host club’s perspective. Flickr group, Harmonica World. Perhaps coincidentally, you may Thanks as always for dropping notice alot of the rest of the issue by, and please drop me a line and is a bit of a look back, too. Charles let me know how we’re doing: what Spranklin’s odyssey as part of the you like, what you don’t and what Don Henry trio is now in its second you want more of. installment (and it’s a hot one!) and Al Smith finally finishes a movie he started over 50 years ago, bringing never-before-seen footage of the Harmonica Rascals to a new gen- eration of harmonica players. Submit your own content And since we like to educate as to Harmonica Happenings! well as entertain, Phil Lloyd presents Articles, photos, ads, etc. must be submitted to Harmonica Happenings by the dates listed below us with an introductory tour of the for inclusion in the specified issue Harmonetta, a little known cousin Spring issue - March 15 of the harmonica which seemed to Summer issue - June 15 be in popular demand at last year’s Fall issue - September 15 Winter issue - December 15 convention and will likely be much Submit items to: more visible at this year’s SPAH. Rounding out the issue are a JP Pagán spotlight on the Sgro Brothers and Phone: 347-564-3073 Email: [email protected]

Winter 2011 5 THE DOn HEnRy TRIO? Part II

By Charles Spranklin NOTE: The last chapter ended with the three of us having up for a day or two, or many more. We even picked the weirdest New Year’s Eve of our lives. Now for a closer up a local one nighter but remained under the wings look at our show business existence, day by day. of Mama Q. After that date I came home exhausted. I decided to bunk out early. I undressed and was about to climb into bed. The room was dark as I drew down ur lack of experience in show business gave the covers, but still I saw something odd between the us the impression that we would ordinar- sheets. I turned on the end table light and saw the en- ily work five days a week performing and tire bed was covered with ravioli. I called Don in. He sometimes have our weekends off. It didn’t looked a bit bewildered at the sight. Momma frequent- Otake long for reality to leak into our fantasies of show ly did massive ravioli preparation days. To dry out the business. The reality was, there were a couple of months pastas, it was customary to spread them on a bed sheet of seven day work weeks with 4 or 5 shows a day, and and put them under the covers. He called her in. She there were four days a week with only 3 shows a day, was embarrassed but spent the next hour removing and and several Borscht Circuit weekends with double and assorting them on another bed. I fell asleep in the living triple gigs a night at different hotels, and there were room watching TV. two days a week with 1 show a day. There was one When no mooch-ees were available for our multiple gig a week or every other week, and then just weeks of day or weekly bookings, we had to find pay lodgings. nothing at all. If we were away from home, that was The saving grace for Kim and I was that local hotels when we had to find somewhere to layover that we gave substantial discounts for the entertainers work- could afford—in other words, to mooch on someone. ing at nearby entertainment establishments. Show folk For those of you who don’t know the word “moocher” were still considered the needy of the world. In our case, or to “mooch” it means someone that imposes them- we fit the mold completely. Among those charitable fa- selves on an acquaintance or relative to take care of cilities, the Milner Hotels were our favorite. Nightly them physically or monetarily and are expecting the sleepovers for us would range from 2 to 5 dollars or living status to which they are accustomed. Don soon 8 to 10 a week, all negotiable, depending on how pa- made it clear to us that there was no shame in mooch- thetic we were. We could almost afford that, but we ing for show folk. did have to cut out a meal or two a day. Actually, the We had just closed a date in Washington, DC, so accommodations were quite respectable and roomy. It who was the closest “mooch-ee” we could find? My never occurred to us to double bunk. No, we had to father, who lived an hour away in Elkridge, Maryland have our own rooms, you know, for possible visitors. welcomed us with our promise that we’d only be there Over long period layoffs, I stayed in Elkridge with a day or two. We were treated well for the first week, my father. He had patience with me alone. In Baltimore after that the next two weeks became a bit abusive on I hooked up with a number of harmonica players our my father’s pockets. We didn’t have anything to offer age that were local pros. One especially good group him for his total hospitality. Finally a booking came up. was the Al-Fred-Al Trio fronted by the great Al Logan. We offered “thank yous” to Pop, that’s all, and off we Al’s playing was the closest thing to Jerry Murad, ever. went. Another layoff occurred in Boston. Again, who The trio did Harmonicats numbers as did most trios of was close enough to mooch on? Don’s mother lived in that era. I never went to Maryland without connecting Lynn, Mass. Mama Quagenti was delighted to put us with Al. That made the layoffs more palatable. Al and

6 Harmonica Happenings I became lifelong friends. I will speak about him again auto mode. We did a fine job and got bigger applause later. (See chapter 3) than the first act and a call for an encore. I don’t think Bobby and Clair worked on several bookings with I was ever again afraid on stage. us and finally gave Don a green light for us to reach Coming off stage, we were soaked with sweat. We for the good ole big time. All of our current dates were doffed our cloths and hung them up to dry. In my from small-time agents. What we were not privy to was that Don was pitching to sign up with the William Morris Agency. The Don Henry “From that moment on, Trio still had a salable name. The agency signed us on. Out of the blue our new agent day after day, I never booked us into the famous Ca- sino Theatre in Toronto Canada; our first shot at a week in a for- missed a moment that eign country was very exciting for Kim and me. We were on the bill with Kay Starr. “Who’s Kay Starr?” she was on stage.” “She’s the singer who has the hit re- cord of ‘Wheel Of Fortune’,” Don answered. For me, it soaked underwear, I pulled up a chair and threw my went in one ear and out the other. I never heard of her feet up on a table. I didn’t realize it but our dressing and had only a vague recollection of the record but was room was right under the stage mike. I could hear the never impressed with it. Enough said, let’s get going. rest of the show. Then it happened; the PA voice an- “Are we going to see Niagara Falls,” Kim asked? “You nounced Kay Starr. The audience went berserk at the bet we are. We leave tomorrow.” Yippee! sight of her. The band had to keep repeating the intro- When we arrived at the Theatre, there were liter- duction to her song. Wow, this is wild. Finally she sang. ally hundreds of people lined up for tickets. It looked It was a rousing upbeat number to open with. “Hey, like Sinatra at the Paramount on Broadway. “What she’s good.” Again she calmed the audience. She spoke are these people doing here?” “They came to see Kay a few words to them of thanks for the reception. The Starr, nutcase,” Don shot back! I still couldn’t com- music for the next number started. It was a slow ballad, prehend what this bedlam or Kay Starr was all about. “I Want To Be Loved.” About 8 bars in, I realized that Who cares, the first show is at noon and we’re on sec- something was happening to me. By the end of the first ond. That was enough to concentrate on. We unloaded chorus, I was mesmerized. By the end of the song, I was the props and assembled them, put our makeup on and emotionally hooked. I grabbed any clothes that I could got into our suits. I snuck upstairs to see what was put on my back to get upstairs and see this miracle. happening in the theater. I peeked out of the stage cur- Oh no, it’s the woman that asked to look through the tains and almost panicked. It looked like ten thousand curtain! That was it for me. A few moments ago I had people were stuffed into the theater. This was way out no idea or a care about who Kay Starr was. Now I of my league. A really pretty woman approached me couldn’t think of anything else. From that moment on, and asked if she could take a look. She let out a joyful day after day, I never missed a moment that she was on giggle at the sight. She turned to me and said “Thanks” stage. and walked away. “Gee, she’s cute,” I thought. I ran She was a wonderful person to be around. I spent downstairs to our dressing room; oh yes, they gave us as much time in her presence as I could. Of course, our own large dressing room, another new experience. I never got be- My panic was obvious to Don. He was concerned. His yond the ador- charles spranklin is a long-time reaction, “If you blow this, I’ll beat your brains out!” ing fan stage but contributor to harmonica The first act finished their turn to thunderous applause. she knew what I happenings. The PA voice announced us; our music started. We was about and grabbed the barrel and out we went. It’s hard to ex- she treated me you can plain but it took about three steps on stage to make me like a fellow contact him at: [email protected] realize that I was where I was meant to be. I went into performer. She

Winter 2011 7 would compliment me cally sought the weekend on my playing and the bookings on the Borsht particulars of my part in Circuit. The pay was usu- the act. At least I knew ally good, the food was she was watching me. I non-stop and free, the took whatever kindness I sporting facilities were could get from her. Sev- the best, especially at the eral months later, we were pools where the hunt for booked with her into the game was obvious and Capital Theater in Wash- plentiful. There were all ington, DC. I was ecstat- levels of communal inter- ic about being with her action, romance, gluttony again. By this time we be- and instant fulfillment, came more family. I could in short, the “anything- be in her presence without goes” wild life. obviously mooning. I was Our routine was to passing her dressing room travel in the Black from one day and she called for Manhattan, and back me to come in. She said for each day’s dates even she wanted to take a pic- if we were booked for ture of us together. She two or three days. Don grabbed a stagehand and insisted on it. The trip gave him her camera. She to the dates was usually knew how I felt about her quite tedious considering and wanted to do this for the hot summer days and me. She cuddled in close no air-conditioning in the Kay Starr and Charles Spranklin to me and the picture was Black, but there was a bo- taken. About a month later, she sent me the picture. I’m nus for the after midnight trip home. There was always looking at it on my wall right now. It’s 59 years old. a party. A party? Oh yeah, at the Red Apple Diner, the There is something very peculiar about it. As we cud- halfway mark to back to Manhattan, open 24 hours a dled together, she placed two fingers of her right hand day. onto my jacket lapel. Either it was a thoughtful gesture It was almost mandatory public relations for most of or she was picking my pocket. I’ll live with whatever the performers to stop for a midnight snack and some her thoughtful gesture was. After the DC date, I never fun mixing at the Red Apple. The place was aglow with saw her again. Several years ago I met the great singer Max Factor faces and shirt-neck tissues, ours included. Margaret Whiting at a party. At that time she was do- To say the least, we rubbed elbows with and made a ing a diva act with Rosemary Clooney and Kay. I asked lot of celebrity level friends. Spontaneous performances her about Kay. She said, “I just got off the phone with would break out at the drop of an Eb note to be seen her a minute ago.” “Wow,” I said, “could we call her by any of the agents that were there, especially among back, I’d love to talk to her.” She said, “She called me; the comics and singers. We could easily spend a couple I don’t know where she is.” Damn! Sadly for me, that of hours in the middle of the night being entertained by was that. some brilliant talents and a share of moderate talents. In spite of Kay’s record-breaking box-office show in We even took our turn at flashing our harmonicas with Montreal, we still did the usual club dates and Borscht a ditty or two. We actually got calls from the other per- Circuit weekend runs. Only now we were booked into formers to play. We made a good impression on them the cream gigs of the mountain resorts of New York. and the agents. Resorts like Grosingers, The Concord, The Neville, The wildest of the entertainment was the clash of the Kutcher’s, Browns, plus an endless list of other resorts impersonators. Three or four of the top mimics in the offering 48 hours of top entertainment. The Don Hen- business would start a challenge from all sides of the ry Trio still had clout. diner just to outdo each other for their vocal and physi- Most of the star acts from all areas of entertain- cal impressions of any personality the audience would ment– top recording artists, vaudeville acts and espe- call out. The crowd would be the judges of the winner. cially the, “bluer the better” comedians –enthusiasti- Each week the challenges got more a more entertain-

8 Harmonica Happenings ing. I often thought that theses sessions would make a The final insult came after a late night show ina great Broadway show. Rhode Island nightclub. We were pooped out. I was just The hot dates for us were still coming in. It required climbing into bed when I got a frantic call from Don putting a lot of miles on the Black but that was show to get dressed and get back to the club. I started to de- business. We were getting one or two week bookings mure but he yelled at me to “Get here right now.” I got in some very ritzy nightclubs, on the bill with stars there to find out we had to give a performance. What?? like Nat Cole, Mel Torme, Dinah Washington, Marion Don blurted out that the local mob boss was at the bar Morgan, Tony Bennett, Lambert, Hendricks and Ross demanding that we give him a personal show. I turned and a bunch more giant talents that at this moment to leave and ran into the club manager who was very I can’t even remember. It kills me to say that. It all nervous. The star of the show just finished her turn. She meant so much to me being with these great stars. In- was a wreck. He made it very clear to me that I would decently, I realize that many of you younger folks read- pay dearly if I bugged out. I knew what he meant. We ing this will have no idea of who these names that I am walked into the dimly lit bar at about 1:30am to see our brazenly dropping are or were. If you’re a computer audience sitting by himself on a stool at the bar. Not person, take a few minutes and google them. You’ll be far from him were two figures standing in the dark. He glad you did. just indicated with his hand that we start playing. The Nightclub club gigs were always, to say the least, manager urgently whispered out “Play, play!” We went interesting, if not very dangerous. Remember, Kim and through the act. Our audience never once applauded. I were just 19 year olds and were far from hardened Later, the manager reported to Don that the “audience” pros in the nightclub world. Nightclubbing for us was didn’t like the kid in the middle. like the college education that neither of us ever got. Most of the clubs always had something unusual to Considering that this kind of education lasted only two offer, either in rules or setup. The king of those clubs years, I would say that both of us probably got a C+. was the Bellevue Casino in Montreal, a top rated gig. The positive side was in honing our talent, becoming The place was fabulous but really peculiar. When we ar- professionals. The negatives were mainly being unpre- pared in the area of social graces that were essential for survival in showbiz, and the really tough one, hit and run and romances. Tread as we may, only our noses were above water. Fortunately, we survived. The nightclub world in those days was dazzling, to say the least. Many of the clubs went all out with elabo- rate productions around top stars of the time and hot backup acts, full orchestras, set design, lighting and, of course, showgirls. Oh yes... SHOWGIRLS. All they had to do was strut seductively across the stage, 90% naked, and framed in exotic plumage casting glorious dancing highlights over their... things. They were the showgirls. The dancing girls were called ponies. More later. The stars on stage gave their all, the tabled audiences drinking constantly, in some cases to the state of bel- ligerence among themselves and eventually toward the stage. Frankly, it scared Kim and me. None of it fazed Don. He was a hardened trouper. Frequently, as expected, local mobsters would ar- rive with their entourages and muscle a few tables for themselves. Of course, they were immediately catered to royally. Later, the pony girls would be required to decorate their tables. This bothered me a lot. To me, the girls looked scared. Usually some of the acts were expected to join the party. Don and Kim would take the hint. I didn’t. Was I brave or just stupid? Stupid yes, but being from the Bronx and being associated with them for part of my life, I had my fill of that ilk.

Winter 2011 9 SEYDEL_Ad_SPAH_8,5x11.qxd:Layout 1 17.02.2010 15:24 Uhr Seite 1

rived there was no apparent entrance to back stage. We The doozy was at the Bellevue Casino. I was sitting were directed to go through the stage curtains to get to in my dressing room relaxing for the next show when our dressing room. Aside from one or two closed-door screams of panic broke out from next door. One of the rooms obviously for the stars, the rest of the cast was girls came to my tent yelling that there was a mouse in distributed into a maze of connecting tents that served their dressing room. “Help us!” Wearing only jockey as sort-of dressing rooms. The specialty acts with props shorts, I leaped to my feet and ran to save the day. I got the slightly larger tents while all of the others got burst into their tent, head bowed, scanning the floor, seven by sevens with a mirror, a dressing table and a looking for the mini monster. No mouse in sight. Sud- small sink with running water. The showgirls and the denly, a wide circle of bare female feet creeped into my ponies got two immense tents with ample room size, frame of view. I lifted my head to see a dozen or more costume racks and long, multi-stationed dressing tables of the showgirls and ponies circling me, all stark naked. on both sides for 10 or so of them at a time to dress and From somewhere in my deep-seated morality base, my make up. The only privacy flaps were on the girls’ tents eyes slammed shut and my head bowed chin to chest; I and rarely were they ever closed. The mass of people turned and tried to race out of the tent. “Not so fast fel- in this area soon learned that there was no such thing la!” In a din of laughter, I had to feel my way through as privacy. Between shows, practically no one was ever these incredible bodies that closed in on me giving me seen in much else than their sweaty underwear. Nor- hugs and kisses, again telling me what a great sport I mal cover for the girls was panties and a skimpy bra. was. My eyes never opened. As I exited the tent more Of course that was very difficult to endure for us, but boisterous laughter greeted me. The entire cast of the we soon adjusted to it. Oh yeah: not one of them was show was there, in on the joke. anything but gorgeous and very congenial. Our normal I ran into my tent yanking the flap closed to shelter garb was jockey shorts while our stage clothes dried. me from revealing my embarrassment. I sat solemnly The real surprise of this strange setup was that the trying to reconstruct the incident. For me, the whole only entrance to back stage was a small door that was in thing was nothing more than flash frames that I could Available through the middle of the main customers ladies room. All of us barely get into focus. It took several minutes for it to WWW.SEYDELUSA.COM guys had to, without knocking, actually just burst into occur to me what my reaction to it was about. I was the ladies room and climb through the small door. Of totally unprepared for it. The truth was, “I’m just a course, it created bedlam with the occupants, in what- kid!” It was all beyond my experience. Any seasoned ever state of physical necessesities they were in. Despite showbiz stud with half a brain would have milked our apologies, rarely any complaints were made to the those moments, in every possible way, eyes wide open, management. After a few days of it, nobody seemed to wise cracks, hands flailing, to register every second care. It all became delightfully normal behavior. of it and catalogue those unforgettable images for The shenanigans and the practical jokes between their cerebral scrapbook. They would have made it showgirls and us never stopped. Kim was a great look- the time of their lives. For me, it was an inconceiv- ing kid so he got a lot of attention from them. Me, not able incident of beautiful skin that was no more than SAXONY CHROMATIC so much! I was usually more the brunt of their practical a disorientated blur. What a waste of experience! As CHROMATIC DE LUXE WITH STAINLESS STEEL REEDS jokes. I think about it today, I should have sued for mental One time in a club in Canada, our act was being and visual cruelty. announced when about three of the showgirls grabbed To this day, 59 years later, I cannot mourn my re- HARMONICA INNOVATIONS SINCE 1847: WHETHER YOU me and planted a dozen or so kisses all over my mouth action to that fantastic scene, and even the hugs and and face. I finally managed to push them off of me be- kisses those beautiful creatures awarded me for being CHOOSE THE CHROMATIC DE LUXE ORTHENEW SAXONY cause our entrance music started. They were hysterical. such a good sport. By now, they are all old ladies. Still, CHROMATIC – THE FIRST SERIAL-PRODUCED CHROMATIC I grabbed the pot and sailed onto stage. The instant I I would love to have them all in a room, fully dressed of turned to the audience a roar of laughter burst from course, to thank them for that split second of a once-in- HARMONICA WITH STAINLESS STEEL REEDS – YOU WILL them. My face was a montage of big red kiss lipstick a-lifetime memory. Bless you all ladies, I imagine that GET A MASTER’S INSTRUMENT THAT FITS PROFESSIONAL marks. Don and Kim couldn’t control themselves from you are now, at our age, still absolutely beautiful. jq laughing with the audience. I was so flustered by the DEMANDS. AND YOU WILL BE SURE TO SAY – THAT’S GREAT. attack that I didn’t realize what happened. I had to do the entire show that way. They made me take a special NOTE: Look for the next issue folks and keep read- bow to the audience’s laughter and applause. When we ing, it gets even more interesting and wilder. finished, they were waiting for me with more hugs and kisses, all saying what a good sport I was. I forgave them as long as they kept it up.

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SAXONY CHROMATIC CHROMATIC DE LUXE WITH STAINLESS STEEL REEDS

HARMONICA INNOVATIONS SINCE 1847: WHETHER YOU CHOOSE THE CHROMATIC DE LUXE ORTHENEW SAXONY CHROMATIC – THE FIRST SERIAL-PRODUCED CHROMATIC HARMONICA WITH STAINLESS STEEL REEDS – YOU WILL GET A MASTER’S INSTRUMENT THAT FITS PROFESSIONAL DEMANDS. AND YOU WILL BE SURE TO SAY – THAT’S GREAT. H A lesson and interview A with Bob Herndon R By Phil Lloyd he Harmonetta is one of M those strange instruments that is so obscure even most harmonica fans O Thave never heard of it or even seen it. But many people who have fol- lowed some of the harmonica trios n over the years—bass harmonica, chord harmonica and chromatic E harmonica—have a passing ac- quaintance with the instrument. I’ve been intrigued by the instru- T ment over the years and but never felt I had the time or money to in- T vest in the instrument. Then along came SPAH 2010 and I saw one for sale. After a brief hallway consul- A tation with Bob Herndon, resident Harmonetta expert, I acquired it and proceeded to sort out the mys- teries. It came in the original wood box but I wanted a leather carrying case and found one at the Mall of America, a brief shuttle ride away. Hohner’s Sissi Jones was avail- able in the vendors’ room and I asked her what she knew about the Harmonetta, since Hohner had produced the instrument. She took my name and address and said she would check through the archives back at the office for anything on the Harmonetta. A few weeks lat- er, I received a copy of the 16-page The Hohner Harmonetta Tutor by Helmuth Herold and Armin Fett. The Tutor has some helpful di- rections for fingering chords and individual notes but I was interested in more details. My search of the Internet turned up a reference to the Doug Tate articles in the Buck- 1 eye Harmonica Club’s newsletter of a few years back. The article con- tained a diagram of the keyboard, 0 which was also available in The Harmonetta Tutor, along with some Jouko Kyhälä of Sväng playing 1 the Harmonetta (photo by Eero Grundström) chord shapes on the keyboard. and fifth rows have six keys, the the same finger pattern for scales But I wanted more. So I called second and fourth have seven. At with the root in the second and up Bob Herndon and chatted with a glance the fingerboard might ap- third rows. Eb, G, B and C, E, Ab. him to get the playing tips and in- pear to be a random arrangement— Playing the chord harmonica is struction. Afterwards I got out my the keys are organized diagonally a lot easier than the Harmonetta. camera and shot a few photos of my back to right front in the Circle of With the chord it’s a matter of play- Harmonetta and me holding it. Fifths. That would be F, C, G and ing the right chord. To play a C Now the reader may not be able D from the fifth row in the far left chord on the Harmonetta the player to play great Harmonetta after row for the left hand and keyboard needs to be able to spell the chord: reading this article, but it may offer center for the right hand. C E G so he can press the corners of a few useful tips. For those on the The really neat thing about the the right three keys. With the chord brink of deciding whether to buy Harmonetta is that one finger can harmonica the player doesn’t need one or not: watch out, it might be play a chord. Basic triads like C E G to know the individual notes. the final push. are played by pressing the corners So a little bit of musical back- Some have described the Har- of the three keys. To make that a ground would be helpful for play- monetta as a cross between a con- 7th chord, simply add the Bb with ing the Harmonetta. Piano would certina and harmonica. Buttons determine which notes sound over its nearly three octave range—C to B. Which octave sounds depends on where the mouth is positioned on the mouthpiece. Playing a three-note chord is easy. To play a four-note chord, just widen the mouth slightly. Playing an extended chord solo is easy be- cause blow and draw produces the same note or chord. It was not used by the Harmoni- cats in the original hit, but so many another finger. The Harmonetta be helpful. That was Bob Herndon’s people worked their way through surpasses the chord harmonica in background. He played piano for the ranks of Harmonicats over the versatility because it can play vir- about ten years before he picked years that someone in that group of tually any chord while the chord is up a harmonica at 21. He was also Cats alumni had to be a Harmonet- limited to those built into it. Power known as the Boogie Woogie Kid ta player. Chords, no problem. Walking boo- and won several contests, but that’s The instrument was apparently gie bass line is easy. another story. designed to supplement, if not re- Plus, chords can be played in Bob and some friends formed place, the two-foot long chord har- the bass, middle or upper register a harmonica trio with bass, chord monica. It first appeared in the U.S. of the Harmonetta by simply mov- and chromatic lead. Bob was play- around 1956, which is less than a ing left or right on the mouthpiece. ing the bass and he was calling out decade after the Cats put their ver- That’s because when the E button is the chords to the chord player be- sion of “Peg O’ My Heart” on the pressed, all Es on the Harmonetta cause he didn’t know music. map. Hohner produced it for about can be sounded because they are Finally, the guy hands Bob the fifteen years, and serviced it for linked together. That’s why that C chord and says, “Here you play it!” some years after that. E G triad can be played in different The trio was Jim Lohman on Checking on the Internet shows inversions by moving up or down lead, John Featheringill on bass and that many people offering them for the mouthpiece. Bob on chord. They started playing sale today are under the mistaken In addition to the chords, the around Indianapolis supper clubs impression that the Harmonetta is Harmonetta can play individual in 1953 and called themselves the an antique dating from the 1930s. notes. All the major scales can be Harmonikings, later the Midwest And they are totally confused by the played using three patterns, or a Harmonikings. In 1957, the trio layout of the keyboard which has fourth, if the scale is started from came in second on the Arthur God- five rows of keys. The first, third the first row. The Harmonetta uses frey’s Talent Scouts, the 1950s ver-

Winter 2011 13 sion of American Idol. Knowing the keyboard is one of and let them fall naturally. That’s Then in 1957 the group was the tricks to playing the Harmonet- the way you have to play the Har- on both the Saturday night Law- ta that Bob uses. “If you wanted monetta.” rence Welk Show and the other to play a C chord it’s in a certain There is a certain technique to the Harmonetta that makes it easier to play. “If you want to play a diminished chord, I play two notes with my left hand and the other two with my right hand,” he says. “Now if you wanted to play a Db, Db is located in the middle. It’s awfully hard to reach over there. “So you play it on the right out- side corner. And the same way a B. The B is on the outside corner and E is right below that and A is below that. You play those with your right Bob Herndon, right, with Winslow Yerxa at SPAH 2010 hand. The ones I play with my right hand are B, E, A, D, Gb and Db. Welk show, on Monday nights, Top place,” he says. “If you can see the The only one I play in the middle is Tunes and New Talent. “And we keyboard you can put your fingers the Ab. Because you can’t get it any came back to obscurity again,” Bob approximately where they go. I play other way. says. “We played around town for all the chords with the middle fin- “I know guys who split it; they quite a few years. We were together ger. And I add other notes like a 6th put two on one side and two on the from 1953 until 1968.” with my ring finger. Major 7th or other side. That ties up both hands. Bob bought his first Harmonetta 7th I add with my index finger.” So you can’t go from the Ab to an- in 1956 for $100. He owns four, The later model Harmonetta other chord. Two notes on each two of them in good working con- have white rings on the E keys, for side Ab, C, Eb and F. The C and F dition. a point of reference. Mine lack the on one side and the Ab and Eb on “I was working with a jazz rings so I may get some hole protec- the other side. “That’s ridiculous to group in Chicago 1958 to 1962. tors for loose leaf notebook paper. play it like that because you have I’d drive back and forth and played “You play the triad (CEG) with to be able to reach the next chord jobs with them. And I worked with your middle finger,” he says. “That quickly. You have to be able to Jim Lohman at the same time. I way you can add any note that you move your hands so you can play had a set of microphones made for want with the other fingers. I play a different chord quickly, ‘cause a the Harmonetta and when I got with my middle finger on all chords lot of times these things go dah dah them back they were slightly higher except the three across the bottom. da dah like that. When you have than what I thought and I couldn’t Bb, D, F#. Those have to be split. these chords in succession like that see the keyboard. I was sweating You play the Bb and add the 6th you’ve got to be able to play them blood. I worked all day that day to it with another finger. I always with both hands.” and played over and over seven or play the chords with one hand. And On the other hand, Bob makes it eight hours trying to remember my what I try to do is stay around the a rule to keep some chords in spe- part so I could play without being outside edge.” cific hands. able to see the keyboard. I spent Anyone who has ever taken pi- “I always play the C chord with the whole day playing so I could ano lessons has probably heard the the left hand,” he says. “All the play that night. Made me learn the admonition to arch the fingers natu- chords over on the right hand side keyboard so now I can play with rally over the keyboard. According are the G, B, E, A, D, Bb and Eb. Al- my eyes shut, no problem.” The to Bob, the Harmonetta is played in ways play all of those with the right Harmonetta needs two micro- a similar way. hand. Bb, Db, F, what I try to do phones because its sounds come “You have to have your hands in is have my hands over the outside from the top and bottom of the in- a natural position,” he says. “Like so I don’t have my hands over the strument. you hold them up in front of you middle of the instrument. It’s too

14 Harmonica Happenings awkward. An augmented I always You put it in the center. “You can play background in jazz, it’s called play with my right hand.” play a song, like ‘My Old Kentucky comping and what you do is you One of the things Bob has go- Home’, that does not require any just add little things to it. Instead ing for him is the fact that he used 6ths, major 7ths; it’s just straight of a straight rhythm, you put in a to practice a lot, playing a song triads. Now if you play ‘All the rhythm pattern like a guitar player through in all 12 keys. Things You Are’ it’s got all kinds of dot-dah dot-dah.” “Take ‘How High the Moon’, that’s a hard tune. To start with, it’s in four different keys. I’ll give “There’s so many things you an example. I can play ‘All the Things You Are’ in the key of B as easy as I can play it in the key of you can do with it. Ab, the key it is written in. Mainly because I practiced it.” I play rhythms on it. How many tunes does he know? “About 500. At least 500. I came up through the Big Band era. I was I play melody.” an usher in the movie theaters in the 40s. I showed you to your seat. A possibilities: minor 7ths, 6ths, flat- How does a novice determine quarter (25 cents) an hour. A lot of ted 9ths and all kinds of stuff. So whether a Harmonetta is in good money back then.” you can play four-note chords on condition? He plays a lot of single notes. the whole thing. In ‘My Old Ken- “First of all they have to be air- “I take the song the way it’s sup- tucky Home’ you only play three tight, he says. “When they’re air- posed to be played and play it my notes. So you make it fit the song.” tight, you can blow into it without way. I’d play the melody in block “I learned a lot of jazz tunes and pushing any keys down and you chords.” many times jazz tunes are written don’t get any noise. With a lot of He doesn’t write chord charts or over the chords of another song. them, you can blow into them and tab; it’s all from memory. There’s a jazz tune written over hear the wind going through it be- “I just happen to know in my ‘Lover.’ A lot of times you can cause the straps are loose. The thing head what that chord should be. play a jazz tune by remembering isn’t airtight.” It’s a God-given gift really. Because the chords that were written in the What about repairs now that there’s not too many people can do original.” Hohner no longer handles this ser- that. I hear a song and I think that “The Harmonicats used a lot of vice? should be a 13th or that should be the straight chords because you’re “You kind of have to learn to a 7th or a major 7th, that should be limited on the chord harmonica. do it yourself. That’s a real job,” just a triad and so on. In my mind There’s only about two, three dif- he says. “That’s a job and a half. that’s the way it works. And I just ferent chords you can get on a That’s really hard to do. Taking it play it.” chord harmonica. The Harmonetta apart and putting it back together is Bob has a shorthand system for has more variations. You can get a three-handed operation.” finding the shape of a 7th chord. a 7th, a major 7th, a 6th, a minor “You’ve got to have somebody “On the Harmonetta there’s a 7th and that’s about it on the chord. take the reed plate out while you very simple way to remember 7ths,” You can’t get 13th for example.” hold the two top pieces apart. So he points out. “It’s in the shape of a “And the Harmonetta is so ver- that’s a job in itself right there. You seven.” For the C7th, the C and E satile. There’s so many things you have to be very careful, there’s a pa- make the top of the seven, the G the can do with it. I play rhythms on it. per gasket. If you tear that gasket top of the stem and Bb the rest of I play melody. My biggest problem you’re screwed. It will leak air from the stem.” is that I have a tendency to play the one note to another. It’s like you’re Learning the triangle shapes is melody all the time. So every once having to play the bagpipes. One the key to the instrument. in a while somebody will be playing note sticks out all the time.” “The majors are in a triangle and the melody and I’ll be playing the How does a beginning Har- minors are in a triangle,” Bob says. melody, too.” monetta player go about learning “So either one, you just put your “And I’ll stop and go back to and eventually mastering the instru- finger in the middle. Just one finger. playing the background. When you ment?

Winter 2011 15 “Primarily they would have to an unnatural position. Go over here play on the chord. Same idea.” learn how to finger the instrument on the right side and play a D6th What about playing scales to get and get their fingers in the right you’re barely in. You’re in two or oriented? place,” Bob says. “Holding the three keys.” “My way is very simple. When triads down and adding the other “Whereas with this other one you want to do a straight diatonic notes to it. And then the other thing you’re awkward: you’re doing it scale, two keys forward and two at is to start with one key, like the key with your left hand. Because it’s an angle.” of C, which is what everybody fa- backward. Hard to do. Play a D7th “Melody is a matter of moving vors, especially harmonica players.” over there. Learn how to play a the mouthpiece. Pressing three keys “And learn it well. Learn how to D6th over on the right with your together results in a first inversion play a C9th, a C13th, a C7th. How right hand and a D7th on the left triad. To get a second inversion, to voice it and get a C E G or E G C with your left hand. Your hands are simply move up the mouthpiece. “ and so on. Stay with one key. Learn still in a natural position. The main “If you want to play a melody, that key to where you can play it thing is to learn the keys so you can you voice it so the melody is on the backwards. So you know exactly play them with your eyes shut.” right hand side of your mouth,” he how to play that 13th every time. “For example, if you want to says. “And so you move it back and I can put my fingers right her and play a Gb, you should be able to forth according to what melody bang, I’ve got a 13th. Stay with one go there without looking. And au- you’re playing. You try to cover key until you’ve learned it. tomatically your hands go to Gb. about an octave. That would give “Then you go to the next key Bang you’ve got it.” you four notes, so you could play which would be F. Learn that one. “I used to do the country tune whatever you want with those four The F chord. C F and G. Those are ‘Rocky Top’. That is one that re- notes. You would voice the melody the main keys a lot of people write quires tricky straight triads. It fits. so it would be on the right hand in and play in. Learn them well. You You would not use 6ths or 7ths on side of your mouth. Most of the learn where all those chords are and that song because it doesn’t call for time when I play, I voice the melody where they are with both hands. it. You kind of have to gear the song on the right hand side (in the middle Like an F7th is over here on the left to the way it’s played. Once you’ve octave).” hand side—it’s also over here in the learned the three major keys, you “I don’t play too much on the middle. So you learn where both can branch out to other keys. Like top, those notes are too high, but of them are. Decide which hand is Db. A lot of harmonica players play every once in a while they come in easiest for you to play it. Like for in Db (on the chromatic) because handy. When you play any chord, example you want to play a C7th. that’s the easiest way to play. Do a doesn’t make any difference which Play it with your right hand. So, for big old key change. Sounds spectac- one, two of the notes come out of example, you wanted to play a Bb. ular just by pushing the valve in. So the top and two of the notes come It’s awkward to get to because you you learn Db (on the Harmonetta). out of the bottom. That’s why they are in the middle of the keyboard. That one is a little difficult, because have the double rows.” Play it up on the corner. that one lays out on the outer edge So the next time you see Bob “With a G minor, play it up on of the right side. It still has to get Herndon at a harmonica conven- the corner. I play it with the index that Ab in the middle. You have to tion, ask him to play one of his finger and the middle finger. Split get it with one hand or the others, 500 tunes on his Harmonetta. You them like that and you get it easy whichever one is the most comfort- won’t regret it. jq with the Bb. With the D# or Eb, you able for you. Then branch out to can play over on the left hand cor- Eb, Ab, you would learn Db but ner. Whereas if you play the D# on hardly anybody writes in Db. Har- right side you are in awkward posi- monicats did ‘Peg O’ My Heart’ in tion. Your hands are not in a natu- Db. But only because it laid nicely ral position.” on the chord harmonica.” Phil Lloyd is a contributing editor “Hold your hand up in front of “You can also do things like to HH. He was contributing editor you and let them drape down. Your rhythms. Learn some of the for American Harmonica News fingers should be in a natural po- rhythms, if that’s what you want to magazine, a news- paper reporter and sition when you play that chord. play (he plays). That’s a plain old copy editor. He teaches Harmonica Now if you wanted to reach over shuffle rhythm. Latin. Learn dif- 101 and Ukulele 101 classes. here and play a D7th, now you’re in ferent rhythms just like you would

16 Harmonica Happenings The Harmonica Rascals on the marquis at the Moulin Rouge Rascals at the ‘Rouge 57 years in the making, a new short film stars the Harmonica Rascals

By Al Smith ome people are always “go- that powered the camera ran down Gene Demase and Les Magann, who ing to write a book.” For fif- and had to be rewound every few shared the apartment with me, for ty-seven years I was always seconds. A few weeks into the proj- tolerating film strips hanging from “going to make a movie.” In ect, the price of the film and cost of every available surface for weeks on S1954 I began filming. development forced another major end. I spent long hours hunkered While performing as one of the decision upon me: I could eat or I over the tiny editing machine as I Borrah Minevitch Harmonica Ras- could continue filming. Consult- cranked the film through it with my cals at the Moulin Rouge nightclub ing “other people in the trade” at eyes glued to the one-inch screen, in Hollywood, a marathon nine- nearby movie studios, I found I selecting, organizing and splicing month engagement, I laid plans to could buy big reels of unexposed (gluing) hundreds of short clips into film the act. black and white bulk film very in- the correct sequence. Shopping for a movie camera expensively. Unwilling to have the One particularly frustrating quickly revealed that the salary completed film begin in color and problem was that stopping to re- Minevitch was paying me made the finish in black and white, I decided wind the camera caused certain whole idea a pipe dream. But un- to restart the entire filming process. scenes to be missed time after time. willing to give up, I settled for a With my budget stretched ever Development turn-around was so hand-held 8mm Bell and Howell thinner after buying a projector slow that I would repeatedly sub- wind-up camera that would run for and editing equipment, the cost and mit hundreds of feet of exposed film about ten seconds at a time. I was time required to send the film out and wait several days only to find ready to roll! But I had no camera- for development became a major the camera had missed the crucial man. So each night before the show, concern. Turn-around for develop- few seconds I desperately needed. I found someone in the audience ment was several days and I wor- For one scene that kept evading willing to operate the camera. ried that I would not finish the film the camera, I persuaded all of the Other problems immediately before the Moulin Rouge engage- Rascals to gather backstage a few arose. Without reloading the cam- ment ended. minutes before our spot in the show era, only three minutes could be The apartment was soon filled so we could film the scene with filmed at a time and that was filled with strips of film. In all fairness, I the same curtain behind us. At all with gaps created when the spring must give credit to fellow Rascals times, the backstage area was a very

Winter 2011 17 end color

busy place with stagehands rushing By the late 1970s my 8mm about and dancers and various acts movie projector had broken down rehearsing movements. Adding six and been scrapped. But that didn’t harmonica players to the melee was matter because the film had fallen not easy. to pieces as the glue in the splices We managed to film the scene but hardened and failed. Even then I the lighting did not match the stage still harbored hope to someday add light, the curtain was not the same sound to the film. as the one out front and for a final After the technology for video- blow, the camera was not focused tape was developed, I reconnected properly for such a close shot. The all the broken splices in the film “take” was a miserable failure but, and had it transferred to VHS tape. as it turned out, I was lucky to have Bill Walden, who played bass in the it. The scene was never captured by Rascals at the time of filming, had any of the camera operators and connections at Fox Studios in Hol- I had to use the hateful backstage lywood and made arrangements for (l to r) Gene Demase, unknown “take” in the final splicing session the transfer. I bought one of the early Moulin Rouge dancer, Johnny that was accomplished in a com- VHS recorders. It was quite expen- Puleo, Carl Wright, Al Smith, plete state of panic shortly before sive and had the capability of add- Les Magann and Bill Walden we Rascals left Hollywood for our ing sound to the movie. But it had next engagement at the Las Vegas no editing features and my attempts Desert Inn. cals and lay many years in boxes were dismal failures. The silent VHS For the next fifty-seven years, the stored in closets and under beds. It movie went back into the closet for film was my constant companion. waited patiently while I raised four another thirty years awaiting the in- It survived in suitcases during my children and it survived the “closet vention of personal computers with travels with the Harmonica Ras- cleanings” of two wives. video editing technology.

18 Harmonica Happenings Ask the Hohner Service Center Cleaning and Maintaining Next hold the slide in your hand so that the button is on the right and the left most square hole is on the top row (see below). Keeping the Your Chromatic Slide slide in this position, place it on top of the base, threading the spring rod through the pin hole. Line the slide up with the base, making sure that the top row of holes is open and the screw holes are still visible. If you play chromatic harmonica, occasionally you will need to perform maintenance on the slide and mouth piece. Slides naturally get sluggish and stuck from use and parts might get worn or bent out of shape.

Correct removal and reassembly of the mouth piece and slide is essential for proper performance. In this article we will discuss the 10 and 12-hole wood bodied Chromonica designs. Place your harmonica on its back end with the mouth piece facing north. Remove the mouth piece by removing the screws on both ends.

Next remove the two bushings (we call them silencers) from each of the screw holes and put them aside, being careful not to lose them. Similar to the base, the encasement has an end notch to accommodate The slide assembly consists of three parts (from top to bottom): the the slide and three very small tabs running lengthwise on both sides. encasement, the slide (with button), and the base. Near the button Place the encasement on the slide with the end notch on the spring end you will see a small metal rod protruding from a pin hole. This is side. Line up the square and round holes. The lengthwise tabs the slide spring. Lightly grip both ends of the slide assembly and lift should fit securely into the notches of the base if everything is lined all three parts off the spring and away from the harmonica. Separate up correctly. the three slide pieces. Hold the mouth piece in one hand and The slide and mouth piece can be cleaned with warm, soapy water thread a screw through one of the holes. and a soft bristle brush. The pieces are thin, so be careful not to bend It does not matter which side you do them. Rinse under running water and dry with a soft cloth. Set the first. Once in the hole, cover the head of parts aside to completely dry. You can wash your cover plates in this the screw with your finger, then slide a same manner if you wish. silencer onto the screw on the opposite side. There is a notch on one end of the This cleaning method is not recommended for wood combs and reed mouth piece which is positioned on the plates. If exposed to too much moisture, wood will shrink or warp, spring side. Place the mouth piece on reed plates will corrode and valve layers will stick together. the slide mechanism while simultaneously lining the screw up with the hole. Give the screw a few turns until it is installed about halfway. Although some players have success lubricating their slides, Hohner Then repeat the process with the other screw and silencer while the strongly advises against it. Solutions applied to the slide mechanism mouth piece is not fully tightened down. Pause often as you tighten often cause reed or valve malfunction. the screws, pressing the slide button a few times, to insure that the If any of your chromatic parts are worn or out of shape, you can order assembly stays properly aligned. Do not over tighten the screws or replacements with your credit card by contacting the Hohner Reed you risk stripping the treads in the comb. Service Center at 804-515-1900 or [email protected]. Once you have completely tightened the screws you may For reassembly, start with the base. There is no correct side up, notice that your slide does not move freely. In this case but you will notice a notch on one end and three notches running back the screws off a quarter turn or until your slide moves lengthwise on both sides. The end notch is to accommodate the freely. Your chromatic is now back in action. spring action. Place the base on the harmonica with the end notch Attention to the care and maintenance of your chromatic on the spring side. Align the square holes on the base with the holes means years of uninterrupted musical enjoyment. on the harmonica. The round screw holes on either end of the base should be aligned also. Just Breathe.

Any questions about this article or suggestions for future articles can be submitted to [email protected]. During the 1970s I met the man the intricate slide work in Johnny’s stopped short, red faced I’m sure, who would become my partner in “Obbligato.” There is so much as Rock interjected, “That is your finally completing the movie. He slide work that the harmonica chord playing and your grunting.” was ten years old. shakes sideways making it difficult The original silent 8mm film While touring the country per- to play the correct notes. The only and the VHS video were in terrible forming as a harmonica quartet chromatic I was able to play it on condition, but using NRC Digital’s with my three sons, we met another was a rare old relic called a Machi- state of the art software, Rock was harmonica family, Spencer Erick- no. Unlike other chromatics, the able to sample the noise frequencies son and his two sons Rock and Machino’s lever button is located of the films images removing the Randy. Even at age 10, Rock was in the middle of the harmonica and telltale brownish aging and elimi- an outstanding chord harmonica it moves vertically flipping the slide nating a great deal of the graininess player. We became fast friends and up and down instead of sliding it of the poor quality bulk film I had remained in touch throughout the back and forth. When all the music used in 1954. years. Because of our musical inter- tracks were recorded, I downloaded I am very pleased with the com- ests, we both became involved with them to a flash drive and flew to pleted movie. Running fifteen min- computer applications for digital Wisconsin. utes, it is a real piece of harmonica audio and eventually, video. At the studio, Rock transferred history showing the entire act of the When once again my thoughts my music tracks to the studio com- Borrah Minevitch Harmonica Ras- turned to the silent VHS movie of puter and the magic began. We were cals as performed at the Hollywood the Rascals, I realized that I finally both excited as the Rascals came to Moulin Rouge for nine months, had both the technology and the life again. With meticulous care, two shows a day, six days a week. editing skills that would enable me Rock added audience laughter and Some of the routines in the movie to add a realistic sound track to the applause. Then, as usually happens were never seen on television shows movie. I decided to call Rock Erick- when Rock’s artistic juices begin to because they were considered a lit- son—now founder of NRC Digital, flow, he exceeded my expectations tle too risqué at the time. an audio and video production facil- by implementing sound effects that It’s over! It’s done! Now, what ity in Menasha, Wisconsin—to dis- completely recreated the ambience will I do? jq cuss the project. We made plans to of the original performance. Using work together on the film. I would ordinary objects already in the stu- record the music on my computer dio, rolling and sliding them about The movie Borrah Minevitch matching it to the movie as close- or dropping them on his desk, Harmonica Rascals at Hollywood ly as possible. Then, at the studio, thumping his body, humming, clap- Moulin Rouge – 1954 is available we would transfer the music to the ping, clucking, clacking, grunting for viewing on Youtube (Do an in- movie and edit it for precise timing. or yelling, he added every sound ternet search for “Rascals Al Smith Rock would then add sound effects the movie needed. When the mi- 1954”). To purchase the movie on and audience sounds. crophone is bumped in the movie, DVD or to digitally download it, go On my computer, I captured the the natural feedback is heard along to www.nrcdigital.com. For further movie from the VHS tape, then with the hollow thumping as it information, e-mail rock@rock- mailed the original tape to NRC rocks back and forth. The sounds sroom.com or call 608-243-1676. Digital Studio so Rock could cap- are very real because of Rock’s at- ture the video on the studio com- tention to detail. It’s all there: every puters and begin his part in the footstep, the clacking of the slide on creation. So many years had passed Johnny’s chromatic as he twiddles that, except for Johnny Puleo’s it or the brushing of an imaginary tricky little “Obbligato” and his piece of dust from the leader’s coat. cute way of playing “Sweet Sue,” I The music and effects were so had long since forgotten the exact real that, as I watched Rock work, I Al Smith is half of arrangements we had played in the often forgot the sounds I was hear- the Harmonica Hotshots duo and act. But watching the movie careful- ing were not the originals. At one a regular music critic for HH. ly, I was able to determine tempos point, I even complained to Rock and write arrangements to fit the that the chord player, Gene De- movements of the players. mase, was grunting. I said “He al- I had a lot of problems playing ways grunted when he…,” then I

20 Harmonica Happenings spah2011 factsheet August 9-13

Holiday Inn Virginia Beach-Norfolk Hotel and Conference Center 757.499.4400 or 800.567.3856 www.hivabeachnorfolk.com Special rate for SPAH attendees if you book by July 24! Use Group Code: SPA

Including performances by: And Seminars like:

•Buddy Greene: soulful harmonica with a revival •Brandon Bailey: Looping and Harpboxing— meeting feel a Modern Approach to Rhythm and Groove Harmonica •International classical virtuoso Robert Bonfiglio •Pat Bergeson: Jazz Improvisation •Harmonicamento, a harmonica quintet from Germany’s Black Forest •Phil Duncan: Beginning Diatonic; Beginning Chromatic; How to Play Melody •Buzz Krantz, the Santa Claus of the blues and everyone’s close personal friend •David Fairweather & Professor Roger Myerson: Fourkey Tuning •Grammy Award-winner Peter Madcat Ruth •Joe Leone: Country Tuning and More •Winslow Yerxa and Tuula Cotter, intertwining harmonica and violin in music from the far north •Robert Bonfiglio: Playing the Harmonica Classically; Chromatic for Diatonic Players •Blues/swing masters Dennis Gruenling and Steve Guyger •Reach Mann: Hand Percussion & Effects

•Pat Bergeson, Chet Atkins protegé and double •Grant Osborne: Intro to Diminished Tuning threat on harmonica and guitar •Peter Madcat Ruth: Playing Harmonica in a Rack; •Stan Harper, the legendary master of the chro- Rhythms, Trains, etc. matic harmonica •Richard Sleigh: Harmonica Gymnasium •The Sgro Brothers, playing timeless favorites with verve and showmanship •As well as Dennis Gruenling, Steve Guyger, Buddy Greene, Al and Judy Smith, Filisko’s Teach-in and •Jimi Lee, Jelly Roll Johnson, Steve Baker, and more! Paul Davies

Performance and seminar listings are incomplete and subject to change. Check spah.org for updates.For questions, suggestions or to volunteer, please contact Elizabeth Atkison at [email protected] or 816.914.0223. Harmonicas & Health

The 2010 Convention Report Two takes on how you can improve your health with the harmonica.

By Terry Rand

The purpose of this year’s fun as it was informative. P.T. Another “grand old man” of Harmonicas for Health meeting in Gazell wins the prize for the best harmonicas, the man who gives Bloomington was to share ideas spontaneous humor. P.T. saw his away the most harmonicas and as to where to go to provide our old friend Jim Lohman and while lessons, is Buddy Wakefield. Buddy promotional work for good health shaking his hand vigorously he talked most about how much good and what steps to take to imple- said, “Jim, Jim, my God, you look we can accomplish by offering free ment the programs. We seek ideas great, who is your embalmer?” harmonicas and lessons for every- for addressing hospitals, assisted And, of course, Stan Harper body. Buddy said, “Remember our living centers and church groups. blessed us with some of his wisdom goals: we are promoting the instru- We have many SPAH clubs trying contributing to his old age. Stan has ment we love and we want to share to accomplish these humanitarian the lungs and tongue of a young our love with as many people as programs and most are now asking athlete and claims the rest of his possible and constantly remind our how to get involved. Our guest body is worn out old parts and half friends and neighbors that the har- speakers, Lee Ann Razor and Mary bionics. In my opinion, this grand monica is the only musical instru- Jane Gormley, related some of old man is the epitome of what ment played breathing both in and their more successful experiences. playing the harmonica can do to out.” Exercising our lungs is obvi- The good news is that the health extend longevity. I told Stan that he ous, but exercising our brains while programs promoted by SPAH local should include his mental acuity as playing is equally important. Har- clubs are expanding exponentially. part of his harmonica success. monicas not only promote good As we are improving, the problem Playing the harmonica has given health, but the therapy includes the is we have no statistical follow-up. Stan some wonderful memories joy of music. What a great com- I would like to suggest a program and we enjoyed having him share bination. The joy of music con- to accumulate statistics as to what with us at several of the SPAH tributes to everybody’s well being, we are accomplishing. programs. We maintain that play- forget all your troubles, come on I ask that you contact me at ing the harmonica causes players and get happy, play a tune! [email protected] when you put to concentrate more, thus moving Our SPAH member, Ron Agnew, on a “good health” program. It is more oxygen to the brain. There was a long time great harmonica important that we begin to share are many examples of enhanced player before he became a respi- our successes. I will then share mental acuity among harmonica ratory patient. How could that those more successful programs players. Stan Harper, at 88 years happen? Well Ron had double on the Internet. Please send me old, could perform a stand up pneumonia and hypothermia while any media coverage, tell me what comedy act if he was asked to do shoveling snow when he should model harmonica you are using so. He has so many interesting have been playing the harmonica. and the costs involved. New testi- stories about his past and all the He got his brain frostbitten and monials will be welcome, especially wonderful people he met playing began losing his mind. Ron went some “good times” details. Humor the harmonica as a professional. into a coma and awoke nine days plays as much of a role here as My point being, there is no bet- later with some very curious doc- music. We want to entertain when ter example than Stan in spite of tors who wanted to know why his we promote good health. his bad habit of enjoying tobacco. lungs were so healthy in spite of his I love the humor when you get I think his smoking is another ordeal. Ron had quit smoking years all these old harmonica players endorsement of the power of before and credits the harmonica together at our conventions. The breathing therapy by playing the with saving his life. Our friend Bud SPAH health meeting was as much harmonica. Boblink visited Ron in the hospital

22 Harmonica Happenings and they played music for other patients and a tradition was born. Bud Boblink is an honorary mem- ber of the health committee because during his professional career and at every performance Bud promotes harmonicas for good health. The story is that Ron Agnew actually died and was resurrected holding his chord harmonica. I asked him if his hearing improved since he died and he said, “huh?” What’s Your Story? Ron Agnew is one of the great chord players and his testimonial is indicative of what harmonicas can do. We have to be careful when using testimonials and not promis- See you in ing miracles, but we can say that we have no examples of harmoni- Virginia Beach! cas not being beneficial and fun. I added my recipe for that early morning stretching of the lungs by playing a few bars of “Yankee Doodle.” That little patriotic ditty is like a stretching exercise for your 508-461-9983 / www.harptime.com / [email protected] lungs causing about ten diaphragm push-ups against your lungs. I must also mention that many other professional players highlight Harmonica Happenings the health benefits of harmonicas. Al & Judy Smith are excellent ex- Ad Rates & Specs amples of popular entertainers that do a great job promoting harmoni- Black & white ads: Color ads: cas for health. Add John Shaffer 1/4 page ad 1/4 page ad and Fifi the skunk to that list. John (4.75” high by 3.5” wide) (4.75” high by 3.5” wide) has given up his daytime job and $50 per issue or $100 per issue or is now a full time entertainer and, $150 for 4 issues $350 for 4 issues as he entertains at hospitals, clin- 1/2 page ad 1/2 page ad ics, churches and special children’s (4.75” high by 7” wide) (4.75” high by 7” wide) clubs, John is an avid promoter of $85 per issue or $175 per issue or harmonicas and SPAH. $290 for 4 issues $600 for 4 issues Charles Spranklin also gave a nice testimonial at the SPAH health Full page ad Full page ad session and Charles promotes har- (9.5” high by 7” wide) (9.5” high by 7” wide) monicas and good health at every $170 per issue or $350 per issue or occasion where he emcees. Charles $580 for 4 issues $1200 for 4 issues writes for Harmonica Happenings and is also an honorary member of the health board. The conclusion is easy to re- Ads must be CMYK and 300dpi. Additional charges member. The harmonica is the only apply for mock-ups. For further information musical instrument that is played please contact JP Pagán at [email protected] breathing in and out. Playing the

Winter 2011 23 harmonica is a lung exercise. It can napkins to unfold as clean places be used for therapy and is more of- for putting the harmonicas down SPAH NEEDS YOU! ten prescribed by doctors as COPD on (saves your having to sanitize therapy. That is a fact. Music itself the table). To volunteer! We are looking for: is therapy, so offer a double dose Outside of hospitals, support of good health. Spread the word, groups (post-stroke, Better Breath- Treasurer Trainee tell your friends to learn to play the ers, Parkinson’s, and smoking ces- ·Train with Gene Hansen harmonica… and by the way, tell sation, for example) love to have ·Bookkeeping them to join SPAH. “guests,” and those groups tend ·Handle all incoming and to get really excited about a new outgoing funds By Mary Jane Gormley approach. Not many people bring ·Interact with CPA them fun stuff! ·Assist CPA with tax Several people at the Harmoni- Finally, there are senior centers. return preparation cas for Health session at SPAH I thought residential retirement ·Assist with membership 2010 were interested in starting centers would be ideal—the people ·Handle SPAH store harmonica groups in their commu- all live there, and they could get ·Computer literacy nities with a health focus. together at any time—but it seems ·Familiar with QuickBooks For hospitals, the people to talk that many people lose all initia- ·Attend conventions to would be in a respiratory (pul- tive when they move to a place ·Attend board meeting conf calls monary) or cardiac therapy depart- where everything gets taken care ment with an outpatient rehabilita- of. I went to two for a year, and I Membership Director Trainee tion program. Larry Vesely RRT just don’t do them any more. My ·Train with Roger Bale and I have had a monthly program four-year-old program at a non- ·Solicit new members at Bloomington (IN) Hospital for resident senior center is the liveli- ·Handle membership renewalL four years now, open to anyone est I have, to the point where I am efforts attending pulmonary or cardiac going to try to encourage them to ·Prepare and receive convention rehab; patients are encouraged to get together more often than once solicitations bring family members, and they a month in the morning (that’s all ·Register convention attendees can continue coming to the har- I am able to do) and to move on ·Maintain accurate membership monica sessions after their rehab with their music—they are way and convention records period is over. more musical than I am! I can start ·Computer literacy You might try meeting with part them off—they can move forward ·Work with MemberClicks of the staff. You could bring a few faster on their own. membership program inexpensive harmonicas and dem- Next I plan to get together with ·Attend conventions onstrate the benefits of harmonica speech therapists. jq ·Attend board meeting conf calls playing. Two basic points would be that To purchase a copy of It’s also time to elect a new SPAH we (most everyone on the planet!) Harmonicas for Health: A Guide president and vice president (see the are inefficient at breathing—even to Breathing Better by Mary Jane President’s Letter in this issue). At marathon runners can benefit from Gormley and Larry Vesely, RRT, the 2011 SPAH Convention, candi- training their breathing—and that send a check or money order made dates for SPAH president and their many highly effective relaxation out to “HEARTEAM” for $6 per vice presidential running mates will and stress-reduction programs copy to: present their campaign platforms to (yoga, etc.) make extensive use of Harmonicas, Cardiopulmonary SPAH members. Elections will take attending to breathing, especially Rehabilitation, Bloomington place in April 2012, and the new deep (abdominal) breathing. Hospital president and vice president will An important consideration P.O. Box 1149 take office at the end of the 2012 is risk management: Most of the Bloomington IN 47402. SPAH convention. If you’re inter- infections we get are because we ested in running or wish to suggest touch things and other people and Please include your address, a candidate, please contact Election then our faces. Have Purell han- contact information and the num- Committee Chair Winslow Yerxa at dy—before you give out the har- ber of copies you would like to [email protected]. monicas—and also give out paper receive.

24 Harmonica Happenings Obituaries

Already this year we have lost a number of prominent harmonica players:

Al Data Februaru 26, 1936—March 2, 2011 Al was a staple at SPAH conventions and other festivals such as The Buckeye State Harmonica Festival in Ohio, The Valley Harpers in Virginia, and the Garden State Harmonica Festival in New Jersey. He was an excellent chord player who could provide any pickup band with good chords and rhythm for most standard harmonica favorites. He considered his 2-1/2 year stint during the 1990s with Jerry Murad’s Harmonicats as the epitome of his harmonica career. Al passed away suddenly at his home in Aliquippa, PA.

Albert Raisner September 30, 1922—January 1, 2011 Born in Paris, Raisner received a musical education during his childhood he (piano and violin). At the age of 8, he discovered the harmonica. In the 50s, he formed Trio Raisner, the celebrated harmonica trio with Sirio Rossi and bass player André Dionnet. After the trio disbanded, Raisner became a radio host, then created and produced a popular French television variety show in the 60s. Raisner also wrote two books, including Livre de l’Harmonica. In 1977, he was knighted by the president of France.

Ken Smith January 26, 1931—March 3, 2011 Ken was born in Moncton, New Brunswick during the Depression. He played piano, bass fiddle, tuba, accordion, and he sang and arranged. His passion for the harmonica began when he saw the Three Reeds perform in the 1960s. He became the bass player for the World’s Greatest Harmonica Band, which performed at the 1987 SPAH convention and included Bob Higgins. Ken most recently played in a trio with Ingo Andersen and Doug Pell in Burlington, Ontario. According to Ken himself, giving chord theory seminars at SPAH was one of his memorable pleasures.

Chris Michalek July 23, 1971—December 16, 2010 Born in Minneapolis, Minnesota, Chris was a teacher, customizer and musician with a distinctive sound. In the last few years, he was a fixture at SPAH teach-ins and a frequent performer. He was also a tenacious contributor to Harp-L. His playing and approach to music greatly influenced a number of younger players, some of whom counted him as a mentor. He is survived by his wife of 15 years, Laurie Michalek, of Gilbert, AZ, parents Maurice and Van Michalek of Arden Hills, MN, brothers Dominique and Patrick and niece Dasha Green.

All of these people will be greatly missed. We’ve lost wonderful people, excellent harmonica players, great supporters of the harmonica and of SPAH. We wish their family and friends well.

Winter 2011 25 SPAH 2010 SUZUKI HARMONICAS Behind the Bash New. Unique. Different. Innovative. What SPAH looks like from the host club’s view

By Steve Watne We wrapped up a successful 7:00 AM) was to provide the cof- ter the convention. Special thanks SPAH convention here in the Twin fee, so I was brewing it at 6:30. go out to club members and their Cities and the club really enjoyed When the previous day ends at families: Betty Foster, Dianne He- M-20 Suzuki 10 Hole Diatonic hosting everyone who came and 2:00 AM, that coffee is really glund, Gary Burton, Dick Gardner, hope you not only had a good needed. I felt appreciated at those Al Papas, Mark & Gloria Imsdahl, convention, but also had time to morning meetings! Doug Hair, Bill and Lucy Murray, get our and see a bit of our beauti- Three boys from our club, David Elroy and Eloise Kelle, Dave Gre- ful cities. and Norman Patton and Jonathan bin, Jean Mooney, Jody Norman The planning for the SPAH Cain, formed a traditional har- & David Patton, Karine & Claire convention began over a year in monica trio during the convention. Watne, Ellen Lipschultz, Doug advance lining up a number of Many of you may have seen them Hair, Jonathan Cain, and friends Billy Branch potential hotels. SPAH board mem- in the Suzuki area ‘testing’ the of the club Rafael Manrique, Jim bers visited these hotels and while chords, chromatics and basses. Al Jeffers and Nellie Hewitt. they were in town, Paul Davies Smith grabbed them out of there The hospitality suite was a fo- introduced me to Clint Hoover and and hauled them into the kids pro- cal point for many folks during we spent a wonderful afternoon gram to perform and they couldn’t the convention and would not at my house jamming with Dick have been prouder! Two of these have been such a success without Gardner and Dave Grebin. boys received very nice harmonicas the generosity of our donors. I Convention week started on from Al Smith and Danny G— would like to thank Dunn Broth- Monday for many of the club special thanks to these two very ers’ Coffee on Grand, Lunds & members at the airport. We had generous men! Byerly’s Markets, Kowalski’s been given a list of folks to pick up One of the highlights of my Markets, Sam’s Club, Cadenza and I was the ‘inside guy’, trolling SPAH convention was perform- Music, Rainbow Foods, Davanni’s the baggage claim with my list and ing with the club on Friday night Pizza, Perkin’s Restaurants, Jerry’s signs. I bumped into Will Scarlett with Jack Bacon, our club founder Hardware, and various anonymous while looking for Stan Harper and and arranger of many of our club club members (you know who you eventually Will and I squeezed into tunes, in the audience and the are!). the jump seats in Dick Gardner’s special words from Paul Davies, Thanks to everyone who came pickup with Stan riding shotgun. Al Smith, Tom Stryker, and Stan to Minneapolis/St. Paul for the It was a short but fun ride back Harper on our performance. The convention and see you next year Grégoire Maret to the hotel with Dick and Stan other moment for me was perform- in Virginia! jq telling stories while Will provided ing baroque and be-bop duets with rhythmic accompaniment on some Clint Hoover on Wednesday night. bizarrely tuned diatonic. I took Clint and I truly had fun putting See the entire line of Suzuki Harmonicas at Lars with me to pick up Rupert the material together and perform- Steve is president of theTwin City and Tachi-san. We found Brendan ing it and our audience really Harmonica Society. He’s been perform- www.suzukimusic.com/harmonicas and gave him a ride back while I seemed to enjoy it. ing for 30+ years, teaches harmonica located Susan Sauter and Mario. I’m immensely proud of the Twin at the prestigious West Bank School Days are long for the SPAH City Harmonica Society for all the of Music and is active transcribing, board members I found out. My work and wonderful energy they arranging, record- ing, and repairing. main job at the daily meetings (at contributed before, during and af- The Name You Know 26 Harmonica Happenings SUZUKI HARMONICAS New. Unique. Different. Innovative.

M-20 Suzuki 10 Hole Diatonic

Billy Branch

Grégoire Maret

See the entire line of Suzuki Harmonicas at www.suzukimusic.com/harmonicas

The Name You Know Spotlight

Band of Brothers The one and only Sgro brothers.

to fame and never starstruck by any of those people. With Tony Sgro, it was different. With frogs in my throat and butterflies in my stomach, I asked him if he could tell me how to play “Witch Moun- tain.” I had imagined that to have executed what I consider to be one of the finest chord solos ever, that he would have practiced the piece for months, forever burning it into mental and muscle memory. I was, frankly, shocked by his answer. “I have no idea how I played it,” he said, apologetically. Instead of the months of prac- Tony and Dominic Sgro tice I had assumed, the song was unrehearsed. By David Payne “I only played it once,” he said. I vividly remember the exact why that was so—Puleo wasn’t the “We (he with brother Dom and moment when I first knew I had to one playing the dynamic chromatic David Doucette) just went in and play chord harmonica. leads, as the fresh listener would read our parts.” It was my first listen to Johnny naturally expect. The amazement over that level Puleo’s Vol. 2 record and the song Considering my career as an of musicianship still astounds me. was “Night on Witch Mountain.” award-winning journalist, I’m It would take me months to pol- The chord harmonica was unfor- surprised the solution to solve the ish something like that and it gettable. mystery didn’t occur to me sooner. still wouldn’t be at his level, even The chord harmonica solo was All I had to do was ask somebody though at this stage of life, I have so ominous and powerful—the who knew. That anonymous player been playing harmonicas much lon- instrument did not sing, it roared. I who had inspired me so was Tony ger than he had when the recording had heard several other great chord Sgro and it was his brother Dom was made. I have to remind myself, harmonica players, each having on those incredible chromatic for my own sanity, that he does their own individual tone and style, leads. this for a living and I don’t. however, I was a part of a genera- Not only did I now know who it Like me, the Sgros came from tion that had virtually no exposure was, they would be playing at the a musical family. Their parents to the great harmonica music of relatively close Buckeye Harmonica were Italian immigrants and the days gone by. Festival in a couple of months. boys started playing harmonicas There was something about this I was too excited to wait, so I like most of us did—with a child- anonymous player’s tone that really found the Sgros’ e-mail and fired hood gift of diatonic harmonicas. spoke to me and shook me to my off a message. A few days later As teenagers, they were, for a short musical core. I searched the album Tony called me. As a newspaper time, part of Borrah Minnevitch’s jacket, looking for some mention reporter, I’ve met a lot of famous Harmonica Rascals, but left the of who the chord player was. There people: governors, senators, musi- group so Tony could finish high was nothing. In retrospect, it’s clear cians, so overall, I was desensitized school.

28 Harmonica Happenings During the Korean War, the ecuted that I, who was paying the brothers enlisted in the Marine ultimate in close attention, wasn’t Corps. As Marines, they served sure whether Dom actually got hit their country with their harmoni- or not. The show was full of those cas, making numerous television moments. (including The Ed Sullivan Show) The showmanship was incred- and radio appearances as “The ible and they held back nothing. Marine Corps Harmaniacs.” Dom was dancing around the The brothers hadn’t been out of whole time and Tony slinging the Marine Corps for long when his chord, literally in a blur as Johnny Puleo—who took over he played, with incredible en- the Rascals after Minnevitch died ergy. Tony Sgro did quite a bit of in 1956—offered the brothers a lightning-fast, difficult changes contract. For the next few years, throughout the show, something they were a vital part of Puleo’s the ensemble they put together ensemble. gave him the freedom to do. The Even after the Golden Age of the bass guitar and drums take away Johnny Puleo’s Harmonica Gang Harmonica ended—the instrument some of the pressure on the chord had ceased to be pop-culture phe- he owns the place, but he treats player to lay down a consistent nomenon it once was by the early you like you do. It’s an incredible rhythm. Thus, the chord harmoni- 1960s—they continued to work. combination. We talked about the ca is freed to become something of They purchased a night club in old glory days that I wasn’t alive to a second lead instrument—a role Elmira, N.Y., saving considerable witness and he signed some Puleo Tony fills very well. expense by providing the entertain- records I’d brought. There was, however, something ment themselves. They performed Later that evening, shortly more to that ensemble mix. It was several times on the Grand Ole before the Sgros’ show, I sat with a a sound I had heard on Puleo’s last Opry (the brothers are quite proud pocketknife and sandpaper, taking album, Vol. 7, in the instrumental of their claim of being the first the paint off the back of my chord version of the Beatles’ “All My Italians to do so) and continued to harmonica and sanding the comb Loving,” that I dearly loved, but record. They performed on numer- down to smooth, bare pearwood had heard nowhere else. Imagine ous cruise ships and were even so Tony could sign it. He did and my enthusiasm at hearing a whole invited to the White House in 2004 I was also fortunate enough to get show’s worth. to perform for President Bush. it autographed by other chord leg- They ended the show with a The minute I walked into the ends, including Al Smith, George piece I had no idea they could pull Quality Inn Conference Center in Miklas and Bob Herndon. off at their ages, “Lover Come Akron Ohio for the quite brilliant- As the Sgros went on, I ex- Back to Me,” with no drums and ly resurrected Buckeye Harmonica pected to well, see a couple of guys with George Miklas switching Festival, I saw Phil Caltabellotta in their late 70s play some great from bass guitar to bass harmon- and Dom Sgro conversing at a ta- harmonica music. I was shocked by ica. It was like stepping back in ble. I walked over and introduced their youthful energy, enthusiasm time to the 1950s, when the Sgros myself and Phil, great guy that he and humor. Seeing the Sgros live is recorded that with David Doucette is, makes up some excuse to leave like glancing through a porthole in on bass for Puleo’s final album. and offers me his seat across from time to the 1950s in waning days I’m still starstruck. jq Dom. of the Golden Age of Harmonicas. Mind you, as a reporter, I once They still did their slapstick and David Payne is an employee of Har- sat for an hour talking with Ed- executed it perfectly. rison Harmonicas. He plays 48 chord, die Money in his tour bus and There was one moment where diatonic and chro- matic harmonicas, that didn’t phase me a bit. Finding Tony’s chord shot out of his arms primarily with blue- grass groups. myself alone with Dom Sgro, I was directly at Dom’s face and Dom You can contact him simply starstruck. He walks around reeled from it in Three Stooges at dave@harrison- harmonicas.com (I presume wherever he is) like fashion. It was so perfectly ex-

Winter 2011 3 Harmonica Happenings SPAH, Inc. P.O. Box 865 Troy, MI 48099-0865 The Reed Choker L.J. Atkison