I stepped down as editor of Harmonica World magazine after the August 2019 issue and I decided to do the simple blog I never seemed to have time to do before .
I used to use the blog to announce when the new magazine was being mailed out. Now I want to make it more of a diary where I can share bits of research or news.
Your can check it out here – https://harptalk.tumblr.com/
This is an extended version of the review that was published in the Aug/Sept 2019 issue of Harmonica World.
Tommy Reilly – A Life in Music – Vintage Tommy Reilly.
Chandos CD20143 – CD Review by Cheng Jang Ming
Tommy Reilly is widely recognised as the master of the chromatic harmonica. He was born 100 years ago and he died 19 years ago. This collection of tracks was selected and lovingly assembled by his son David and Sigmund Groven. They have also written the extensive CD booklet covering his life and music. It is a great tribute to a unique virtuoso and giant of the chromatic harmonica.
Tommy learned violin and harmonica as a schoolboy in Canada. He started touring Europe at the age of 17, playing chromatic harmonica after his family returned to live in London. He was arrested in Leipzig in 1939 where he was studying violin and he was held in internment camps in Germany and Poland for the whole of the Second World War. The camps contained many other musicians and the imprisonment gave him the chance to practice and develop his approach to the harmonica. Being a violinist, he based his techniques on the playing of his idol, the violinist Jascha Heifetz. Tommy had access to food parcels from the Canadian Red Cross and he exchanged the coffee he received with a prison officer for Hohner harmonicas, a very precious instrument at that time. He managed to keep his violin all through the war, but it was stolen on the flight back to Britain at the end of the war in 1945.
Once he was back in London, he began to build a career playing harmonica in music halls and on the BBC.
The tracks range from his first recording, Deep Purple, made on his return to England in 1945, to his early 78rpms, and unreleased and commercial recordings made up to 1980. All the tracks have been carefully restored to bring them up modern standards.
There are tracks from Tommy’s many appearances on BBC Radio in the 1950s where he played classical music and standards. These led to 78rpm recordings on Parlophone where he was one of George Martin’s first artists. Together they employed new techniques such as echo and overdubbing on tracks like Bop! goes the Weasel and Dinah.
Tommy was a violinist in his youth and much of the inspiration for his harmonica playing came from studying Jascha Heifetz, I believe that although his instrument is harmonica, he still thinks like a violinist. You can hear his violinist style at play in his versions of Scarlatti’s Sonata, Sarasate’s Zigeunerweisen, Rachmaninoff’s Serenade, and in David Reilly’s Age of Innocence.
In fact, Zigeunerweisen is for advanced violinists, and in recent three decades several harmonica players have performed it in its entirety. But no matter how well they manage it, it always sounds to me like a tremendous effort from them. It would surprise many people that way back in 1953, Tommy Reilly had already conquered this song, not with great effort but with ease. He did it not by playing the entire work, but by picking the relevant parts. His version, rendered with impeccable ease, rhythm and vigour, truly sounds as fluid as a violin version.
Tommy’s own arrangements of El Cumbanchero, Jealousy, Begin the Beguine, The Breeze and I, are full of playfulness and ingenuity. These songs, in their original form, are rather easy ones for harmonica. But after being arranged by Tommy, they become advanced pieces for harmonica while still keeping their original lyrical flavours.
I first heard Gigue played by Tommy in one of his early videos. This is from Bach’s “Partita No. 3 in E major BWV 1006” for unaccompanied violin, a rather unusual piece to play on harmonica. The partita contains 6 pieces, the most famous one for harmonica players is Gavotte en Rondeau, made famous on harmonica by both Tommy Reilly and Larry Adler. They have their own arrangements (both transposed to key of C major). This Gigue is played by Tommy in the key of G major instead of the original E major. It is a very nice study piece for harmonica.
Voice from the Past, this is the first time I have heard this orchestra version. I really love this arrangement for harmonica accompanied by strings and guitar. It brings to me a deep sense of nostalgia. I couldn’t help it, I listened to it over and over again several times, as I consider this to be one of Tommy’s best performances.
I have the opportunity to listen to many old recordings of Tommy and also all his published CDs and many LPs. I actually prefer his vibrato from his early years, more intense, more violin-like. And this CD again confirms my feeling, because all tracks are from 1970 or earlier, except the last two.
The Red Flame is an original composition by Tommy. This song, and Hora Staccato, showcase his unmistakable throat staccato, so incredibly fast and yet distinctly clean. How on earth can anyone play throat staccato in octave at such high speed? He invented the Silver Concert harmonica only in 1967; I wonder how he could play so fluidly using those old 270 Super Chromonicas in the 1950s and 1960s.
Many of these recordings have not been easy to find in the past and I was pleased to be able to hear some old favourite again. The 30 tracks on this CD cover all the music styles Tommy is known for – classical pieces, popular music, Irish music, pieces written for harmonica, his own composition and arrangements and musical novelties.
This retrospective look back at Tommy’s recordings is a great introduction for anyone who is unfamiliar with his work, as well as providing some great listening for lovers of music everywhere.
In the CD booklet, Sigmund Groven provides very comprehensive background details on all the songs in this collection. Tommy’s son, David, also recalls his vivid memories of his father playing his harmonica. You will never regret reading their writings!
At £9.99, it is a real bargain. The tracks are available for streaming and as a download from Chandos .
You can hear Tommy speaking and playing in these interviews by the BBC.
Here is a musical tribute to Tommy Reilly
Tommy Reilly set the standard for playing chromatic harmonica and he was mainly responsible for the acceptance of the harmonica as a solo instrument on the classical stage. He had a prolific recording career. He was born in Canada in 1919 but spent most of his life in the UK.
Here Tommy talks about his musical life and plays some music on two BBC radio programmes – Music Weekly (Michael Oliver, 6 May, 1979), and Studio Portrait (Wilfred Parry (piano), 10 February, 1967).
Tommy’s silver chromatic harmonica was developed before the first radio programme in 1973 and after the second one in 1967.
Tracklist
1 – Music Weekly – Talking about the harmonica – Tommy Reilly
2 – Music – James Moody
3 – Talking playing the harmonica and repertoire – Tommy
4 – Villa Lobos Concerto for Harmonica – Tommy Reilly
5 – Talking about his Silver Harmonica – Tommy Reilly
6 – Parash’s Aria – Stravinsky
7 – Studio Portrait – Talking about composers – Tommy Reilly
8 – Caprice – Gordon Jacobs
9 – Scherzino – James Moody
10 – Talking harmonicas – Tommy Reilly
11 – Strawberry Fair – Leonard Morris
12 – Seventeen Come Sunday – Leonard Morris
13 – Talking history and harmonicas – Tommy Reilly
14 – Chanson Russe – Stravinsky
15 – Talking film music – Tommy Reilly
16 – Après un Rêve – Faurè
17 – Talking about Polish customs – Tomy Reilly
18 – Bulgarian Wedding Dance – James Moody
Larry Adler was the first harmonica superstar. He was born in 1914 and he took the chromatic harmonica onto the concert stage and into films, playing popular and classical music.
This recording was made in 1998 for the BBC when Larry was 84. Larry Adler’s Century was broadcast as seven weekly programmes but Larry produced an edited version on a tape cassette which he gave to his fans.
Larry was an entertainer in the full sense of the word and he enjoyed playing the harmonica, writing in magazines and appearing on radio and TV shows. He had a fantastic knowledge of classical and popular music and would play with anyone, anywhere.
Here he talks about his life and plays some of his recordings.
Tracklist
1 – Introduction – Larry Adler
2 – Smoke gets in your eyes – Jerome Kern
3 – Beginnings – Larry Adler
4 – Minuet in G – Mozart
5 – First jobs -Larry Adler
6 – I want to be loved by you – Stothart
7 – Al Capone – Larry Adle
8 – Playing the harmonica – Larry Adler
9 – Summertime – Gershwin
10 – Playing the chromatic harmonica – Larry Adler
11 – Bach goes to Town – Alec Templeton
12 – Meeting Ravel – Larry Adler
13 – Bolero – Ravel
14 – Meeting George Gershwin – Larry Adler
15 – Rhapsody in Blue – George Gershwin
16 – Musical Joke – Larry Adler
17 – Lets call the whole thing off – George Gershwin
18 – Harold Arlen – Larry Adler
19 – Blues in the night – Arlen
20 – Musical Joke – Larry Adler
21 – Somewhere over the rainbow – Harold Arlen
22 – World War II Jack Benny – Larry Adler
23 – The Continental – Conrad
24 – Meeting Ingrid Bergman – Larry Adler
25 – Song for Ingrid Bergman – Larry Adler
26 – Gettysburg Address – Larry Adler
27 – Relationship with Ingrid – Larry Adler
28 – As time goes by – Hupfeld
29 – The House Un-American Activities Committee – Larry Adler
30 – It ain’t necessarily so – Gershwin
31 – The blacklist – Larry Adler
32 – Genevieve – Larry Adler
33 – Writing Genevieve and the blacklist – Larry Adler
34 – Genevieve – Larry Adler
35 – Yesterdays – Larry Adler
36 – The effect of music – Larry Adler
37 – Ode to Joy – Beethoven
38 – Speech in Australia – Larry Adler
39 – Meeting with Sting – Larry Adler
40 – Ten Summoners Tales – Sting
41 – Glory of Gershwin with Elton John – Larry Adler
42 – It’s very clear – Elton John
43 – Programme credits – Larry Adler
44 – Nice work if you can get it – George Gershwin
Harmonicas sur Cher is my favourite festival. Great location, great organisation, great music and great local support from the people of Saint Aignan. For three days, harmonicas can be heard on the streets, in the cafes, the church and the Salle des fete.
Saint Aignan is a small old town with narrow cobbled streets in the wine valley of the river Cher, near where it joins the Loire at Tours in Central France.
There are some small daytime events but the core of the festival is the three evening concerts in the Salle des fêtes. Each concert features two artists/bands and this blog features music from all of them. As usual at this festival, the range of music and harmonica styles is very wide. You can look for something that you like or, maybe, sit back and listen to some of the places the harmonica can take you. You might be surprised!
Thursday (Jeudi) 25 May. The concert was opened by the Zanella Trio who play acoustic jazz and world music featuring Jérôme Peyrelevade : diatonic harmonica, Gilles Zanella : guitar, and Cyril Cianciolo : bass. Jérôme’s latest CD is called Somewhere on the Edge of Time – www.jeromepeyrelevade.com. The track which is featured is Nadia’s Nights.
The concert was closed by Cory Seznec, a band playing a mix of blues, country and African music. Cory plays guitar and banjo and David Chalumeau is the featured harmonica player. Their latest CD is called Backroad Carnival – www.coryseznec.com. The track which is featured is Sell You My Soul.
Friday (Vendredi) 26 May. The concert was opened by French Canadian harmonica player and storyteller, Gérald Laroche, who presented sound images to illustrate his stories. He used harmonicas, Celtic flute, Indian mouth bow, Jews Harp and percussion instruments to create a unique fusion of sound and speech. His latest CD is called Rubato: Stealing Time – www.geraldlaroche.com. The track which is featured is Last one to leave.
The concert was closed by jazz chromatic player, Will Galison, who performed a musical fantasy based on Homer’s story of Odysseus. He was accompanied by a jazz trio with the composer, Karim Maurice on piano and a small string section, la Camerata – www.willgalison.net. The track which is featured is Circe. The website for Karim Maurice’s Odysseus project is www.karimmaurice.com/enw-galison-k-maurice-la.
Saturday (Samedi) 27 May. The concert was opened by new group, Liouane, led by chromatic player, Thomas Laurent. The music included traditional compositions and music influenced by Eastern Mediterranean and Balkan music played on oud, clarinet, percussion, harmonica and double bass. Their latest CD is Liouane – www.coursharmonica.com. The track which is featured is From Bethlehem to Angers.
The concert and the festival was closed by Mountain Men, featuring Barefoot Iano on blues harmonica. They played their own mix of rock and roll and blues (with a touch of Madness) which had grandparents, parents and children dancing in the isles as the evening drew to a close. Their latest CD is Black Market Flowers – www.mountain-men.fr. The track which is featured is Still in the Race.
That was the end for 2017 but Christophe Minier will be back with another Harmonicas sur Cher festival in 2019.
If you want to see what the town and the festival looks like, here is a video I made at the festival in 2011. www.youtube.com/watch?v=GrWYRd8qI8Q
1 – Jérôme Peyrelevade – Nadia’s Nights – 00:00
2 – Cory Seznec – Sell You My Soul – 03:26
3 – Gérald Laroche – Last one to leave – 08:17
4 – Will Galison – Circe – 11:51
5 – Liouane – From Bethlehem to Angers – 19:03
6 – Mountain Men – Still in the Race – 24:20
When I started to play the harmonica 27 years ago, Toots was big in Belgium. He did not only play on films and in concerts, but also on many local music shows and local television series. He was also the godfather of the great Jazz Middelheim Festival and played the national anthem before an International Soccer game.
When I attended a workshop by Toots I had the nerve to play him a tune. He said Cool man, let’s start the second part like that and to my disbelief we played this tune together, Toots on guitar and me on the harmonica in front of all these music students. Afterwards he give me a big hug. He was a lot of fun with his Brussels accent – a true ambassador for Belgium.
After his seventies Toots could no longer play the guitar well, due to a stroke, and only from then on he became a full time harmonica player. He constantly reinvented himself and in the last years of his public performances he really got to the essence of his playing. Very bluesy, very sparse and soulful. He made me cry and laugh at almost every concert I heard him.
Amazingly, the longer I play, the more I play the chromatic, and I realise how wonderful Toots was and will ever be as a human, as a musician and as a mentor.
Thank you Toots for your kindness, humour, passion and inspiration!
This appeared in the October 2016 issue of Harmonica World as part of a special tribute to Toots.
On Saturday 27 August, I attended the funeral of my friend and mentor, the incomparable Toots Thielemans. I was on tour in France when I heard the news of Toots passing, and I knew I had to go to Belgium to pay my respects.
I drove with Belgian harmonica player, Steved De bruyn, to Toots home town, La Hulpe, a peaceful little town not far from Brussels. People lined the streets and pictures of Toots were displayed on a large video screen.
The Prime Minister and Prince of Belgium attended the service in the local church, which was full to its capacity of about 500 people.
Kenny Werner, Toots’ accompanist, played Bluesette beautifully as the pall bearers entered carrying the coffin, The pastor gave a moving eulogy about the breadth of Toots’ contributions to the world, as a musician and as a kind, generous and loving human being. Several friends spoke, including Kenny Werner who read out a personal message from President Obama.
After the funeral friends gathered at a nearby hotel to reminisce to the sounds of Toots’ Brazil Project albums. Even as I chatted with others, I was constantly distracted by the sheer mastery of Toots’ playing on this masterpiece recording. It brought home to me once again the significance of Toots’ musical legacy.
This appeared in the October 2016 issue of Harmonica World as part of a special tribute to Toots.
I was lucky to meet Toots and play with him on two occasions – once around 1980 at a club in Chicago, and then at the Harmonica Summit in 2000 in Minneapolis.
When we met in Chicago, I told him how I chose to play Jazz on diatonic because I loved the bluesiness of the instrument and wanted to play everything on it. I told him that I visualize the keyboard when I play diatonic harmonica. Toots told me that he did the same – he called it keyboard vision from starting music by playing the accordion. I felt a real kinship with him.
He invited me to play a tune in the second set – he had heard of me and I think that he was a little curious. I was very excited and a little nervous so I picked Autumn Leaves, the simplest Jazz tune I could think of. The audience liked my playing. He then played a fantastic version of Speak Low. His knowledge of harmony gave me something to aim for- not just as a harmonica player but as a musician.
In 2000 Toots shared many stories of his early days playing sessions in NYC. When musicians showed a lack of respect for the harmonica. he showed them a stub from a royalty check from Bluesette with him. I loved this story. It showed his fierce, determined side and his great sense of humour and irony.
Toots was a total original. He didn’t imitate other harmonica players. He was inspired by all the great Jazz musicians – guitarists, pianists, trumpeters, horn players etc. and he played with many of them including his explorations of Brazilian music with Elis Regina and Oscar Castro Nueves. He combined these high- level musical collaborations and his encyclopedic musical knowledge into a powerful and emotionally compelling style that appealed equally to casual listeners and the most advanced Jazz players.
Toots was truly beloved by the harmonica world. His personal warmth was genuine. His playing was inspiring and directly touched people’s hearts. He also endeared himself to millions of children by playing the Sesame Street theme song. Many other people enjoyed his playing on film music without ever knowing it was him.
And finally – Bluesette. This innocent, seeming little tune that he wrote around 1960 is actually a 24 bar blues, and he put the clue right there in the title. It took me about 20 years of playing it to realize that. It uses descending be-bop 2-5 progressions a la Charlie Parker, but goes several steps further than the convention of going down to the 4th, continuing down the whole tone scale all the way to the key of the b2 before the final turnaround. It’s also a European-sounding waltz – graceful, humorous, elegant, harmonically advanced and bluesy all at once.
Just like Toots.
This appeared in the October 2016 issue of Harmonica World as part of a special tribute to Toots.
Toots came to the USA in the 50’s to join the Benny Goodman band and later George Shearing. John Lennon saw this LP cover in a shop in Hamburg, with Toots playing guitar, and decided if the Rickenbacker 325 was good enough for Toots he wanted it and hit the pawn shop on the corner!
He moved to the NY area in the 50’s to Yonkers, Montauk and NYC, In the 70’s I found his number in the AF of M Musician’s Directory and called him. He told me he had no time to teach but would be glad to talk and advise me by telephone and he never refused my calls and we chatted many times.
He said, “we were phone buddies, and was happy to answer my questions and gave me some invaluable practice tips which I will always treasure. In the 70’s he would tell me he was ready to retire from the NY studio scene as he really wanted to be more known as a jazz artist with his own Quartet. I would go see him live in NJ/NY at Ramapo College, Gulliver’s, The Blue Note and Greene St. in NYC.
Years later I went to see Toots at Carnegie Hall called The Magic of Toots with my friend Chris DePino and teacher Robert Bonfiglio. At the end of the show with tears & a big smile in his eyes Toots came up to us backstage and said Guys, I can die now, I played with Herbie Hancock at Carnegie Hall – we all laughed.
I asked him many questions, he loved talking about his work with Quincy Jones and Jaco. He said he met Paul Simon when Paul was a kid. Paul’s dad was the bassist on the old Arthur Godfrey show in NYC in the 50s & 60s!
When the Beatles came to do the Sullivan show in NYC, Rickenbacker Guitars asked Toots to go and demo their Guitar for them in a NYC Penthouse – John loves Toots!
Then only 4 years after John was shot dead in NYC, Toots played on his son Julian’s hit LP Valotte. Three years later in 1987 Julian came up to me in a NYC club and asked me if he could sit in with my band….We did Johnny B Goode!
Toots told me that Quincy wanted to do a record someday with Stevie Wonder and Toots as the featured artists!…Quincy got too busy and that never reached fruition.
These are just a few of my Toots memories, I guess I need to write that book.
Goodbye Toots and thank you so much for everything.
This appeared in the October 2016 issue of Harmonica World as part of a special tribute to Toots.
I first met Toots Thielemans when I was only 17 years old, in Seville, during the World Exposition of 1992. My father and I had travelled there to hear and meet the great Toots Thielemans! I was beginning to get interested in jazz so I was really excited! We arranged to meet in the lobby of his hotel for a coffee and chat with Toots before the concert. The moment arrived and suddenly I was there sitting beside the genius of jazz harmonica. I felt the luckiest boy on earth.
I´m not sure what the conversation was about but after 10 minutes Toots said something I will never forget. He looked at me and said: Hey boy! you must be kidding if you think I´m going to let you play with me on stage like Larry Adler did! Imagine how I felt. For one second I was devastated.
Then he continued: Let´s see, what scale would you play on a Dmin7(b5) chord? I answered wrong not only because I was nervous but also because, to be honest, I had no clue of what Dmin7(b5) meant. My knowledge of harmony at that point was only about I IV V progressions. He stoped me and said: You still have to study a lot if you want to come up on stage with me. From that day on I started to take the study of harmony and improvisation seriously and I understood that playing the harmonica very well wasn´t enough if I wanted to play jazz.
I will always thank Toots for being so honest with me on a critical point of my career.
The rest is history…
Thank you Toots!!
This appeared in the October 2016 issue of Harmonica World as part of a special tribute to Toots.