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or . . . The Ins and Outs of a Harmonica Trio by BassHarp |
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The concept of a harmonica trio, consisting primarily of the chromatic (and/or diatonic)
harmonica, chord harmonica, and bass harmonica, existed well before the advent
of the Harmonicats, later known as Jerry Murad's
Harmonicats. But it was in fact the Harmonicats who brought it to the attention of the
masses with their hugely successful recording of the 1913 show tune, "Peg O' My Heart",
in April of 1947. There were several factors that grabbed the fancy of pop radio and
people in general at the time - the truly new and unique sound of the harmonica trio,
but also the use of one of the first echo chamber effects, pioneered by recording engineer
Bill Putnam of Universal Recording in Chicago. The first 1,000 pressings on 78rpm records
were sold out in two days after Chicago DJ Eddie Hubbard played it on his radio show.
Eddie is still active as a very popular radio DJ in Dallas, TX. (Ref:
Photo /
Echo Chamber /
Eddie Hubbard /
Bill Putnam /
Vitacoustic Story).
Also with the use of spectacular arrangements by Pete Pedersen, the Harmonicats under his guidance and tutelage helped to spark the interest of the listening audience. The Harmonicats then became the benchmark, by which all succeeding harmonica trios are judged. Trios are usually formed by harmonica players having a similar interest, whether they are members of local harmonica clubs, or simply acquaintances with a yearning to assemble into a playing group. However, harmonica trio arrangements, or charts, are sometimes difficult to locate, so it is common for trios to learn arrangements "by ear" from recordings. This is second best, but often a "necessary evil." As with any group, it is very important that all members of the trio agree on the direction they wish to take. This includes types and styles of music, whether it be show music, dance music, or any of the many other genres. They also need to decide their goals - certainly if they wish to play for self-gratification, or with intentions of playing for tips or even for specific fees, in a serious manner. This will include every level of paid performances - for local establishments, or taking to the road on tours. And if this be the case it is a good idea to join the American Federation of Musicians (AFM), or similar musicians' organizations depending on the country in which the trio resides, to be assured of receiving competitive pay - or better - for professional shows, or "gigs" as they are generally known. If playing for pay is the goal, serious time spent in rehearsal on a regular basis is of great importance. The tighter the group becomes, the more recognition will be realized, which then leads to respect, better gigs, and more frequent call-backs. The satisfaction gained in being recognized and respected for your talent is worth every minute of work put into preparation. Depending also on the seriousness of intent, a member should be designated to make contacts when searching for venues, or engaging booking agents, and handle the business end of the contracts. That same member, or another member agreed by all, should track all appearances and payment received for purposes of bookkeeping. It will be necessary to track all CD/tape sales, accounting for income and expense relating to CDs/tapes, and for tracking all fees to be paid to the publishers of selections on your recordings still in copyright and not indicated as original or public domain. Also all travel and lodging expenses will be included in the accounting process. This is very important, not only for income tax purposes, but also for the knowledge of all members of the trio. One area that is sometimes overlooked by trios is finding a method of financing the group in order to make needed purchases of equipment, instruments, costumes, recording session time, CD and/or tape production, and other expenses. The Dave McKelvy Harmonica Trio resolved at the time of its formation to set aside 10% of its net income after expenses, such as travel and hotel, have been paid. This "band fund" can then be used to make such needed purchases without out-of-pocket money being necessary. Another important topic for the professional group is one of dress. A performing group, especially a show group, needs to be mindful that a smartly dressed act will often impress the audience even before the first note is played, and indicates the sincerity of the performers to the audience. Whether the trio's intent is to be professional, or simply playing for personal enjoyment, it is so important that it be kept within the realm of satisfaction for all concerned. And especially if the intent is to be an earnest effort at making a living as a harmonica trio, the "fun" must be evident on stage, and transmitted to the audience. People are very perceptive as to whether or not entertainers are enjoying their "work", and can be won over by a trio even though a particular off-night performance may have a few imperfections. Never tire of rehearsing your selections, even though you may become totally bored with them, as many times little changes in nuances, chord progressions, bass patterns, etc, will make them fresh again for the performer. There is always something to be learned by rehashing a selection repeatedly. Also, never forget that audiences expect to hear certain selections over and over - especially those with which they may be familiar, having heard them by our many harmonica heroes of the past - "Peg O' My Heart" will always be requested, but also other selections such as Richard Hayman's recording of "Ruby", the Mulcays' "My Happiness", and Leo Diamond's "Off Shore", etc, will be suggested by your audience. And - if your trio develops a "signature" selection, be prepared to play it often. Do not be surprised if your audience exhibits excitement at the "big harmonicas", as most have never seen them before. We have a whole new generation who have never heard of, much less seen, the Harmonicats and similar groups. They have not experienced the phenomenon of the variety shows of Ed Sullivan, Milton Berle, Merv Griffin, Mike Douglas, Perry Como and the many others that offered a place for such groups to be seen. So there is a new world of entertainment possibilities opened up for our instrument, and trio format. There is a downside, however, but don't become discouraged by it. As noted, today's world does not offer the exposure that was enjoyed by the Harmonicats and Harmonica Rascals, so the general public is not aware of the harmonica trio as being a unique and exciting offering. Unless the older generation remembers "Peg O' My Heart" specifically by the Harmonicats, they also will be unfamiliar with the harmonica trio sound. You will find that a performance will stir excitement and awe in your audience, but they in turn may have some difficulty in transferring their excitement to a friend or relative who has not shared their experience. Agents encounter the same problem. When prospective buyers have witnessed and enjoyed the harmonica trio's show, the agent's job then becomes much simpler. We have been told more than once that the description of a harmonica trio brought to the mind's eye a group of three amateurs playing "Oh Susanna" on ten-hole diatonic harmonicas! This is not meant to demean our beloved 10-hole diatonic harmonicas and the artists who play them so proficiently, but only to depict what the general public displays as their uneducated concept. An edited five-minute video tape of a live performance with audience reaction will go far to help promote your trio. There is a battle to be won - and we can all have a hand in it.
References: |
Member and Executive Vice President Emeritus, SPAH Inc
Society for the Preservation and Advancement of the Harmonica