An Interview with Michael Heath

Laina Freeman

Michael Heath is a senior member of HarmonicaUK and a fine chromatic player and is a regular at the Friday coffee mornings. I hope you enjoy his story so far. The beginning

I first lived in Plymouth and, although from a musical family, didn’t play any instruments until I was 16. Harmonica was still considered a bit of a novelty. I’d heard Larry Adler and Tommy Riley on the radio who were pioneers taking harmonica more seriously, playing different genres. However I never dreamt I could pick up a harmonica and play a decent tune. I used to visit my aunt in Tonbridge, Kent where there was a marvellous music shop, whose sparkling window of harmonicas caught my attention. I could just afford a Hohner Super Chromonica 12, at the princely sum of £2, 16 shillings - around £85 today. My aunt then asked if I could play, so I went to my bedroom and worked on playing nice clean notes. I could whistle Irving Berlin’s ‘This is the Army Mr Jones’ and after two solid weeks was delighted to play the whole song. Toots was an excellent whistler, so there is a credible connection with harmonica playing.

Life’s loves

As well as playing harmonica, I used to attend social events at the local rowing club where I met my wife Pat who was a keen rower. Over the years Pat has been so supportive and a great ‘roadie’ during my later events. I always yearned to work on aircraft, so when I was called up for National Service I signed up in the RAF as an Aircraftsman 2 finishing my time there as a Junior Technician.

Posted to the Suez Canal zone, and as we were confined to camp, we made our own entertainment. Of course I’d taken my Chromonica and discovered the brick built shower block had wonderful reverberation. Around 6pm most days I’d entertain the lads with popular tunes like ’The Sunny Side of the Street’, ‘Summertime’ and the Skye Boat song. Learning everything by ear I practiced my songs in the band room. There was also a jazz listening club and I was inspired hearing innovative musicians like Stan Getz, Dizzy Gillespie and Charlie Parker. Whilst their improvisation is unique I prefer to play melodies as near to their original. Max Geldray featured on the Goon Show and his Swing style really took harmonica in a new direction. However between 1955 and 1992 my one and only harmonica lay lonely in a drawer until I retired.

Large and little

After moving to Barton on Sea, New Milton, Pat and I joined the popular New Forest Organ Society at Milford on Sea. It was very sociable with both hobbyists and professionals playing different electronic keyboards and organs. This is where I restarted and developed my harmonica playing after a break from playing. After so many years without playing I was apprehensive at first but muscle memory worked its magic. From then I was invited to play at events with different organists backing my harmonica. The electronic organ is a fantastic instrument capable of extracting many unique sounds and, although so much bigger than the harmonica, pairs very well with the right amplification.

Learning to read music and melodies

At one organ demonstration I found a fascinating Easy Notation reading book. It highlights the note name and I was hooked. Within minutes I could play from notation, regardless of the key, and have never looked back. I still write the note name on new scores as well as carefully listen to a good vocalist’s version. Whilst I’ve never used tabs, Adam Glasser’s recent HarmonicaUK presentation shows they’re an excellent way of learning. Favourite instrument – I moved from Hohners to Hering Special 48s after meeting Harry Pitch and being impressed by the sound and the instrument itself. When Suzuki had a stand at the NHL Festival, I tried a Chromatix, now my current favourite. I’ve a Sirius 56 too but prefer the familiarity of a 12 hole where I can play everything I need, and if a melody goes below middle C I will use a ghost note.

After community events, invitations to larger venues and audiences followed. I performed at Bournemouth’s Victoria and Miramar Hotels and at several gala concerts. I mostly play from the Great American Song Book which has music I know my audiences like to hear, so there’s a good connection between us.

Embracing new technology

I’ve learned how to use a range of equipment and enjoy amplification for giving my music dynamics and variety. It also helps to conserve pressure on the reeds. My setup includes Yamaha mixing deck MG10XUF, Yamaha MSR100 and MSP5 speakers, and Roland C/F-CD Recorder CD2.

Scariest moment in playing

Two years ago I was performing at an afternoon tea event with the New Forest Organ Society at Milton on Sea. My oldest son who had never heard me play helped me to set up. There were fee paying guests and I was to do two 20-minute slots. All went to plan until I couldn’t find my glasses. Mild panic set in until the Society Chair handed me her glasses. Luckily they were perfect and the show went on. But where were my glasses... inside my harmonica case just where I’d popped them whilst attaching my harmonica to the mic.

Players who impress

Toots was the most influential. I’m very fond of Philip Achille and admire his talent moving from classical into jazz. Gregoire Maret’s level of musicianship is outstanding and I feel his connection with different musicians is another way forward in promoting the harmonica on a professional level.

Thoughts about the future for harmonica?

Every country’s music is influenced by its culture and the harmonica is so versatile - for example Brendan Power’s Asian inventions and Argentinian tango mimicking a bandoneon. Here in the UK with older musicians fading away we need to keep drawing in young people. Players like Rachelle Plas and Will Pound are great ambassadors. I see HarmonicaUK ‘s role of working with schools as most beneficial. Promoting the health benefits of playing harmonica is key too. Many great players lived to a grand age. At 88 I intend to keep playing and am now compiling songs to record my first CD.