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Featured SlideMeister Member - June 2015
Mike Turk

SPAH 2001 Denver, CO.

I met a lot of great players at the SPAH convention back in 2001 (I believe) but one that still stands out is Mike Turk. Whatta neat guy! I was immediately impressed with him as a person, as well as a monster jazz player with one of the smoothest styles out there. SlideMeister's proud to feature Mike Turk for the month of June.

….not for lack of trying….

Okay, Who’s Mike Turk anyway?

American born, Mike began playing harmonica in 1967 at age 14. Mike’s father, Dick Richards –member local 802 AFM in NYC, was a busy, working Jazz bassist and vocalist from 1940’s to 1970’s. Despite all that, Mike first found the harmonica and gravitated to the sounds of Chicago Blues music, Rhythm & Blues and even the Folk Blues that was surging from the depths of New York’s Greenwich Village night clubs at that time. He was profoundly influenced by the playing of Paul Butterfield, Junior Wells, James Cotton and Little Walter Jacobs.

By the early 1970’s he had developed his technique on the “blues” or diatonic harmonica and found his way to Boston where he soon became a local figure in the vibrant music scene that was happening there. Turk performed or “sat in” with performers such as Bonnie Raitt, Lowel Fulsom, Hound Dog Taylor, Charlie Musselwhite Band and even Dave Van Ronk and Steve Goodman.

Eventually, Turk landed in the prominent New England Country & Western band of John Lincoln Wright & The Sourmash Boys. It was this period in the 70’s that Turk began to explore the possibilities of the chromatic or “Jazz” harmonica. He left Wright’s band after about 1 year, after which, he spent the period from 1978 –1980 at the Berklee College of Music. This, then, afforded Mike the “tools” so to speak to understanding the technique and musical approach of the great jazz phenomenon Jean “Toots” Thielemans.

Although Toots is European, Belgian born, the fire in his playing comes from the profound influences and inspirations of the great American Jazz players such as Benny Goodman, Charlie Parker and Zoot Sims. Toots’ early albums are American productions accompanied by some of the heaviest Jazz & Bebop players at that time.

…” I’ll always think of the music on Thielemans’ Columbia and Riverside recordings as amazing American Jazz experiences!” Turk remarks.

As Tony Mowad, the Pittsburgh jazz radio host and journalist often emphasized,… “ Jazz is the gift that America gave to the World”.

With all this in mind Turk began to formulate his ideas on the Harmonica with an almost purely “American” approach using the technique and harmonic devises used by Toots Thielemans. Eventually, Turk’s influences would come from a virtual textbook of Bebop and Modern Jazz written by the likes of Charlie Parker, Sonny Stiit, Dizzy Gillespie, Dextor Gordon, Cannonball Adderly, Lee Morgan, Chet Baker, Gerry Mulligan, Pepper Adams, Ben Webster, Stan Getz, Wes Montgomery, Milt Jackson, Bill Evans, Lucky Thompson, Hank Mobley…many more, East Coast Bop & West Coast Cool!

In the 1980’s & 1990’s Turk remained in Boston as a working Jazz harmonicist performing in concerts, clubs and as an “on call” studio musician. In this period Turk performed and collaborated with great Boston players such as Gray Sargent and Marshall Wood ( presently with Tony Bennett) and had the great honor to play with Dave McKenna from time to time. Other somewhat unsung, top-notch Boston players include Jeff Stout, Dick Johnson, Jon Wheatley, Lou Columbo, Ray Santisi, Paul Schmelling, Paul Broadnax, John Lockwood, Bob Guilloti, the great Joe Hunt and also Alan Dawson…..many more great players not mentioned here!

Recently, Turk had the great pleasure of sharing the Scullers Jazz Club concert stage with jazz vocalist Rebecca Parris and her band consisting of Brad Hatfield, Peter Kontrimus and Jim Lattini.

Mike Turk’s American jazz influences played on the chromatic harmonica are exemplified throughout his recording career. “Harmonica Salad” CD includes jazz tunes such as "Lament" ( JJ Johnson), "Half Nelson" (Miles Davis), "The Mooch" ( Ellington).

“ Turk’s Works” CD, a total homage to Lester Young, includes his arrangement of "Lover/ Diggin’ For Diz" ( D. Gillespie), "Three Little Words", "Crazyology" ( Bud powell), "Peace" ( Horace Silver), "Prey Loot" ( Lucky Thompson).

“ The Nature Of Things” CD's title inspired from the recorded version by Bill Evans, also includes "I want To Live" ( from the 1955 Hollywood movie same title), "Con Alma" ( D. Gillespie) and shows Turk returning back to his Blues Harp roots on "Pickle in The Bank".

Turk’s foray into the history of Bossa Nova with “ The Bossa 5” has a classic Bossa Nova band featuring the piano and arranging of Alfredo Cardim who came up through the original Bossa Nova scene in Rio de Janeiro & Ipanema. The similarities and influences of bebop and cool jazz in Bossa Nova tunes is clearly pointed out and explained by Toots Thielemans himself in his live performances and interviews!

The recent CD release “ The Italian Job” is a collage of jazz tunes arranged for an Italian Jazz group Echoes Of MJQ and recorded in Italy.

Mike pays tribute to Bill Evans in "Pavane" ( Faure), Gerry Mulligan's take on "Django’s Castle" ( Reinhardt), Chet Baker & George Shearing on "Conception". Here, Alessandro Fabbri, Mike’s Italian drummer, wrote 2 tunes on this album. The previously mentioned tunes are a seemingly European/American interpretation. However, once again, Turk settles back to the American “textbook” with "Old Man River" ( J. Kern), "All My Tomorrows" ( Cahn/Van Heusen), "Funk In Deep Freeze" ( H. mobley) and a very anomalous return back to Turk’s blues roots handling the vocals on "Maxwell Street" (Turk original) ...where the Chicago Blues was born.

Turk’s most recent release “ Bluesin’ Around” is available on internet download only from CDbaby and Itunes. It is a retrospective compilation of Blues and Bluesy Jazz.

Turk reflects thoughtfully…” At this point, I don’t enjoy the life of a thriving, successful jazz musician, nor have I been chosen as anyone’s successor but,…..damn!, it ain’t for lack of tryin’!”...

Mike’s friend, bluesman, guitarist Paul Rishell once stated, “ if playing blues isn’t enough for the music, then the music just sounds like something else that is not blues”. Turk’s sentiment is cut from the same philosophy….” If Jazz, an American expressive art form, isn’t enough for the music….it stops being jazz!

Featured SlideMeister Member - April 2015
Gary "Gnarly-He-Man" Lehmann

Arriving "home" within a day of the forum's opening, long time SlideMeister "cornerstone" Gary Lehmann AKA: "Gnarley He Man," is a prolific poster, and a witty, tech-savy Suzuki factory guy, and more. Gnarley has an extensive YouTube "liberry" of cool and useful instructive videos, and we just love having him around to pick on and learn from. :o)

Gnarly is a member that we more or less expect to hear from just about every day and he pretty much obliges with either some useful tech stuff, or just an amusing "thinkie" that makes ya smile and go: "Hmmmmmm"

A.J.Fedor

And here we have Gary Lehmann, singer, guitarist, and harmonica player.

Gary was lucky enough to make something of a living in San Diego playing music for the last 35 years, much of it in town. Quite knowledgeable about American popular music, with a fondness for 60’s music, Gary was introduced to the harmonica by John Frazer, AKA Harmonica John, when they played a hotel two hours east of San Diego for months. Not much progress was made for ten years or so, until he got a gig that required harp (in the holder, with guitar).

It took Gary another ten years to make it to chromatic, and Slidemeister was an early aid. Since then Gary has developed repair skills (a cost-saving device) and become a harp technician. Again, through a stroke of luck, he has acquired the Harmonica Repair Technician spot with Suzuki Music USA, and so gets to rub elbows with some of the best harmonica players in the world.

Gary is married to Candy Meyer, they have been together for 26 years, and they share a poodle, Pierre.

Featured SlideMeister Member - March 2015
Dan "Danny-G" Gajovski

I'm sure it's pretty obvious that Danny G has been a close personal friend of mine for many years, as well as a SlideMeister "President's Club" Member, but rather than me rattling on about him, we're just going to let him tell his story here. This will be a good read. Enjoy! :o)
A.J.Fedor

I took accordion lessons when I was a kid but I didn't really get interested in playing music until one early morning I was driving along with the windows open, the radio blasting, sipping a cup of coffee, smoking cigarettes and still feeling myself falling asleep. I pulled over, stopped for a few minutes, I opened the glove compartment to get a fresh pack of smokes and saw a Marine Band that someone had given me as a gift. It was about a 90 minute drive to work, I found that I never got sleepy while playing the harmonica.

Time marched on, I finished my apprenticeship, worked several jobs as a journeyman and ended up hiring into Ford in 1978. A year or so later, I was walking down the hall at Ford's Cleveland Stamping Plant and this English guy, John Lionel Crown came up to me and said:
"I hear you play harmonica"
"Yes, I play"
"Well, play something for me".
So we walked into a shower room, where the acoustics are really good, I pulled out my Special 20 and gave it my best shot. I'll never forget it, he said "Very nice young man, if you ever get rid of that toy and buy yourself a real harmonica, come and see me". Well, I walked away without saying a word and I doubt that Age would let me get away with telling you what I thought. A few days later John walked me into the same shower room, pulled out a 270 and played the most amazing rendition of Ravel's Bolero I'd ever heard. I bought a 270. There aren't many quiet places in a stamping plant so for the next few years every lunch time was spent with John Crown and me sitting across the table from one and other in the salaried cafeteria with our harmonicas.

Chuck McKitrick had years ago, put himself through college playing in piano bars and jazz clubs. One day he came into the cafeteria and asked if he could sit with us while we played. Chuck and I started meeting at his house after work and worked up an act.

I always thought that being at the right place at the right time means being somewhere special but Chuck and I were just practicing at his house one morning when there was a knock on the door. Dale Garbor, who went to college with Chuck was in town visiting family decided to stop by for a visit. Before he left, he invited us to come sit in with him and Terry Thomas at Gene Autry's Hotel in Palm Springs over the Christmas holidays.

After flying across the country all day, we arrived in Palm Springs on Christmas Eve, the limo dropped us off at the side entrance of the Red Cantina. Baggage in hand as we walked through the door, a spot light hit us and over the sound system Dale said "Ladies and gentlemen, from Cleveland, Ohio, it's Dan and Chuck!" We went up said hello and played a few tunes. We were about to make our way up to the bar to unwind from the trip when a waitress said that she had a customer who had a request. I probably couldn't have pulled it off if I'd have known who had made the request, but when we finished playing Bluesette, I even got to meet David Frost and Zelda Rubinstein. We spent the next day, Christmas just visiting and sight seeing.

The hotel was preparing for their New Years Eve party and filled with politicians and television people who were there because January 1, 1986 President Regan was exchanging televised New Year's greetings with Soviet President Mikhail Gobachev. One of the satellites for the transmission was on the hotel roof. The President and First Lady Nancy Regan were staying nearby at the Annenberg's Sunnylands retreat not far from the hotel. There was allot going on, I had a ball and met allot of people.

1986 was the year that Jim Hughes came to SPAH and announced the First World Harmonica Championships and Festival. When I told Chuck that I was interested in entering the competition, he said "you're good but you aren't nearly good enough to play in elite competition". I was about to go through a nasty divorce and was feeling a little touchy. I told him that I didn't say I thought I was good enough to win but I sure as hell think I'm good enough to try. I worked with robotics at Ford and decided that I'd find a way to automate him. When I got home, I bought a keyboard, a Roland MC500 music micro processor, an amp and I sent away for the test piece, "Caprice" by John Moody.

A few weeks later the package arrived and I got my first look at the sheet music. I remember thinking, my God, what did I get myself into. It might as well have been written in Latin but by then, I had told way too many people that I was going to compete to just swallow my pride and write it off without trying. I couldn't even play the first measure, had no idea what Andantino or any of the other tempo makings meant. I made several copies of the music, bought a music dictionary and started out by writing the note names and tabbing out the pages one by one. Once I could play all of the notes, I took another copy of the music and tabbed in the timing per measure. By April, 1987, I could play all of the notes but I was confident that I wasn't playing it right. Reluctantly, I asked Chuck if he'd take a look at it and tell me what he thought. He looked it over and said that it was way over his head but offered to introduce me to someone who might be willing to help. Chuck made a call and arranged for us to meet.

Richard Saxman gave private piano lessons and taught virtuosity to advanced and graduate students. I gave him a copy of the music, explained what I was trying to do and asked for his help. He didn't make me feel very optimistic about it but he agreed to look over the music and told me that I should come back in a week when he'd let me know after hearing me play. It was a long week. After the audition, he told me that starting at this level and working backwards isn't how music should be taught but that he was willing to work with me. I spent the next six months, five days a week arriving at his house at 8 AM and working with him until 2 PM when I had to leave for work.

For that whole year, every minute that I didn't have something else that I had to do was spent working on Caprice. This was the only time I ever played it publicly and I've never played it since. I'll be forever grateful to John Lionel Crown, Chuck McKitrick and especially to Richard Saxman, I couldn't have done it without their help.

I had a half dozen backing tracks made in time for the 1988 SPAH convention. I had taught my then new and now ex-wife how to chain play the songs individually on queue. Everything was going my way. The keyboard and MC 500 were setup in the back of the room next to the platform where the video cameras were setup, sound check went well and everything was, so I thought, ready to go. Show time comes, I'm onstage and enter Murphy's Law (if something can go wrong, it will). I played a trill that was her queue to start the backing track and to my horror, it was in some weird wrong key. No matter what she tried, every song was in the wrong key. The people near the keyboard were yelling at her. I asked if there were a chord and bass player willing to come up and help me out. The room was in shock, I didn't see anyone coming up so I played ah Capella. It was the most embarrassing thing I've ever experienced onstage. Later I found out that some time during the day, a chair was knocked off of the video platform and whoever picked it up had supported themselves by leaning on my keyboard and had pushed the slider tone control all of the way forward. My ex-wife was so shaken by the people who were yelling at her that she refused ever to attend another harmonica festival.

I didn't go to SPAH in 1989 but a few days after the convention I got a call from Donald Beyer (first chair oboe in the NY Symphony) who asked if I'd be interested in entering the trio competition for the 1990 World Harmonica Championships with him and Jennifer Hager (euphonium NY Symphony) It was going to take place here in the U.S. I agreed.

Donald sent me 3 handwritten arrangements he made for me to work on and invited me to join him and Jennifer for a week in March at the 1990 New York Symphony's Brass Conference so we'd have an opportunity to practice together. The brass conference was a great experience, we practiced and things looked like they were coming together. About a week later Jennifer was told that she had to have an operation. John Seaton from the New York Philharmonic offered to take her place then a few days later suffered a fall and broke his hip. Then they found a cancerous spot on Donald's liver. To top it off, they found that my step dad had pancreatic cancer. I spent allot of time at the hospital playing harmonica for him and pushing the button on the gadget that administered his morphine. He died in June. For a long time after that, every time I picked up the harmonica I could picture him laying there and dying. I put my aspirations of becoming a professional harmonica player in the dresser drawer with my harmonicas and for several years quit playing altogether.

I don't know what the odds would be against me moving next door to Bob Nelson, a guy who played bass harmonica with a trio in the Air Force Tops in Blue and later as The Harmonica Riffs, played on both The Ed Sullivan and The Arthur Godfrey television shows, but when I bought this house, that's what happened. Over the years Bob and I would get together to drink beer and play music around an evening campfire. Once we even got together with a chord player, Jack Theres from the Windy City club and played at a Buckeye Festival. Bob passed away a few weeks ago and I already miss him.

I was stringing Christmas lights in my walnut tree the day before our 2006 harmonica party when the ladder broke and I fell about 15 feet and broke my heel. The party went on but I didn't make it to SPAH that year. I was unable to work so when September rolled around and I got invited to play a one night stand at a local restaurant, I jumped at the chance. I was invited back for the next night and ended up playing every day for the next four months.

Danny & Linette Gajovski

I retired from Ford that December and tried buying the camp ground where we held our 2007 harmonica party. That didn't work out so I went down to Marion, Ohio and helped Doc Belcher remodel the Marion Crossroads Restaurant and Bar. I played every day except Sunday there in the restaurant lounge for the next five months. Marv Monroe and several members of the Buckeye club would stop in and play with me on Wednesdays. After Jack Ely passed away, the Columbus Club decided to have one last festival so because they knew I could play dinner music, I got invited to play dinner music and give a Band in a Box seminar at that Buckeye festival.

In 2009, I decided to build a website and get into the harmonica business. I took a bath selling all of my Ford stock and started New Harmonica. Later in the year, I called Marv Monroe to see if they had changed their minds about not having a 2010 Buckeye. He said no they had not changed their minds but if I could find another club willing to host it, the Buckeye club would support it. I got in touch with Duane Gisewhite , the president of the Rubber Capital club and ended up organizing and being the festival chairman of the 2010 Buckeye Festival. The 2010 festival went so well that I decided to do it again in 2011. Ten days before the 2011 festival I had only sold a disappointing 37 festival packages and made the painful decision to cancel the festival.

Since then I've kept about as busy as I want to be busy. I play at nursing homes, retirement communities, private parties, an occasional restaurant, wineries, and believe it or not, even a gig entertaining at a motor cycle clubs national convention. I was a vendor at the last Buckeye festival, the last 5 Garden State festivals and the last 3 Virginia Harpfests, all of the Huntington, WV Harmonicolleges and the 2014 Bean Blossom Blues Festival. This year will be my 6th time vending at SPAH.

Now I'm looking forward to living the rest of the story.

Danny G http://www.newharmonica.com/

Featured SlideMeister Member - January 2015
Henry "The TabMeister" Leweis
A.K.A. henymouni

Henry "The TabMeister" Lewis

Henry is a long time SlideMeister member who (for years) has resisted multiple attempts to feature him on this page. Finally after threats of bodily harm, ;o) I was able to convince him to let me feature him.

Henry is what I like to call our "Behind the scenes Chromatic motivator" because he has taken it upon himself to post about a zillion tabs for the Chromatic harmonica, and as such, in the last couple months, has even passed me in in the "new threads started" department. (so now I'm actually number two, and no one else is even close!)

Henry has earned the undying gratitude of the Chromatic community. In fact, I wouldn't be surprised if the tabs he's posted over the years weren't responsible for some genuine Chromatic converts. When someone with absolutely no music reading ability, can follow along on a simple 1, 5, blow, draw, button in, button out chart and hear "music" as a result, it can have a very positive effect on that person's musical attitude. With a Chromatic harmonica and simple/visual system of tabs, the heretofore "complicated' Chromatic becomes a very playable and indeed learnable instrument.

Yep! Henry is a very special guy. Here's his story

A.J.Fedor

I come from good Irish Stock. My Mother ‘Peggy’ was born and raised in Buttevant Co Cork. (UK) My father (also Henry Vincent Lewis) was born in Camross, Co Wexford. They met in England, in the town of Leeds. Father was a Master carpenter and mother was a home help/waitress.

My older sister Bernadette & I were born in Leeds. Father died of TB when I was 2 and my sister was 4 years old and we were sent to Buttevant to be looked after by my Grandmother & Grandfather, so mother could work. We stayed there for 4 years, before returning to Leeds.

I was good at sports and average at other things, because I was not too interested. However, as time passed, I started to take an interest in education, and rapidly improved. I had no musical interest apart from listening to pop music. My Grandfather on my father’s side was a music teacher (’The fiddle’) in Camross, Wexford. We had no real contact with him, as my mother re-married, and I got another sister, Rosemary, who is a fine singer.

When I left school I found I was good at business, and did well being first a stock controller, then an office manager; Regional office manager / Sales rep. I went to Africa, and countries selling industrial Rubber & Plastic products. Then I became a company Sales Director & Managing Director in the UK, before starting my own business with a partner Ian, who is now deceased. I am now retired.

One day, about 11 years ago, my wife & I were walking in the town of Clitheroe, and we wandered into a music shop looking at the instruments on display. I bought a diatonic harmonica and announced:

“I will play ’Summer Time’ for you by Christmas Day”!

I still don’t know why I did it, as it was the last thing on my mind, as the song goes!! It did not take long for me to realize that there were notes missing on the diatonic!! Back to the music shop for a Chromatic. I came across Brendan Power at that time and was pleased to note that he was offering the small harp solo tuned and half valved, before it became popular.

Doug Tate was also very helpful, and generous, and patient! After a few months of trying to play ’Summertime’ I found SlideMeister!! I was a complete newbee, and asked a lot of questions, and received answers from people who knew what they were doing! Like Age, Tom the Grizzly, Smokey Joe, Gary the Gnarlymeister, and good many there. You could say I was ‘born’ here, musically. I am your ‘monster’. ;o)

So many friends here, who have given me support. Too many to mention them all, but you know who you are. I am self taught, but wish I had knew more. So much more. Being grateful was not enough for me. I needed to contribute in some way. Then Age introduced the ‘Chromatic Tab’ section. This I CAN do, I thought. Replacing little knowledge with enthusiasm and staying power, I was away!

I knew I could rely on Gary Gnarly He Man for advice and help in musical matters. So here I am!
A quantity rather than quality man perhaps, but each to his own. Yes I did play ’Summertime’ that Christmas, and ’Silent Night’!

Featured SlideMeister Member - December 2014
"Smokey-Joe" Leone

I suppose it all started for me in the early '40s. There I was lying in my crib, I couldn't have been more than one or two. We lived about 132 feet from the railroad tracks in an old dilapidated wooden house.

Every night the trains would load up at the coke ovens up river and when they reached the edge of our little mill town next to Pittsburgh, they would blow their whistles to let the open hearth furnaces know that they were close. The sound of those whistles echoing off the valley escarpments were some of the saddest sounds I ever heard. Like the crying of kittens and puppies. And they stay with me to this day.

So the late '40s found our family in Vienna, Austria where my father had been posted as labor attache. Probably a front? My Polish mother would listen to music from Poland, my Italian father, music from Italy. Me? I liked the stuff coming out of Hungary. Didn't realize till later that a lot of it was in minor keys. A few years later in the early 50's, we were posted to Trieste, Italy. I still liked the gypsy and Hungarian/Romanian stuff. Now one of the duties of our family was to go along when father took visiting dignitaries to the opera or concerts. I grew to love concerts, but hated opera.

One weekend Father took Mother and I to Genoa to see a new ship being launched. The Andrea Doria. My two older sisters didn't want to go. On the way back we stopped in Venice and while strolling through a back alley, we came upon a tiny music store. Barely 2 meters (6'8") wide, it had a corner window where accordions were crammed in. Every thing from a standard 41 key to a diminutive 12 key. Of course there were also button boxes and concertinas too, but I fell in love with a 27 key beauty. White mother of pearl she was. But alas, I knew I would never get it. That night I couldn't sleep, snuck back to that shop and stood there salivating for over an hour.

Jumping ahead to the mid '50s found us posted to Naples, Italy. One day I was going to the Navy PX to buy a Swiss army knife. My mother had me pick up a box of cigars for my Father's birthday. Now my parents didn't like noise around the house and I came home with a Hohner C 48 chromatic, so I had to play the thing in secret. On our way home to the U.S. from that trip, our ship (the Andrea Doria) was struck by another ship and sunk. My chromatic went down with her. And I may be the only person alive who was at BOTH the launching AND the sinking. In any case, I replaced that harmonica. Next trip overseas, I was playing at a cafe in the park in Naples. Being a foreigner, I wasn't allowed to be paid but I received tips.

Wanting to graduate with my old friends at my old home town, I returned to America, living first with an aunt then a grandfather. My friends had put together a doo-wop singing group and I was asked to do the bass voice. So I would sing and occasionally play some harmonica, and by this time I had picked up diatonic.

I was unhappy with the #5 draw reed and so I raised it 1 sharp. This opened up a plethora of songs that previously took me 2 or even 3 diatonics to play. I called it doo-wop tuning. We know it today as 'country tuning'. I may not have been first with this idea, but I haven't found any reference to it earlier than me. I also started to dabble with clarinet at this time. I got to meet Jimmy Beaumont & the Skyliners, Louie Sacco (Lou Cristie), and others making the VFW, fire hall, Legion, K of C dance circuits.

End of high school, my parents still wouldn't let me drive. Frustrated I left home and drifted around the South, worked in a ship repair yard till I joined the Navy. After a few years I returned home, worked in a shipyard, then construction, then joined the State Police. While stationed in the mountains of PA. I played with country western and party bands at Ski lodges, summer camps, dances, etc. Same as I had done in High School.

Marriage and children came next. The big change came in 1975 when our daughter was born with a rare, internal but serious birth defect. This led to the parent's mentoring group at Pittsburgh Children's Hospital and meeting Fred Rogers, Johnny Costa, Joe Negri, and the Public Broadcasting bunch. I eventually joined the jazz society and got to play with a lot of visiting and local musicians. And started dabbling in trumpet. Appeared on Mr. Roger's neighborhood.

Got involved in a contest where I placed 3rd (out of 38). The first prize was cash, a recording contract, and a tour schedule. Was told by the one woman judge that the reason I didn't win was because when I sang a tune that was originally done by a specific artist, I sounded TOO much like that artist. But should have a shot as a touring singleton tribute act. But otherwise unmarketable as a recording artist because I didn't use my own voice. Well I couldn't tour anyway, I was a Trooper for God's sakes! So I donated my 3rd prize money anyway. And felt good that I had gotten that far. Soon afterwards I was sent a ticket and 2 nights at the old Savoy Hotel in Nashville. Wound up doing a Christmas show there -Guest of Ernest Tubb.

Met, became friends with and hung out with Jerry Murad from '88 on after he broke down on the Pennsylvania Turnpike - not that I wish to name-drop. I've known and played with too many to mention famous people over the years.' :)

Joined Spah in 1991 and started playing harmonica more regularly. Since moving to Florida in 1997, I had been relatively active from 1997-2007.

I play primarily at Supper Clubs in the Ft. Myers/Sanibel Island area. My band mates are mostly retired music teachers, studio musicians, or people from the industry. We do dance, Latin, jazzified pop, American song book, etc.

Since 2007, I have slowed down quite a bit. Looking back, my life has been mostly quiet with bursts of sheer terror, lol. I have played T.V. Radio, commercials, been on others' records, made a commercially done tape of my own, done telethons, River Boat, some cruise ships. Only thing I'm missing is a movie gig, lol. I have also been shot at several times, been in a helicopter crash, a prison riot, and been pushed 100 ft. off of a bridge.

So my theme song is: 'Is that all there is?' Dunno...not dead yet.

Featured SlideMeister Member - October 2014
A.J.Fedor

Cranky ole' SlideMeister's mug

Been so incredibly busy lately (and at less than my physical best - aka: sick as a hoot owl) I wasn't up to coming up with a new featured artist for the month of October. So, okay, since I do write all the "features" around here, and my real name is "Arthur," I guess that'll be my excuse for featuring myself. ;o)

So, for the month of October, we're just gunna "feature" "Arthur!" :o) Just click on my "mug shot" above, and it'll take you to my page, (cuz I'm even too lazy to actually do another whole page for the event. Over there, you'll find my bio, pictures, YouTubes, sound-files and more. See you there. :o)
A.J.Fedor

Featured SlideMeister Member - September 2014
Tom "Grizzly" Baehr

Photo, courtesy - Cindy Baehr

Tom Baehr Has been part of the SlideMeister family for a long time. Not sure of the exact date, but I know for a fact that we've been putting up with each other for at least ten years years. ;o) "Grizz" actually lived here in Ohio about twenty minutes down the road from me in the quaint, picturesque little town of Chagrin Falls, when he was a younger (cough!) man. I like to tease him about his old age, since he's got a few months on me. Tom is a prolific poster; second only to myself in the number of posts, BUT unlike mine, Tom's stuff is always pretty good! :o)
A.J.Fedor

Tom Baehr started playing harmonica in grade school, and even appeared in a couple of talent shows. He didn't play again for several years, then he couldn't figure out the chromatic his dad bought him; it was Richter tuned. A few years more passed, and he got a solo tuned one, a Chrometta 12. He didn't take to it, either.

By then, he'd gotten very involved in school band, and dropped any interest in harmonica. His interest in music, though, strengthened, and led to his majoring in music in college.

Tom taught music in public schools in Michigan and Vermont, working very briefly for a music publisher in New York City in between. All told, he only taught for five years.

But while he had jobs in janitorial maintenance, auto sales, and factory work, music remained an important part of his life. He played autoharp, fretted dulcimer, ran a dulcimer and autoharp festival for 23 years, sang in a succession of choral groups, performed some and conducted others. He landed a job, which became a career, making flutes for a company in Boston, which he currently holds.

Photo, courtesy - Zachary P. Stephens

When it appeared that arthritis would start affecting his flute playing, he went back to chromatic harmonica about 10 years ago. His first new harmonica this time was a Hohner Super 64; great range for anything he contemplated playing. He has since acquired several others: several CX 12s, a couple of SCX's, some used ones that seem to mysteriously come and go in and out of his possession.

Tom got good enough to play a recital, which was well received. He went to several harmonica conventions, including two SPAHs, enjoying the camaraderie of many fellow players.

And, of course, he discovered SlideMeister Forum, on which he's made a few posts now and then - more than 10,000. Some silly, some a little more informative and worthwhile. He says SlideMeister has been a very rewarding community to participate in, and count some of them as friends and good acquaintances.

He has gone forward in his musical pursuits with penny whistle, as well as his choral singing, conducting, composing and arranging a cappella music. Actually, Tom's been composing for many years. He still finds time to play chromatic harmonica, mostly in church. Tom's repertoire is primarily classical music, but he's also played selections from the Great American Songbook and folk music when it's called for.

While Tom Baehr has gone through many changes in his life - jobs (several), marriages (two), abodes (many), parenting (four) - music has remained central to his existence. Music has taken him down many avenues. In a significant way, he says it saved his life and he's especially grateful that chromatic harmonica has been a part of it.

Vocalise Rachmaninoff.MP3

Featured SlideMeister Members - August 2014
George & Janalyn Miklas

We'll talk about Janalyn first because I think she's a lot better looking than her dad. Janalyn is a girl my wife and I actually got to watch grow up each time attended another harmonica event. She looks like her mom and is already beginning to play like her dad.

A.J.Fedor

A Family Tradition--Three Generations

The late Stephen Miklas played the harmonica for U.S. Army Generals George S. Patton and Dwight D. Eisenhower during WWII, and then began teaching his 4 year old son, George, to play. At 19 years old and a Freshman at the Dana School of Music, George Miklas joined Jerry Murad's Harmonicats to play the 48 Chord when Al Fiore retired in 1984. In 1985 George's dad passed, and he was advised to go back to college and finish his music degree. George had an opportunity to re-join Murad in 1993, but this time he would play the Bass harmonica after Dick Gardner retired. George would remain with The Harmonicats until Murad's death in May, 1996.

George loves the harmonica so much, that he has taught his wife, Jodi, and two children, Janalyn and Caleb. Janalyn began performing on the chromatic harmonica at 10 years old and by 12, she had the opportunity to perform Murad's recorded hit "Peg O My Heart" at the SPAH Convention in Minneapolis MN with Dick Gardner on Bass, her father on the 48 Chord, and assisted by Chris Bauer on Chromatic. She has steadily been building her repertoire of songs of increasing difficulty. In 2012, Janalyn won the SPAH / William Rosebush Youth Grant to attend the SPAH Convention in Dallas, Texas where she performed John Philip Sousa's "Harmonica Wizard March." In 2013, Janalyn attended the 50th SPAH Convention in St. Louis MO where she performed Tommy Reilly's "Valsentino." Later in 2013, she received the SPAH / HOHNER Youth Performance Scholarship to attend the World Harmonica Festival in Trossingen, Germany where she also performed "Valsentino".

For 2014, 15-year old Janalyn is preparing Augustin Lara's "GRANADA." She performed at the 51st SPAH Convention in St. Louis, MO, and plans to travel to the National Traditional Country Music Association's National Oldtime Music Festival in LeMars, IA. There the Miklas Family Harmonica Band will perform on the same stage as John Carter Cash, Bill Anderson, Charlie McCoy, Patti Page, Mickey Gilley, and many more. Janalyn will be named 2014 Rising Legend as she is inducted into the NTCMA Hall of Fame. George will be inducted into the NTCMA Pioneer Music Museum representing the former members of Jerry Murad's HARMONICATS.

In addition to performing and endorsing HOHNER Harmonicas, George is an authorized HOHNER dealer selling new Hohner harmonicas on his website, Harmonica Gallery http://HarmonicaGallery.com/hohner He is a respected, independent harmonica repair technician, servicing all brands of harmonicas and has an inventory of refurbished chromatic harmonicas for sale as well. Janalyn is George's apprentice and works along side her dad in the repair shop, and staffing the sales booth at the SPAH Convention and Virginia Harmonica Festival.

”Congratulations, Janalyn, on your first recording project. My brother, Dom, and I remember when you first began to play the harmonica. We were happy to perform with you in Dallas, Texas, and are thrilled that you have taken up the harmonica after your father. We are very proud of your accomplishments and know that they will take you far in life.”

Antonio (Tony) Sgro

The Sgro Brothers

Featured SlideMeister Member - July 2014

Winslow Yerxa

Winslow currently teaches at the Jazzschool Community Music School in Berkeley, California, (http://cjc.edu) and produces the annual knowledge sharing gatherings of the Harmonica Collective (http://harmonicacollective.com). He has also taught at David Barrett's Harmonica Masterclass and Jon Gindick's Harmonica Jam Camp.

Winslow is currently president of SPAH, the Society for the Preservation and Advancement of the Harmonica (http://spah.org), which stages an annual summer harmonica festival. He also continues to contribute to the understanding and appreciation of the harmonica through such online forums as Harp-l and Slidemeister.

This month, we're featuring Mr. Winslow Yerxa. SlideMeister started over 14 years ago, and one of the first names I came to know as I began to explore the wonderful world of harmonicas was Winslow Yerxa. That name was never mentioned lightly; but rather always used to add credibility to the subject being discussed, as in: "Winslow Yerxa said this or Winslow said that . . ." Kinda made me go: Hmmm! and ask myself: :Who is this guy, E.F.Hutton??" Since then, I've learned that when Winslow says something; you could pretty much take it to the bank.

A.J.Fedor
- the ole' SlideMeister

Winslow Yerxa is a harmonica player, performer, author, inventor, and teacher centered in San Francisco, California. His lifelong quest to understand the harmonica (and help others do the same) began early on, when he couldn't find a teacher and had to figure everything out the hard way.

Winslow has authored the books Harmonica For Dummies and Blues Harmonica For Dummies and writes for David Barrett's teaching site bluesharmonica.com. Other notable writing activities include publishing the magazine HIP - The Harmonica Information Publication, transcribing John Popper's harmonica solos for publication, contributing to Howard Levy's Out of the Box instructional DVD and the Howard Levy Harmonica School, and writing a regular column for Mel Bay's online zine HarmonicaSessions.com.

As a performer, Winslow plays nearly every type of harmonica, in addition to composing, arranging and conducting. Currently he performs with in a duo with violinist Tuula Tossavainen, and small acoustic ensembles.

Featured SlideMeister Member - May 2014
Tobias Volkamer

Tobias Volkamer is a rare talent. Over the years, I've heard more than a few who play the Chromatic harmonica and guitar, simultaneously. (which is mind boggling to me) The only satisfaction I ever got out of it is that I was always able to say: "Great, articulation and stuff, but the tone of the Chromatic seems to take a back seat to every other aspect of the performance.

This universal shortcoming helped me feel better about my personal, non-existent, multi-tasking abilities. (which we won't even go into) because I could honestly say: "Yeah, the guy's good but the tonal quality is less than stellar." (as I am a card carrying tone freak :o) ) That's always been my personal justification for never even attempting to play my guitar and Chromatic at the same time; "If I can't give either instrument all the attention it deserved, why waste the effort?" :oP

Enter Mr. Tobias Volkamer. The very first time I heard him, just two bars into the performance, I immediately shut up and sat there awestruck and at total attention. This guy does it all and does it all very well!

Tobias Volkamer was born in Dusseldorf, Germany in 1963 and started playing harmonica at the age of five! (yes, FIVE) He started playing the guitar when he was 15 years old. As soon as he was able to play some chords, people began asking him to sing while playing, but he really didn't want to sing or learn lyrics . . . so he started playing Bluesharp.

Years later, a friend offered him a Chromatic harmonica as a gift. Hey! There were all those missing notes that weren't on his Bluesharp! He wasn't about to give up playing the guitar, and felt he'd like to try both. He soon designed a foot pedal to do the buttonwork on the Chromatic instead of using his guitar picking hand.

In the beginning, it was totally (and understandably) confusing not to tap the beat with his foot, but to push the pedal depending on the melody. He had to practice a lot, and finally it began to click, as did the music. Soon, he moved to the more difficult tunes with faster and more complex chords and melodies.

Today, Mr. Volkamer will tell you his music had become a real friend to him. He says it demands a lot of practicing, but also gives a lot in return (and I will add that the proof is in the performance!)

Click here for Tobias Volkamer's YouTube channel

As usual, you''ll find two You-Tubes below, but I just grabbed two at random because I couldn't decide on which I liked best. I suggest you just go to his YouTube channel mentioned above, hit "play all" and plan to spend some time there being challenged, discouraged, encouraged amazed and of course, totally blown away!

A.J.Fedor
- the ole' SlideMeister

Winslow Yerxa﻿

Winslow Yerxa