EASY REEDINGHOHNER’S MAGAZINE FOR THE HARMONICA ENTHUSIAST

SUMMER 2012

CATCHING A BREATH WITH HEIDI NEWFIELD

FEATURED ARTISTMARKO BALLAND

IN THE STUDIO WITHJELLY ROLL JOHNSON

HARMONICAS IN CENTRAl PARk WITH HARMONICA vIRTUOSO

JIA-YI HE AND

NYC MAYORBLOOMBERG

facebook.com/HohnerMusic

youtube.com/HohnerUSA

twitter.com/PlayHohner

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HOHNER News

The Supervisory Board of Matth. HOHNER AG has appointed Clayman Edwards as a member of the Manage-ment Board. Mr. Edwards will also serve as Chair-man of the Su-

pervisory Board of HOHNER SA in Semur, France, vice Chairman of the Board of

Ryan Wear has joined HOHNER Inc. as Harmonica Product Manager. Ryan comes to HOHNER from Indiana where he was the Product Manager for Stu-dent Instruments,

The global network of HOHNER websites are getting completely overhauled and are set to be launched this summer. In addi-

Directors of Shanghai, lansheng HOHNER Musical Instruments Co. ltd. and Manag-ing Director of HOHNER Musikinstrumente GmbH & Co kg. For the past 6 years, Mr. Edwards has been President of HOHNER Inc., the company’s US subsidiary located in Glen Allen, virginia. A native of Newport News, virginia, Mr. Edwards earned a BS in Finance and an MS in Accounting from the University of virginia and has an MBA from the College of William & Mary. He is 47 years old.

Import Products, and Proprietary lines for Conn-Selmer. Ryan is a drummer and re-ceived a minor in music while at Missouri Western State University along with his BS in Business and Marketing. He was also a member of the Colts Drum and Bugle corp. He was an active percussion clinician as well as a member of the kansas City Chiefs Drum-line in 2010 and 2011.

tion to a new look and feel, the sites will offer many features including video work-shops and tutorials for harmonica service, a new integrated shopping cart system, a section dedicated entirely to harmonica customizers, artist videos, HOHNER news from around the world, interactive galleries and much more.

We are also uniting our social media efforts globally to help us stay in closer contact with our customers and to keep them more informed.

NEWSMatth. HOHNER AG Announces Leadership Change

HOHNER, Inc. Names New Harmonica Product Manager

New HOHNER Website Launching This Summer

Clayman Bruce Edwards

Ryan Wear

F rench harmonica phenom Marko Balland first picked up the instrument at age seventeen, when he heard the legendary

Big Walter Horton. Soon after, the fledgling harpist found him-self sharing Parisian stages with blues icons luther Allison and Rosa king. Inspired by the music of Jimi Hendrix, Marko began to explore a new path. “I became an instant fan and decided to duplicate his music on the harmonica“, recalls Balland.In 2001, Marko released “Adonf‘experience“, a tribute to Hen-drix. Bolstered by the CD’s warm critical reception, Marko’s style shifted further away from traditional blues music. “That‘s when I

decided to play hard rock and metal rock”, says Balland.With his hard rock harp style firmly in place, Marko released “Mille et Un Réveils“ in 2008 and “Dentelles Hurlantes“ in 2011. Making extensive use of electronic effects, Marko’s innovative and fiery solos break new ground while maintaining a link to classic blues and rock traditions. Marko Balland will perform at the 2012 SPAH convention in Irving, TX.https://www.facebook.com/pages/Marko-Balland/191515470318

FEATURED ARTIST Marko Balland

ConTEnTSHOHNER News 2

Tech Notes 4

Our CD Pick 4

In The Studio 4with Jelly Roll Johnson

SouthBound 5By Adam Gussow

Catching a Breath 6with Heidi Newfield

Hohner on Tour 7

Harmonica Mass Appeal 8in Central ParkBy Jamie Emmerman

HOHNER Service Center 10

The HOHNER Service Promise 11

Meet the HOHNER Service 11Center Team

FlexRack 12An exciting, innovative approach to the hamonica rack

One of my

most memo-rable record-ing sessions was with the great Etta James for “The

Right Time“ album. The session took place in Muscle Shoals, Alabama at Muscle Shoals Sound Studio. This was a tracking session where the artist and all of the musicians are record-ing at the same time. The musicians included Steve Cropper on guitar, lucky Peterson on keyboard, Steve Ferrone on drums and Willie Weeks on bass. Producing the session was the legendary Jerry Wexler, who also produced Ray Charles.

The first song was “I Sing the Blues.“ Jerry worked up the arrangement, and he decided I should do the solo in the middle. He wanted the ending to be a slow fade. Etta‘s vocalizing at the end of the song was spontane-ous, as was my answering her on the harmonica. This was one of those sessions where I had to pinch myself to make sure I was not dreaming.

Equipment used: I played a HOHNER Marine Band, key of A. I played through a Shure PE50SP mic and Fender Super Reverb amp.

http://www.jellyrolljohnson.com/

SouthBoundBy Adam Gussow

After the success of my debut CD, kick and Stomp (2010), which featured four-

teen tracks of harmonica-powered one-man band music—studio-live, no overdubs—I decided to take the next step. I laid down nine of the eleven tracks on Southbound exactly the same way, kicking and stomp-ing (and harping and singing) by myself, then went back and sweetened every track.

I used three different bass players, includ-ing soul-disco legend Jerry Jemmott. (His big, warm sound dances through my version of trumpeter Hugh Masakela’s “Grazin’ in the Grass.”) I played rhythm guitar on six songs. Many folks don’t know this, but I attended Berkelee’s sum-mer jazz guitar program as a teenager and some of that stuff, including a handful of thirteenth chords and stacked fourths, found its way onto this album. “South-bound,” a remake of the Allman Brothers’s tune, features some twangy fills in the style of Dickey Betts.

As an album, Southbound is evenly divided between blues tunes and jazzier, funkier repertoire. I cover Jimmy Reed’s “You Don’t Have to Go” as a stomp-down shuf-fle and follow it with the “Sanford and Son Theme,” backed by Bill Perry, Jr.’s percolating keyboards. On that last track I juggle two harps—I start off the familiar melody with a Joe Spiers Stage One Marine Band, key of C, then switch to a Crossover in F and warble hard on the 45 draw. I switch harps back and forth. It took me a while to figure out that little trick! It’s an ingenious tune, the way it modulates: a perfect two-harp showcase.

Two tracks on Southbound are drawn from the world of contemporary “smooth” jazz: “Why Not” and “Green Tomatoes,” by trum-peters Chris Botti and Rick Braun. “Why Not” has a haunting Dorian-mode melody that os-cillates between the sixth below and the flat third above—the so-called “devil’s interval” of a diminished fifth. It works perfectly on a Bb Marine Band in third position, especially with Jerry Jemmott’s phase-shifted bass bubbling down below. “Green Tomatoes” is played in second position, also on a Bb

harp, but here I roughed up Braun’s smooth jazz melody, hammering the bent 34 draw double-stop to give it a raw blues feel. As the percussionist, I’m also banging my kickdrum and tambourine pedal.

I really like the new Crossover model, by the way. It’s brighter than the stock Marine Band

and—to use a sportscar analogy—much quicker in the turns. On the title cut, where I’m playing an F harp, the Crossover made it easy for me to zip up and down, top to bot-tom, without missing a note. But I love the stock Marine Bands, too. I use a stock E harp on Freddie king’s “I’m Tore Down,” a Texas shuffle that’s been getting a lot of airplay on Bluesville. On the solo I took my cue from Albert Collins; I tried for his angular, slashing attack. Why shouldn’t blues harmonica play-ers be inspired by blues guitarists—and jazz trumpet players, and r&b sax players? We need to stretch out and take risks.

The album ends with a trio of tunes from three different stylistic directions. “Home to

Mississippi” is an original composition in a rockabilly vein. I tracked vocals, foot (we ac-tually miked my foot stomping on the ground as a click-track), and harp, with the harp am-plified through an early 50’s Masco MU-5, a tiny tube amp. Then we took out the foot and added early Elvis style guitar—my producer’s

playing, not mine—and a thrashing cock-tail drumset, along with some doghouse bass. “C. C. Rider,” recorded on the night of the full moon, has the wild, careening energy of a bucking bronco. I’m amazed that the Joe Spiers Marine Band held up under my onslaught.

The final cut, an instrumental version of the early 60s lounge hit, “Alley Cat,” dials the energy way back. Here I’m using a high G, also a Marine Band customized by Joe. I do the descending melody off the 6 blow, which means I’m sliding down into the 5 and 4 overblows—a ball-busting little run. And then I’m holding the 5 overblow as a long vibratoed note. On a high G harp! I did it as a challenge to some traditionalist players who complain that overblows are out of tune and sound “tinny.” Not on this cut!

So that’s the album. It’s variations on the harmonica-powered one-man band sound--enlarged into duos, trios, a full band. It’s got a bluesy Deep South flavor, in part

because all the musicians (including me) live in Mississippi, but you gotta remember: I was a New York guy until I moved down to Dixie ten years ago. Jazz and funk, the whole contemporary urban thing, have always been a part of my sound. This album was a way of putting the different pieces together and say-ing “Here you go. This is who I am and where my heart is.”

Adam Gussow is an associate professor of English and Southern Studies at the University of Mississippi as well as a professional blues harmonica player and teacher. Since 1986 he has performed with Harlem bluesman Sterling “Mr. Satan” Magee as the duo Satan and Adam. The webmaster of ModernBluesHar-monica.com and the founder of Hill Country Harmonica, an annual teaching intensive in north Mississippi, Gussow is also the author of three books, including Mister Satan’s Ap-prentice: A Blues Memoir (1998).

...the Crossover made it easy for me to zip up and down, top to bottom, with-out missing a note.”

“

By Joe Filisko

In The Studiowith Jelly Roll Johnson

Tech Notes

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Quite fre-quently the

question arises about cleaning and/or sanitizing the harmonica. My advise has always been to not clean your

harmonica with anything that you would not want in your mouth. A rag moistened with hot water is a good start to remove visual dirt on the cover plates and comb. If sterilizing is a priority for you, please try a rag moistened with listerine or your favor-ite mouthwash, and give your instrument a nice wipe down. I have never encountered an issue with mouthwash harming any cover plate or comb finish. If you suspect

that this may happen, please proceed carefully.

When your instrument has been played often and you begin to notice little sta-lagmites and stalactites growing inside the holes, I suggest that you wait until the instrument is good and dry before pro-ceeding with a brush for scrubbing down vegetables. Hold your instrument with the holes facing downwards and the bristles of the brush facing upwards. Gently work that brush against the mouthpiece and holes. You should notice the debris field on the table in front of you. After working this for a moment, firmly tap the harmon-ica, holes still facing downwards, against the palm of your hand to further remove and loose debris. This may be a good time to give it a good wipe down with the rag again.

Joe Filisko - June 2012

Adam Gussow’s “Southbound” is a revelatory exploration of his diverse

influences. Incorporating blues, jazz, and even lounge music, Gussow manages to craft a cohesive, personal, and inspired statement from wildly disparate sources. “Southbound” features compositions by blues icons (Jimmy Reed and Freddie king), contemporary jazz stalwarts (Chris Botti and Rick Braun), and original material authored by Gussow, among others. The CD’s title cut is an adaptation of the Allman Brothers’ classic, on which Gussow masterfully reinterprets Dickey Betts’ guitar work on harmonica.

Departing from the strictly solo format

of his previous CD, “kick and Stomp”, Gussow augments his percussion, vocal, and harmonica performances by overdubbing his own guitar work.

There are also inspired performances from various guest musicians, including legendary bassist Jerry Jemmott.

SOUTHBOUND is available from iTunes and Amazon mp3s. It‘s also available direct from Gussow, as a download with liner notes (mp3s or WAvs) or a CD, at

http://www.modernbluesharmonica.com/southbound_1.html

Read Adam’s article “SouthBound” on the next page.

Our CD Pick

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and I’d try to break those down. In high school my friends were into fluffy music, like Depeche Mode. And I’d want to hear a John Mayall record.”

As one of the very few prominent female har-monica players, Newfield has been thrust into the position of role model for aspiring female musicians. “A 13 year old girl who sees me playing, and says ‘that’s pretty cool, I’ll think I’ll try that. I want to learn the harmonica…’ Well, that makes me feel great. That’s a pretty cool place to be.”After years of relying on the HOHNER Special 20, Heidi is a recent convert to the Marine Band Crossover model. “I usu-ally play Special 20“s...but, recently....my wonderful rep Scott Emmerman turned me on to a newer harp called The Crossover...and I lOvE IT! It‘s got a little louder, ballsy, sound…and they are just as easy to play and bend notes as the Special 20!”

While the harmonica has always held a prominent role in her dynamic live shows, Heidi’s upcoming CD features her har-monica playing more than her previous

studio outings. “The next record will be more ag-gressive, more raw, and rocking. But we won’t be afraid to be too country. And there will be harp all over it. Harmonica is just a really important part of me. I think harmonica is a perfect fit for country. And it goes back to the mountain music, even before the Civil War.”

Please visit HeidiNewfield.com for more information.

2012 has been a busy year for Nash-ville hit maker Heidi Newfield. With a

new single and music video already out (“Why’d You Have To Be So Good”) and a new CD and tour to follow, she’s barely had a moment to catch her breath. “It takes drive, an immense amount of hard work, sacrifice, and patience. I‘m a firm believer in people paying their dues...not just expecting to walk out there and have it handed to you. People that work for it....appreciate it more. They respect the team players that are helping them get there....and they hone their craft. It takes tenacity! OH....and if you are going to sing...learn about the history of those who paved the way for you! Do your homework. And always.....always have fun!”

Since first taking up the instrument at age six, Heidi has been drawn not only to country music, but other genres as well, particularly blues. “In country the #1 guy was Charlie McCoy, whose sound I love, but I found myself drawn to the blues. At nine or ten I was buying records by Sonny Boy Williamson, little Walter, James Cotton,

Images by Ash Newell at Ash Newell Photography

“Harmonica is just a really important part of me. I think harmonica is a perfect fit for country.”

new single Why‘d you have to be so good available on iTunes

Catching a Breath with Heidi Newfield

Hohner on Tour

8/10/2012 The Tralf Buffalo, NY8/11/2012 Downtown Oakville Jazz

FestivalOakville ON CANADA

10/20/2012 Tusten Theatre Narrowsburg, NY11/11/2012 Grand Opera House Wilmington, DE11/17/2012 One Longfellow Square Portland, ME1/11/2013 River Park Church Calgary ALB CANADA1/12/2013 Braeside Community Ctr Calgary ALB CANADA4/5/2013 Monmouth University Ctr of

Distinction for The ArtsW. Long Branch, NJ

4/27/2013 Landmark on Main St Port Washington, NY

8/11/2012 Smukfest Bluesenstage Skanderborg, Denmark

8/15/2012 Tavastia Helsinki, Finland8/16/2012 Klubi Tampere, Finland8/17/2012 Swing Wespelaar Festival Wespelaar, Belgium8/24/2012 Riverfront Park Nashville, TN8/25/2012 Minnesota State Fair Minneapolis, MN8/26/2012 Minnesota State Fair Minneapolis, MN8/31/2012 SPACE Evanston, IL9/01/2012 Hot Springs Blues Festival Hot Springs, AR9/08/2012 Prairie Knights Casino &

Resort PavilionFort Yates, ND

9/16/2012 California Beer Festival - Mission Park

Ventura, CA

9/23/2012 Alpine Village Events Ctr Torrance, CA10/06/2012 The Resort at Marina

Village Cape Coral, FL

10/26/2012 River Spirit Casino Tulsa, OK

8/10/2012 State Fair West Allis, WI8/11/2012 DTE Energy Music

TheaterDetroit, MI

8/12/2012 The Lawn a t White River

Indianapolis, In

8/14/2012 Jones Beach Amphitheatre

Wantagh, NY

8/15/2012 Penn’s Landing Philadelphia, PA8/17/2012 Sands Bethlehem Bethlehem, PA8/18/2012 Bank of America

PavilionBoston, MA

8/19/2012 Bangor Waterfront Bangor, ME8/22/2012 Flying Monkey

Performing Arts CenterPlymouth, NH

8/23/2012 Paramount Ctr for the Arts

Peekskill, NY

8/24/2012 Klein Mem. Auditorium Bridgeport, CT9/12/2012 Utah State Fair Grounds Salt Lake City, UT9/14/2012 Spokane Interstate

FairSpokane, WA

9/21/2012 Uptown Theatre Napa, CA9/29/2012 Crossroads Kansas City, MO10/28/2012 Ponte Vedra Concert

Hall Ponte Vedra Beach, FL

11/5/2012 Epcot Theme Park Orlando, FL11/6/2012 Epcot Theme Park Orlando, FL

As summer twilight fell upon Central Park’s Dairy lawn on June 21st, the

melodic sound of HOHNER harmonicas filled the air as Make Music New York’s (MMNY) Mass Appeal event took place. As a sponsor, HOHNER donated free harmonicas to the first 100 participants of the session. The air began to cool as internationally re-nowned harmonica virtuoso Jia-Yi He led the audience, which in-cluded NYC Mayor Michael Bloomberg, through beginner ballads such as “Twinkle, Twinkle little Star“ and “When the Saints Go Marching

In.“ After just 40 minutes, He brought each member of his makeshift band—experts and beginners alike—into harmony. “I’ve always wanted to play the harmonica,” said journalist Gregg levine who attended other

festival events that day and decided to drop in. “listening to the riff

on [Bob Dylan‘s lyric] ‘Ev-erybody must get stoned’ when I was a kid, the har-monica is a part of rock ‘n’ roll that I just always wanted to try but never pursued.”

As one of the lucky hun-dred recipients of a free harp,

levine was not only playing Dylan’s instrument of choice, but he was

playing a HOHNER, Dylan’s brand of choice. That inspiration wasn’t the only echo of

history present, however. Eugene Bass, a retired sales manager and experienced har-monica player for 77 years, was turned on to HOHNER harmonicas in unique circum-stances. “In World War Two, [soldiers] trad-ed with the German populace for certain things: cigarettes and so forth… I would trade for harmonicas,” said Bass. “I came home with three HOHNER 64s, the big models with a German name plate on it.” Today, Bass still has his original HOHNER 64s after sending them to the HOHNER Inc. office in Glen Allen, vA, to be refurbished. Bass is a former student of He’s at the Turtle Bay Music School in Manhattan, and attended the event in support for his long-term teacher.

Jia-Yi He has received numerous awards at international festivals and competitions in England, Germany, Israel, Japan and the

United States. He has appeared as a soloist with the China National Symphony Orches-tra, China National Ballet Symphonic Or-chestra and the Nassau Pops Symphony Or-chestra, and has recorded harmonica music for a number of movies, radio stations and CDs. He has worked as a harmonica instruc-tor at Turtle Bay for ten years, and has led the MMNY’s Mass Appeal harmonica ses-sion for the last four. He’s passion for the instrument is what drives him; in the end, his goal is to spread the joy the harmonica brings to him. “This event stood out be-cause everyone could play,” said He while holding a donated HOHNER harmonica. “Since HOHNER was able to donate their harmonicas, experienced and beginner players were all able to play together—even the mayor!” Bloomberg, who admit-ted to having only some harmonica experi-ence, caught up quickly and played along with the crowd under He’s guidance. This kind of public interaction is the purpose behind the Mass Appeal event, and there is no better vehicle for exposing people to music than the harmonica.

“The harmonica is a funny instrument be-cause there are a lot of people who don’t necessarily identify themselves as players, but still play. It’s just a much more casual instrument,” said Aaron Friedman, Presi-dent of Make Music New York. “Some of the events today, which are all supposed to be open to everyone, are very challenging and more difficult to jump into. That’s why I think the harmonica Mass Appeal event is so successful, because it’s truly open to everyone.”

Harmonica Mass Appeal in Central Park

The festival, in-spired by the Fête de la Musique in France, began in New York City in 2007. Now with over 460 similar events in cities around the world, the premise is an all-day festival of free concerts and musical activities on the first day of summer. From 10 in the morning to 10 at night, anything from hip-hop to opera, or jazz to punk rock can be found on the streets, sidewalks, stoops and parks of the five boroughs of New York City.

“I’m really excited whenever people come to make music together,” said Friedman. “Nobody is here to become rich and fa-mous, they’re just here to meet other peo-ple and express themselves creatively.”

visit www.youtube.com/hohnerusa to watch the video of this event.

By Jamie Emmerman

Since HOHNER was able to donate their harmonicas, experienced and beginner players were all able to play together—even the mayor!”

–Jia-Yi He

“

Photos by Jamie Emmerman

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1110 | EASY REEDING

Meet the HOHNER Service Center Team

The HOHNER Service Promise

Notes not playing? We can fix that. Need a part? We can get it for you.

Technical advice? Just ask. Regardless of the need, the HOHNER Service Center is available -- five days a week, year round -- to help you find a solution.

In the past several years we have en-hanced our service offerings, expanded our staff and increased our productivity. Our goal is to be a contributing partner in every harmonica player’s musical life. The Service Team is comprised of performing musicians and harmonica players with over 150 years of playing and teaching experience combined. They know what it is like to need a reliable instrument and support system. For the Service Team a partnership is not enough; every harmonica player is considered part of our extended family.

Services we offer include a 60 day warranty on newly purchased instru-ments, one year adjustment on newly purchased chromatics, and recondition-ing or replacement of older harmonicas. Custom options, including special tunings are also available. Free return shipping is standard, with second and next day op-tions. Service time on common repairs is two days at most. To track your service, simply provide an email address.

For do-it-yourself enthusiasts, the Service Center also maintains a comprehensive inventory of harmonica parts, from reeds, cover plates and slides to the smallest screws and nuts.

Your first contact with the HOHNER Service Center will be a Customer Representative, the busiest person in the

harmonica industry. They spend the day answering your phone calls and emails, opening packages, taking parts orders, and providing Reed Technicians with information necessary to work your har-monicas, whether it is warranty, replace-ment or reconditioning. If you call and they are already on the phone, they will call you back the same day.

The Reed Technicians are experts in the harmonica field. They customize and recondition harmonicas, prepare instru-ments for artists, provide advanced tech-

nical advice, and consult on research and development projects. They are inven-tors and tinkerers, often spending time building and testing their own harmonica designs. They put all their knowledge to work on your instrument.

At the end of the line the shipping agent is busy getting your parts order together and preparing your harmonica for the return trip.

We are invested in our relationship with you. We want to be a companion on your musical journey. The HOHNER Service Team pledges to receive, service and re-turn your instrument in 48 hours or less. We will repair your harmonica to your satisfaction the first time and every time. While your harmonica is in our care, we will let you know how it is going.

To learn more about HOHNER Service, please visit www.hohnerusa.com. All the service options and return instructions are listed along with the most common technical advice topics.

1. WE PROMISE to Receive, Service, and Return your instrument in 48 hours or less on common repairs and adjusting.The 48 hours starts when we receive the product in the mail and ends when we ship it from our doors through mail service

2. WE PROMISE to get the repair right the first time, every time

3. WE PROMISE to email you upon receipt of the instrument to inform you that we have started work. We then will email you upon completion of work to inform you that your harmonica is finished and is being mailed to you.

4. WE PROMISE to treat every customer with courtesy and respect. Those who play a HOHNER Harmonica are considered to be a part of our family.

5. WE PROMISE to include a Service Guarantee card with every repair.

1. This card represents our guarantee

2. Picture of Technician who performed work

3. Bio information on the technician who did the work

4. Handwritten message to customer about work done

Tim Schofield

Evelin Sanchez Paul lusk

Every harmonica player is considered part of our extended family.”

“CENTER TEAM

The HOHNER Service Team is just an email or phone call away. Feel free to contact us Monday–Friday, 8am-4:30pm EST by calling 800-446-6010 or emailing harmonica@hohnerusa.com. You may also contact any of us directly at the emails listed below.

CENTER

Bill Bucco

Adam HamilFree Reed Instrument Technicianahamil@hohnerusa.com

Paul LuskFree Reed Instrument Technicianplusk@hohnerusa.com

Bill BuccoReed Instrument Service Managerbbucco@hohnerusa.com Tim SchofieldFree Reed Service Supervisortschofield@hohnerusa.com

Evelin SanchezReed Instrument Customer Serviceesanchez@hohnerusa.com

Adam Hamil

HOHNER Service Center

FlexRackAn exciting, innovative ap-

proach to the harmonica rack

FlexRackThe New Standard For Harp Rack Adjustability

Optimizing playing angles and positions adjustment, the FlexRack is a perfect fit for any acoustic player!

Includes three separate areas of adjustment:

• Position of harp

• Angle of harp for ideal individual playing position

• Height of harp

• Adjustable spring clamp that easily fits any standard 10 hole diatonic harp

• Rubberized surface to eliminate scratching of coverplates while providing a simple and easy transition

• Ergonomically designed neck rest provides the perfect combination for stability and comfort

Angle HeigHt

PoSition

An exciting, innovative approach to the harmonica rack.

new

MSRP: $89.00 • MAP: $59.99

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