Harmen's music blog

No Direction Home

2012-01-20T16:27:00.001-08:00

I'm not at all sure how I came to this point in my life.

Bob Dylan once said that he was born a long way from where he was supposed to be. I feel the same way! ( though, thankfully, I was not born in Duluth, Minnesota)

After watching Scorsese's "No Direction Home" I was moved to reflect on my creative output.

The day before, nursing an aching heart, I read Pippa Blake's auto biography "Journey"

I knew Sir Peter Blake reasonably well over many years as I had been involved on the margins of his various projects when I was a spar maker and rigger (Ceramco and Lion) and then again later as a sign writer (ENZA and NZL 32, Black Magic).

My son Robert was the youngest member of Team New Zealand for two successful defenses of the Americas cup in Auckland and earlier attended Takapuna Grammar school where the Blake's children studied when living in NZ.

Pippa's story reminded me of my own, but it also got me thinking. Like Bob Dylan who spoke of the journey in terms of never arriving at a destination; to arrive would mean death.

Sailing, art, music, family, mortgage (death pledge) all the distractions, self doubt, parental and societal disapproval and lack of support of a chosen path.

I have to leave all that behind me now and take a fresh new path.

I believe that my almost obsessive involvement with the marginal and the different is profoundly symbolized (for me) in the proa.

Perhaps I was drawn to activities and interests that very few knew much about as a way to withdraw from a society that shunned those that were different.

New Zealand is a new land of immigrants that have settled here in successive waves over the lat 1200 years only.

Each new wave has had to fight for a place and for acceptance. Only the third or fourth generations finally feel as though they have been accepted as a legitimate New Zealander.

This blog has given me an outlet for expression on an international level. My writing has connected me indirectly to an community that I feel a part of at a safe distance. Perhaps that community shares something in common with me other than simply odd shaped sail boats. Reading between the lines of all my writing I begin to see a recurring theme.

Michael Scacht said; "Harmen comes to proas in a way with which I can personally identify: as a vehicle for understanding more than just sailboats. A way of looking at the world. And when I say “the world”, I don’t mean the atoms, I mean the invisible connective tissue".

'"Seek and ye shall find" one of the great teachers said. The seeking itself is the finding, since one can fervently seek only what one already knows to exist.' so says Gabor Mate, MD in his excellent book " When the Body says no"

In many ways my eccentric quest to explore the different has been an attempt to express a creative urge, though tainted with a pathological fear of success and acceptance. I think I avoided anything that set me up against anything mainstream or conventional for fear that I would be compared with someone more competent than myself and found lacking.

So much of my activity in the arenas of art and sailing has been in isolation, at a safe distance from my community. Frustration has been the result. perhaps this stems from a feeling of being so close and yet so far from what I truly wish for, that sense of belonging, reciprocated by those I love or admire.

In my other existence I have been a professional and semi professional musician. I practiced in complete isolation to become a reasonably competent drummer. Later (perhaps frustrated by my lack of success) I rejected this pursuit and chose a very marginal instrument, the one string bass,
(skiffle bass, wash tub bass, tea chest bass). This instrument I made completely my own. I was considered by my musical peers as a freak, a virtuoso, and much else besides. Few people understood how it was played in tune. Trained musicians of extraordinary skill and virtuosity marveled at its uniqueness (and its strangeness). Somehow though this activity was acceptable in a community that could tolerate (even admire) such eccentricity and I was safe because there was so little to compare me with!

To qualify for those patient enough to have read this far I simply mean to share what I am learning about myself in the hope that I will say or do something that triggers recognition, that catalyzes something that might provide an insight to themselves and in so doing myself as well.

I have an idea for an exhibition featuring self portraits in the context of my journey to date. Another project in the wings are a series of paintings based on Henry Winklemann's 19th and 20th Century, black and white photos of famous New Zealand Keel boats. It could be interesting to look back on my journey whilst moving forward, somewhat like rowing a boat.

Harmen

Joseph Herscher does it again

2012-01-12T15:46:00.000-08:00

Joseph Herscher has made several more Rube Goldberg machines since the "Cream that Egg" machine featured in an earlier post on this blog.

This latest one "The Page Turner" Is brilliant and very funny with as many unexpected twists as an Agatha Cristy Murder mystery. Like the last machine this video also features a sound track featuring my old band "The Jews Brothers Band" (with me on Tea Chest Bass and vocals).

Please check it out!

Harmen

My first kit

2011-12-27T23:50:00.001-08:00

My Father (a classical Oboe player) wanted me to learn the accordion but I hated the idea and failed miserably at that. I had been listening to Shocking Blue, Creedence Clearwater Revival, The Beatles, The Rolling Stones, Led Zeppelin and Deep Purple, all of whom my father hated! I was mesmerized by the drum and bass combination. I had to learn how to make that exciting sound for myself.
My father relented but insisted on my taking lessons from a drum Tutor, Gordon Dougie. I was in despair being forced to learn snare drum rudiments, mama-dadda's and parradiddles, trad jazz was not where I saw myself heading. Funny how life goes I love that style now! I remember throwing several tantrums when I could not grasp what Gordon wanted me to learn.

Back in 1972 I bought my first kit, a red Trixon. It cost me the princely sum of $50.00 NZ, a real bargain!
It had a Ludwig speed king kick pedal and a pair of Premier copper timbales and Premier stands. Cymbals were Zynn 14" hi hats (which turned inside out), a Krut 16" crash and a zyldjian 20 inch ride (with a crack which had been repaired with a hole drilled to stop the tear).
This kit (pre international) featured calf skin heads which by then were becoming difficult to find.
I learned a great deal about tuning!
I found this photo on the net as I have no surviving images of my particular kit.
This kit is very much the same as mine with identical wrap.

From the Trixon catalog late 1960's

I wanted real volume so my next kit was a Hayman like this one. I bought this from someone going overseas in 1976. Again no surviving images though the kit was exactly like this one though a little beaten up.

Seeking yet more volume, in 1978 I bought a Stainless steel on fiberglass Fibes kit from Frank Gibson Snr at Drum city Balmoral. It had previously belonged to Brent Eccles of the "Angels".

From the 1972 catalog

Then in 1989 when living in Helensville I bought a Slingerland kit like this
off Gabriel (our postman).

Slingerland produced a choice of vinyl wraps in 1976. My kit's finish was raised embossed vinyl, patterned in golds the same subdued green tones as in the image below called "Green Aztec."

On reflection this kit remains my firm favourite for tonality. I wish that I still owned it. I improved it with the best cymbals I was ever to own and eventually sold it back to Gabriel to pay an overdue tax bill. I wonder where it is now?

1/2 size red Aria kit 1991 was purchased to get me back into playing at next to no cost. A child's sized kit it was no match for my hard hitting style so it had to go.

Tama Swingstar I bought from my sign writing colleague Mark in 1992.
One other of my colleagues decorated it for me in his traditional Samoan tapa design in cnc cut vinyl over the gloss black wrap. It looked sensational and very Polynesian. Again no surviving pictures. It was a very versatile kit which I learned to play sweetly as well as my harder style.

My last real kit 1998 was a Drum Workshop, champaign sparkle, 4 piece (with Sabian cymbals) just like this one. This kit was purchased from Frank Gibson Senior of Drum City just before he passed away. It cost me close to $5.5K, the most I have ever spent on an instrument.

I didn't get to play it much as in 2001 I developed Rheumatoid Arthritis which badly affected my wrists. It was sold when we moved to our Northland home in 2005. Drums faded into the past for me while I learned a new instrument, the acoustic bass guitar.

A new matching snare drum for my kit

2011-12-17T12:55:00.000-08:00

I recently bought an additional snare drum from TradeMe.

The listing read:

"This drum started it's life as a Pearl Free floating shell - was converted to a snare by Bruce King using 16 Slingerland lugs. It has COB hoops and except for not having a zoomatic strainer, looks exactly like the real thing. In excellent condition. Fitted with coated pointsripe and active snare system. Comes with a hard case (a hard plastic briefcase which is converted to a drum case).

This is a very nice snare drum, so I decided to sell my Yamaha Stage custom 14 x 5 inch.
Here's the original catalog image from 1973.

Now my kit looks integrated with snare and toms matching the Maple hoops of the bass drum.

Now that Julie and I have moved house we have set up a large music studio in the loft with plenty of rehearsal room.

My Cahon and I have a live gig

2011-11-06T00:54:00.000-07:00

Richard Adams Nigel Gavin

Last Friday night Julie and I traveled to Kerikeri to meet up with Nigel Gavin and Richard Adams for a performance at the Marsden Estate Winery.

Nigel and Richard opened the evening with a couple of ethereal pieces before inviting me to sit in with them (literally) on my cajon.

We blended well, very quickly, with the cajon directly plugged into the PA system.
Plenty of bass, very little midrange and a tiny bit of treble gave us a very commanding drum sound in the mix. The AKG mike does the business again.

I had a blast, the audience did too!

Vintage Ludwig bass drum pedal restored

2011-10-23T14:57:00.000-07:00

The bass drum pedal project is finally at a stage where I've been able to attach it to my old bass drum and get a feel for how it plays.

I designed a different pedal to beater link from the original link rod.
After noticing the wear caused by the rod link to all the three connecting pivot holes in the brass castings of the foot plate and the fulcrum beater clamp, I decided to bolt a pin through the pivot holes. I then fabricated a stainless steel bow strap. All the tension and friction is now transferred to the pins which distribute the load and the wear to replaceable components.
Every modification I have made is reversible in the event that this old pedal becomes a museum piece at some future time.

Now that I've secured the leather beater to the shaft there are now no loose parts and the pedal plays noiselessly. I installed a new spring in the pedal post and tensioned it to my liking.

Surprisingly the pedal plays very well. It takes some getting used to as the foot plate is relatively short by comparison to the modern pedal that I have been playing. The short foot plate means that only the ball of my foot fits on it. Keeping my heel on the floor the pedal is relatively lively and responsive. The beater is lighter than my modern felt one which means it has less mass and will therefore alter direction more quickly.

I have come to like the aged look of this pedal so I've decided not to nickel plate it after all. Some of the steel components are quite badly pitted with corrosion so I have simply wire brushed these items and coated them with boiled linseed oil.

My Cajon has a microphone

2011-10-19T20:24:00.000-07:00

Last week I fitted my AKG C411L active microphone into my Cajon.

This mic is designed for stringed instruments, in my case I had used it in my one string skiffle bass for around 10 years but I have found that it is also suited to the tonality of the cajon.

As always placing it in the sweet spot is the secret to getting a good sound.

The power supply and preamp fits neatly against the outside left panel of the box attached by velcro strips. The 1/4" Jack plug from the amp plugs into the the microphone 9 v power supply control box. The mic output lead is connected via a 3 pin Cannon plug set into the box back panel that way I can remove all the exterior gear when not in use and transfer it to my one string bass which has the same mic set up.

In this instance I found that the microphone sounds best placed just above the port at the rear of the box. The mic is secured with contact gum inside the cabinet at the 11.00 o'clock position at the inside rim of the port.

Played through my 50 watt Jansen Bassman tube amp with its 4 x 12" speaker quad box it sound huge and very convincingly kick drum and snare like.

Drum kit complete

2011-10-19T15:51:00.001-07:00

That's it I'm ready to go.

The fiberskyn arrived in the mail from Auckland along with a new 14" 6 lug rim.

The Tomtom was an old pearl export shell which had been modified to take floor tom mounts by my old friend Tony Parker.

Tony had removed the original wrap and unsuccessfully attempted to stain the maple shell.
I sanded the shell back to the bare wood and laminated a plug to fill the hole left by the removal of the metal bass drum mount. I then finished the shell with a number of coats of boiled linseed oil. The plug infill looked a bit obvious to me so I selected a copper penny that I have been keeping and soldered a brass stud to the head side, sorry Elizabeth! The coin is a New Zealand penny from the year of my birth, 1957.

I found a chrome bezel from an old door lock set and set the coin into the bezel, a perfect fit, then screwed the assembly through a small hole drilled in the plug. The whole thing has concealed my repair and looks like it was meant to be there.

The hardware went back on after which I fitted the new skins and tuned them.
I tune my tom skins equal tension top and bottom.

Harmen's drumkit virtually complete

2011-08-12T23:10:00.000-07:00

Ok so now all that's left to be done is to obtain a second 14" bottom hoop for my recently acquired floor tom tom. I'll purchase one more Fiberskyn for a head and relocate the emperor.

Last night I painted the Chief's head on to the front head of my old bass drum. This image featured on my old childhood tent when I was just 10 years of age. I've always loved the simplicity of it.

Here are some photos of my kit layout.

Drums:
Ludwig 24 inch Aero Kraft bass drum, calf skin heads, floating tension rods, vintage Japanese (speed king copy) pedal.
14" Yamaha Stage Custom snare, ambassador coated head.
14" vintage, maple shell, Olympic snare drum converted to a free standing tom tom, Fiberskyn head.
14" Vintage, maple shell, Pearl floor tom tom.
Meinl 14" high hats on a 2000 series Sonor stand.
Meinl 16" medium crash cymbal mounted on an extension from the hi hat stand.
Sabian 21" AA medium ride mounted on a vintage Premier cymbal stand.
Wa Lee cut down, china bell, splash mounted on a bass drum rim bracket.
RythmTech wood block and two cowbells, bass drum rim mounted.

Vintage Ludwig Logo

2011-07-11T01:16:00.000-07:00

I've just finished roughing out a vintage Ludwig logo for my old 1930 Ludwig bass drum.

This logo is similar to one that features on the Aero Kraft label that I found inside the drum.
I do this all free hand the same way I used to do when I was a sign writer and graphic artist in the 1970's and 80's because I have no skill with any computer graphic program.

Next step is to pounce the logo on to the calf skin and paint it on.

I'm still deciding on whether to paint a graphic on the whole skin or not.

I've seen some beautiful vintage, bass drum skin graphics that strongly tempt me to do it.

More later.

I found a 16 inch Meinl medium crash cymbal this week to add to my collection of bits and pieces. I now only have to pick up a 14 inch floor tom tom and a cymbal stand from a friend next month and I have the whole set up complete. I can't wait!

Once it's all together I'll set it up and take some images with my cymbal set up and post it all on this blog.

Harmen

Vintage bass drum pedal

2011-06-25T22:21:00.000-07:00

This is a vintage bass drum pedal gifted to me recently by a local business man who learned that I was restoring an old Ludwig bass drum.

I think that the footpad reveals that it is a Ludwig interpretation of a Fraser, patented bass drum pedal from around 1920.

The pedal is much worn and corroded but by no means beyond restoration.

I will begin by removing the badly corroded components, clean up the brass, replace the spring and link yolk. The badly worn pivots and fulcrums I will fill with braze and re drill. After a refit of all new components, screws, etc, I will have the unit nickel plated.

The Hoovers.

2011-06-18T17:59:00.000-07:00

If you think Hoovers suck you should see us blow!

"Tim Heraud's the name, the dog's called Bulla" said the King country cat and the black dog crouching on my kitchen floor in Grey lynn. "I heard you play drums?"
Not again I thought, (still no drum kit). "Our drummer just quit but you can use hers, her name is Fiona... do you mind if we call you Fiona to save confusion?"

By now we were living in a beaten up villa (ex brothel) in Auckland having sold the Helensville property and settled our affairs there.
I had a job as a sign writer / production manager and as luck would have it two of my colleagues owned drum kits. I bought a half size Aria kit from Mykie (pictured) and later a black Tama Rockstar kit from Mark James.

The Hoovers at the Kiwi Tavern: Stuart Hoover: Guitars and BV's, Harmen (Fiona) Hoover: Drums and BV's Tim Hoover: Guitar, Vocals and songs and Early Dave Hoover: Double bass and BV's.

Stewart Shepherd, Harmen Hielkema, Tim Heraud, Dave Wishart.

To read a bit more about the Hoovers from a different perspective try this link.

The Gumdiggers Bush Band

2011-06-12T03:51:00.000-07:00

Some time later after the birth of our son Robert in 1984 I began to feel the need to establish roots for my young family. I sold my drums and spent several years working in the building industry to build up the capital for our first home. We eventually settled in Helensville , Northwest of Auckland where we bought our first house. By then our twin boys had come along (though unfortunately one died in a mysterious cot death at the young age of three weeks).
It was in Helensville where our daughter was born.
All this time I had ignored my musical urges. Whilst running the local second hand shop I came across the best drum kit I was ever to own. It was an early '70's Slingerland kit. I joined a casual group of local musicians who played Albert King style blues which I thoroughly enjoyed. John Martin on bass and Allan Stevens on guitar, both were very accomplished players. As I recall we made a reasonable fist of that ouevre for skinny, privileged white boys
Financial difficulties saw me sell that beautiful kit and music was again off the menu.
The one day I came into the shop and was welcomed by the ephemeral sound of an ocarina.
From behind an aisle of second hand items popped up an impish young Dutch musician who had heard that a musician of Dutch decent owned the local second hand shop. Marcus Goddefroi played Swedish key fiddle, ocarina, a self made violin, piano, harmonica, piano and button accordion and bones, (all instruments equally well!). Marcus introduced me to Bill and Kath Worsfold who were seeking a percussionist and vocalist for their band the Gum Diggers Bush Band. I sadly admitted that I no longer had a kit of drums. Bill encouraged me to try playing a tea chest bass, lager phone, bones and an old snare drum. I quickly took to the eccentric, authentic old New Zealand music that Bill collected. I learned to sing in harmony and was soon gigging regularly with Bill Worsfold on classical/flamenco guitar, Kath on accordion, whistles and vocals, Bob Uhe on violin and mandolin and Marcus.

The Gumdiggers Bush Band. Helensville, 1989.
Left to right: Harmen Hielkema: Tea Chest Bass, vocals. Bill Worsfold: Acoustic Guitar, Vocals. Kath Worsfold: Accordion, whistles, vocals. Bob Uhe: Mandolin, Violin, vocals.

That was me thoroughly fast tracked into the New Zealand folk scene.
I adored playing that tea chest bass, I could not put it down, I loved the close vocal harmonies we rehearsed endlessly. As I look back I see how well this experience set me up for what was to follow.

Harmen

A new title image for my blog

2011-06-11T19:44:00.001-07:00

The past is the past.

My previous blog title photograph (above) was of me at age 26. I was playing a chrome on fibre glass, Fibes kit with Ziljan cymbals. At that time I was playing in a cover band called the Voyeurs with Marc Dombowski (guitar and vocals), Paul Martin (Guitar and vocals), Gary Harvey and Lee Cooper who alternated on bass and vocals. We covered Rolling Stones and Iggy Pop material playing at various venues around greater Auckland.

Previous to that, in the late 1970's, I was active playing drums with a 3 piece band doing receptions and backing acts like Frankie Rowles and Billy T James through the Hegan Entertainment Agency.

This black and white image was captured at the Orewa Town Hall in 1983 by a photographer colleague, Rebecca ? who worked with me at the Hibuscus Coaster news paper.

A clip from "The Jews Brothers Band" website's "History" page

2011-04-25T00:05:00.000-07:00

The Jews Brothers Band at Rakinos Cafe, High Street, Auckland 2001
Hershal, Harmen Hielkema, Linn Lorkin, Kelvin Roy (bass trumpet, vocals)

"Within a few weeks we recruited another extraordinary and eccentric musician ... Harmen Hielkema (dubbed by Linn, the "Dutch clutch" and sometimes the "Friesian 'nesian"), who played the most amazing instrument of all, known Down Under as the tea-chest bass, a variant of the wash-tub bass often heard with jug bands. I didn't want a normal bass in the band (though eventually when Harmen left the band we did go that route). But the sounds Harmen created on his tea-chest were just amazing and he often stole the show! People would just sit there dumbfounded at both the sound and the look of this monstrous looking instrument. Harmen was also a visual artist who did music as a hobby (for financial reasons) and eventually had to leave the band to become a teacher at AUT, teaching Spatial Design (at which point he was replaced by Peter Scott on the double bass ... see our artist page).

Harmen's bass and vocals feature on all the JBB albums except the Braeburn Sessions. As I write today, Harmen is now living with his wife Julie in the Hokianga region of Northland, New Zealand. Together they have established a Guesthouse, Rawene Waterview Apartment which is fast becoming a mini arts centre as they also organize regular house concerts. If you are in the area, stay there ... I might get a commission! 09 405-7855."

Hershal

27" vintage bass drum

2011-04-12T23:23:00.000-07:00

I've just finished restoring a lovely old 1935 mahogany bass drum.

This brand was distributed by S & T Adams and Son Auckland. The label reads "S & T Adams & Son Auckland" and is pasted on the inside of the shell.

From my online research I have been able to determine that Super Tone was an American brand name for instruments distributed by Sears & Roebuck. This Drum was manufactured in 1935 (marked in pencil by the maker inside the shell) by Leedy and Ludwig and imported into NZ.

Shell is 2 ply mahogany with 3 maple reinforcing rims, counter hoops are of maple.

The tension rods are Leedy and Ludwig and are bright nickel plated.

The drum is fitted with one calf skin and one mylar Tympani skin.

I believe that this drum could form tha basis for a 1930's style vintage drum "trap" set up or make a unique coffee table, lamp or illuminated sign.

I bought this drum many years ago, whilst on tour with the Jews Brothers, at an antique shop in Napier. The drum had been painted in light blue enamel with white painted counter hoops. It featured one original calf skin and one later calf skin of lesser quality.

I loaned this drum to my son when he was still at secondary school and together we created a kit from a variety of second hand components. He got 5 years of good use out of it before he returned it to me with some minor modifications. He had refinished the drum with an old "Lotto" decal left over from the old Team NZ Americas Cup campaign (of which he had been a member).

This was how the drum looked when it was returned to me.

After much scraping sanding and oiling, here's what it looks like now.

I had the tension rods re plated which has lifted the finished article to a whole new level.

The Cajon

2011-02-26T11:00:00.000-08:00

Well here it is the newly completed Cajon!

I built the box using 4mm 5 ply Meranti for the sides, 12mm Pine 5 ply for the top and bottom and 2.5mm Finish Birch for the sound board. The wood surface is finished with Danish Oil on the sides and polyurethane on the sound board. All the joints were made with bamboo dowels and secured with cross linking PVA white wood glue.
The Cajon took some tuning and adjusting of soundboard screws, rear port and snare strings before I was happy with the sound.

The Cajon is a true Helmholtz enclosure so the frequency and bass response of the instrument can be tuned. The port diameter and depth was determined using an online port calculator. The cubic dimension of the internal volume of the box was entered into the calculator along with the desired resonant frequency, the port length and diameter are directly proportional to each other. Calculator link
Here is a link to a research paper which I found helpful. link

I painted the motif on to the varnished surface with black enamel paint. I glued a cork tile on top to form a seat.

Here Diane Ponzio and I are engaged in a Cajon duet. Diane plays the cajon very well having a highly developed sense of rhythm from all those years of performing.

Tim Heraud has created a website

2011-02-18T15:27:00.000-08:00

My good friend Tim Heraud has created a website called laughing cloud records featuring all of his writing, songs, e book novel, poems & short stories.

Tim has made available for the first time recordings of our various collaborations over the years.

Bands include: The Hoovers, "LIVE AT THE TEMPLE", 2 albums by Cutting Room Floor “LIFE’S TOO LONG” & “DELETED”

This is "diamond in the rough" music at its very best. I'd buy it if I didn't already have copies myself!

Click on the link in the Links List on your right and spend lots of money, god knows he needs it. Just don't mention the royalties!

Harmen's drum kit coming together

2011-01-14T18:27:00.000-08:00

I've located a Sonor hi hat stand and a pair of 14" Meinl Headliner brass hi hat cymbals from our local online auction site, trademe.

Items that I still want to acquire include a splash cymbal a ride and some suitable stands. Not sure yet about tom toms. If I do add toms they will be mounted independently of the bass drum.

I've also constructed a Cajon. I'm waiting for an Auckland supplier to send me the last component, the sound board which is a small panel of 5 ply birch 2.5mm thick. I've based my Cajon on a German Schlagwerk, Cahon la Peru.

Inevitably it is different in several ways from the original, being slightly larger and built from denser materials. As I work my intuition guides me toward my goal. I'm wanting a brighter and fuller response from my Cahon than is present in the Shlagwerk unit.

I am enjoying the Cajon as a percussion instrument. The possibilities are huge and the box is so discreet and portable, perfect for spontaneous musical opportunities accompanying acoustic instruments. The Cajon can be amplified through my bass guitar rig with brilliant results.

A new drum kit for Harmen

2010-12-21T22:57:00.000-08:00

For years now I've owned a 1930 Ludwig and Ludwig 24" bass drum.

The label inside reads Ludwig & Ludwig Aero Kraft. The shell is of laminated Mahogany and the hoops are of Maple.

The story behind the Ludwig Aero Kraft label follows. The pages are extracted from the Ludwig & Ludwig catalogue of 1926 from the book "History of the Ludwig Drum Company" by Paul William Schmidt.
I've added the pages relating to drum head manufacture as well because I'm currently curing some skins, experimenting with my own bass drum head construction.

I decided to collect some other bits and pieces to compliment the drum, a snare (Yamaha Stage custom), a kick pedal, a wood block and cow bell. Still to come are a splash cymbal and some hardware to support the accessories. I'm setting up a small versatile kit which will enable me to play along with friends occasionally.

Charley Chaplin in Kerikeri

2010-04-09T18:42:00.000-07:00

It's extraordinary to imagine that here in New Zealand we can be but two to three times removed from the greats in history.

Julie and I attended a house concert on Wednesday night featuring Nigel Gavin (Guitar) and Richard Adams (Violin).

The venue was the Trussler Residence a stylish Mediteranian styled holiday house located in a landscaped exotic palm filled garden on the scale of a miniature Holywood mansion. The house was commissioned by a couple of wealthy internationals whose love of the arts leads them to open their home to the arts community.

The performance was most enjoyable something akin to an intimate evening listening to Al Demiola and Jean Luc Ponty. I exaggerate not! these guys can really play.

In the audience was none other than the great Russ Garcia with his lovely wife Gina.
Richard introduced a number early in the performance with a story about the writer "Smile" by Charley Chaplin. Richard impishly asked Russ if he had ever worked with Charlie Chaplin. Gina replied that he had regularly done so!

Later Nigel confided to the small audience that his mother who was living for some time alone in California was wooed by Charlie for some time, though by then his attention was unwelcome. "He's just too old for me" she said.

It occurred to me then how closely interwoven our relationships are.

I was invited to accompany Richard and Nigel for several tunes on my one string bass (which I have to confess I felt quite nervous about).

The audience was made up of well dressed, conservative looking folks, middle aged to elderly. My appearance with the string drum caused some consternation among them until the first notes sounded.
My response to music I had never heard before was informed by years of improvising with Nigel in the Jews Brothers Band. It wasn't long before I had the measure of what was being played and I settled in to the rhythm.

At the end of the first set we were surrounded by members of the audience who were astonished at the instrument I was playing. Russ Garcia himself came up and commented on the intonation that was possible though he was at a loss to explain how I could accurately pitch such a primitive thing.

By the end of the concert and after 3 encores the audience went home feeling very satisfied. Before Russ and Gina left Russ came up to us and he said, "You guys make me feel like a dinosaur, you've taught me a lesson in humility" High praise indeed coming from a man who has arranged music and worked with the likes of Frank Sonatra and Ella Fitzgerald!

If you can go and see Nigel Gavin and Richard Adams wherever they may be playing.

Harmen Hielkema

Joseph Herscher's Cream that Egg

2009-11-06T20:54:00.000-08:00

Joseph is the son of Lin and Hershal of the Jews Brothers Band (of which I was a member for many years)
This YouTube clip demonstrate Joseph's extraordinary inventiveness and our equally exceptional sound track called "Bulgar," Track 9 on the Jews Brothers second album "My Yiddish Swing"

Underdogs Reunion Java Jive Auckland NZ

2009-11-06T20:35:00.000-08:00

Here's a clip of a live unrehearsed performance I found recently on YouTube.
Featuring Archie Bowie on Vocals and blues harp, Mick Sibley on Guitar, Les Simms on Banjo, Ian Thompson on wash board and Harmen Hielkema on one string bass.

My dream bass

2008-11-23T17:38:00.001-08:00

An early 1930s Alcoa aluminum bass, fully polished for the blinding stage effect:

How about this for a beautiful thing?
I want to build one & I intend to do so!

Julie & Harmen Live at Bishop's Wood Kerikeri, Northland

2008-07-13T17:37:00.000-07:00

photo by Dimitri Edmonds

Julie Holton & Harmen Hielkema
Acoustic Guitar & Bass Duo.
Performing live at the Bishop’s Wood Restaurant, Kerikeri on Tuesday evening, August 5th 2008.

Julie Holton is a guitarist and vocalist with a beautiful, pure, true voice.
Julie was born into a very musical family on a farm in Kent. Her Grandmother, father and brother were all piano players. Julie’s brother Nigel went on to become a successful composer, musician and producer in Los Angeles.
Julie has played guitar and sung ballads since she was a teenager, busking and performing around the folk clubs and streets of London.
When she first settled in New Zealand Julie fronted a Dunedin Band “The Coast Roaders.” Julie has since continued to perform as time allowed around motherhood and a successful business career.
Julie’s son Eric (now living in London) continues this musical family tradition. Eric is an excellent songwriter, guitarist and vocalist in his own right.

Harmen Hielkema has a diverse background in music having played drums in Auckland bands professionally and semi professionally for 30 years. His father was a classically trained oboe player. Harmen is best known to the New Zealand folk scene for his skiffle bass playing and vocals. Harmen has performed and recorded with the “Gumdiggers Bush Band” the “Jews Brothers Band” and the dixie jazz band “The Blue Bottom Stompers.” He has also recorded and performed with the Ink Spots, Billy T James, Graham Brazier, Diane Ponzio, Nigel Gavin, Neill Duncan, Caitlin Smith, Lorina Harding, Eddie Rainer, Richard Watt, Shane Wills, Michael Young, among many others.

As a duo Julie and Harmen perform ballads from their repertoire of folk music featuring songs from writers such as Joni Mitchell, Leonard Cohen, Joan Baez, Van Morrison, Richard Thompson, Carol King, and more.

Together Julie & Harmen are propieters and hosts of Waima Lodge Guesthouse in the south Hokianga District of Northland.

Waima Lodge specializes in excellent quality accommodation, food, acoustic music and original art. Julie and Harmen serenade their guests from time to time and they also host house concerts featuring professional musicians on a regular basis.

We look forward to seeing you on
Tuesday evening 5th August at Bishop’s Wood Restaurant State Highway 10 Kerikeri.

See www.waimalodge.co.nz of phone 09 405 3808 for further information.

Diane Ponzio House concert at Waima Lodge

2008-07-13T17:34:00.000-07:00

Diane Ponzio plays Waima Lodge
We have international New York City based singer song writer and C. F. Martin Guitar clinician, Diane Ponzio presenting a house concert at Waima Lodge in our living room.
This will be a very special event with an exceptional artist and performer in a very intimate setting.
Link to Diane's website. http://www.dianeponzio.com/

Venue and booking info:

Waima Lodge Guesthouse
2465 State Highway 12
(Situated midway between Kaikohe and Opononi)
Off street parking available.
Saturday August 30th
7.30 P.M.
Bookings essential (no door sales due to limited seating)
$15.00 per person (visa and mastercard accepted at + 5% booking fee)
Phone Harmen or Julie 09 405 3808
email info@waimalodge.co.nz

Harmen's Taylor AB1 acoustic bass.

2008-04-25T22:20:00.000-07:00

Harmen's Taylor AB1 acoustic bass Guitar.

I've owned and played the Taylor AB1 acoustic bass for the past 3 years. The bass guitar is a completely new instrument for me so I am learning from scratch. I've had valuable guidance from Kelvin Hair a great Kiwi bass player and guitarist.
I rehearse and perform with my partner Julie Holton.

Early practice.

Harmen's Discography

2008-04-25T19:48:00.000-07:00

The Jews Brothers Band: Live at Gerhard's Cafe, 1996
Eclectic mix of Klezmer & skiffle. Traditional Hebrew tunes and songs.
This album sold platinum numbers in NZ & NZ's first CD Rom release.
Harmen features on tea chest bass and backing vocals.
To hear the Jews Brother Band go to: http://jews-brothers-band-search-downloads.kohit.net/_/

The Jews Brothers Band: My Yiddish Swing, 2000
After touring the first Album, this emerged. Live and studio recordings of original material penned by Linn and Hershal & Nigel Gavin. The first JBB albunm to feature Neill Duncan on saxaphones, percussion, backing vocals & production.
Harmen on one string bass & vocals.

The Jews Brothers Band: Too Much Talent, 2004
Who are the J.B.B.? Cast of thousands album.
Harmen on one string bass & vocals.

The Blue Bottom Stompers: But is it Folk?, 2001
This recording came off the one track mixing desk at the Auckland Folk festival.
The title asks a valid question. Maniacal Gumbo Jazz.
Harmen on one string bass & vocals. Engineered by Mark Austin, Harmen concept, Harmen & Neil Duncan co producers.

Richard Watt's debut album, "Songs from Down the Line."
New Zealand songwriting at its best and most original.
I'm particularly proud of my involvement on this project. Produced by my old friend Nigel Gavin.
Harmen Hielkema: One string Bass.

By Tim Page on "Songs from down the line" Artist: Richard Watt

From first chord, this album presents itself as distinctly Kiwi. The more I listened to it, the more I found it embedding itself in my consciousness. Subject matter ranges from the laid back Nirvana is Near (watching cricket on tele) and Prayer Flags, to poignant narratives of the Tangiwai and Wahine disasters respectively, Powered Flight is a beautifully crafted portrayal of Richard Pearce's story, told from his point of view. There's an underlying NZ railway theme, which continues into the artwork. Images of kiwiana are resplendent, such as "whitebait-frittering the day away", or using no. 8 wire to mend the world. The style is largely folksey, although Earthquake Road makes a foray into a rockier sound. Contributors include Caitlin Smith, Aaron Coddel, Harmen Hielkema, Jason Orme and Nigel Gavin, who also wore the producer's hat. Watt alludes to himself as 'an old geezer', and obviously this is the product of many years of songcraft. The quality of both musicianship and recording is superb, the songwriting is thoughtful, intelligent and absent of cliché.
For album details and playlist go to: http://www.marbecks.com/detail/detail.lsd?catalogID=298659

D.T.H. Cutting Room Floor. 2003
Skiffle album of unreleased original material from the creative muse of Tim Herauld & Dorland Bray. Fantastic songs.
Harmen on one string bass & drums.

Graham Brazier: East of Eden, 2004
I played Tea chest bass on track 6 "Winter of Discontent" arguably the best track on the album. Harmen on one string bass.
MP3 play list is here: http://www.amplifier.co.nz/release/7405/east_of_eden.html

Lorina Harding: Clean Break, 2005
The Jews Brothers Band was invited to play on a track "Table # 7"
Lorina decided to re record the track with my tea chest bass and both cuts made it to the CD
This album went on to win the Folk category at the prestigious New Zealand Tui Music Awards. Harmen on one string bass.
For MP3 downloads and playlist go to: http://www.amplifier.co.nz/release/18366/clean_break.html;jsessionid=
9F9B971ADD0A557D7E5FBF79F5F310FD

Musical relations gallery

2008-04-25T17:31:00.000-07:00

Harmen & Julie performing to their guests at Waima Lodge.
Julie plays a C. F. Martin 0016 DBM. Harmen plays a Taylor AB1 acoustic bass.
Covering Joni Mitchel, Karol King, James Taylor, Joan Baez, Van Morrison, Annie Lennox and more.

Dorland, Tim & Harmen (hence D.T.H.) Under the Grafton Bridge.
Skiffle with wonk: Albums (undiscovered) "Life's too long" Cutting Room Floor (Deleted & X rated)

Harmen with his latest and most successful string drum (skiffle Bass)

This bass is made from a Beverly Bass drum shell that I found in a junk shop in Auckland for
$ 5.00.
I removed every second tensioning lug so that only 4 remained. These lugs provide the mounting for the legs. I welded some tube clamps inside the lugs which adjust with a wing screw from the inside of the shell. This allows me to adjust the height of the shell from the ground ( for different players ).

The shell is finished with an iridescent fabric resined to the surface and clear finished in lacquer, The feather is my own custom paint job.
The sound board is made of high quality mahogany plywood ( 3 ply ). The string is spectra braid 1/4 inch ( 4mm. ) this is a braided cord that is used exclusively for control lines in small sailing boats. Spectra has zero stretch and fantastic tonal qualities. The sheath of this cord is soft to the touch which saves blisters when playing for hours.
The pole I hand carved from a native timber called Red Matipo into a design reminiscent of the native people of New Zealand ( Maori ). The wood is extremely dense and rigid.
I get 3 octaves in the key of G.

I have an AKG concert microphone installed permanently under the sound board which enables me to DI during concert or recording conditions.
Muy personal amplifier is a Jansen 50 watt bassman valve amp (copy of a Fender Bassman built in NZ in the 1960s) through a quad box with 4x12 in speakers.

My treasured 1961 Jansen valve amp & quad.

Everyone is astounded at the tonality and punch of this bass. It is the best bass of my experimental range to date. I'm still thinking about ways to improve though fixing what ain't broke keeps me working with this one for the time being.

The bass and I feature on several albums of NZ music including
The Jews Brothers Band 3 albums, "Live at Gerhards Cafe", "My Yiddish Swing" & "Too Much Talent"
The Blue Bottom Stompers "But is it Folk? Live at the Auckland Folk Festival".
Graham Brazier's "East of Eden"
Richard Watt's "Songs From Down the Line" and
Lorina Harding's Award winning album "Clean Break"