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Harry Pitch obituary Harry Pitch obituary
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The harmonica has often been regarded as a novelty instrument, but it became highly prized in British pop music following the success of Frank Ifield’s 1962 recording of I Remember You. The memorable harmonica phrase was performed by Harry Pitch, who has died aged 90. Pitch’s distinctive sound graced numerous pop records of the 1960s, as well as film music, commercials and even classical music concerts. Probably the most widely recognised of his performances was the theme tune for the long-running television series Last of the Summer Wine. The harmonica has often been regarded as a novelty instrument, but it became highly prized in British pop music following the success of Frank Ifield’s 1962 recording of I Remember You. The memorable harmonica phrase was performed by Harry Pitch, who has died aged 90. Pitch’s distinctive sound graced numerous pop records of the 1960s, as well as film music, commercials and even classical music concerts. Probably the most widely recognised of his performances was the theme tune for the TV series Last of the Summer Wine.
He was born in north London, one of seven children of Israel Pitch, a Polish immigrant garment worker and his wife, Annie Tinner. The family name had been inadvertently created by an immigration official who mistranscribed the original Polish name, Picz. He was born in north London, one of seven children of Israel Pitch, a Polish immigrant garment worker, and his wife, Annie Tinner. The family name had been inadvertently created by an immigration official who mistranscribed the original Polish name, Picz.
Inspired by the broadcasts of the virtuoso American mouth-organ player Larry Adler, Harry Pitch bought his first instrument with his first pay packet after leaving school at 14. At the start of the second world war, Harry was evacuated to Peterborough. There he learned a second instrument, the trumpet. On his return to London, aged 17, he found employment with dance bands and jazz groups, emulating the playing of Louis Armstrong and Harry James. Among his fellow brass players were the future bandleaders and composers Ron Goodwin and Geoff Love. Inspired by the broadcasts of the virtuoso American mouth-organ player Larry Adler, Harry bought his first instrument with his first pay packet after leaving school at 14. At the start of the second world war, he was evacuated to Peterborough. There he learned a second instrument, the trumpet. On his return to London, aged 17, he found employment with dance bands and jazz groups, emulating the playing of Louis Armstrong and Harry James. Among his fellow brass players were the future bandleaders and composers Ron Goodwin and Geoff Love. In the mid-50s, Pitch formed his own dance band, playing at functions throughout north London. The show featured tunes arranged for Pitch’s harmonica as well as trumpet. Among those who performed with or alongside Pitch’s band were the youthful Matt Monro and, before the formation of the Kinks, Ray Davies, whose Quartet supported the Pitch band in Hornsey town hall at the 1963 St Valentine’s carnival dance.
In the mid-1950s, Pitch formed his own dance band, playing at functions throughout north London. The show featured tunes arranged for Pitch’s harmonica as well as trumpet. Among those who performed with or alongside Harry’s band were the youthful Matt Monro and, before the formation of the Kinks, Ray Davies, whose Quartet supported the Pitch band in Hornsey town hall at the 1963 St Valentine’s carnival dance. By this time, Pitch’s recording career was in full swing. His former colleague Goodwin was now an arranger and recording artist. He recommended Pitch for sessions needing a harmonica solo. One of the first was Petula Clark’s No 1 hit Sailor (1961). This was followed by the Springfields’ Island of Dreams (1962) and Ifield’s I Remember You, a No 1 hit for seven weeks, thanks to the singer’s yodel and Pitch’s harmonica riff. He later provided similar embellishments to the top 10 hits Walk Tall by Val Doonican (1964) and Just Loving You by Anita Harris (1967) and Mr Bloe’s Groovin’ With Mr Bloe (1970).
By this time, Harry’s recording career was in full swing. His former colleague Goodwin was now a prolific arranger and recording artist. He recommended Pitch for sessions needing a harmonica solo. One of the first was Petula Clark’s No 1 hit, Sailor (1961). This was followed by The Springfields’ Island of Dreams (1962) and Ifield’s I Remember You, a No 1 hit for seven weeks, thanks to the singer’s yodel and Harry’s harmonica riff. He later provided similar embellishments to top 10 hits Walk Tall by Val Doonican (1964), Just Loving You by Anita Harris (1967) and Mr Bloe’s Groovin’ With Mr Bloe (1970). In 1962, Harry was in the canteen at EMI’s Abbey Road studios when he was approached for advice by the young John Lennon, who was preparing to record his own harmonica solo on the Beatles’ first single, Love Me Do. “It was soon after the Frank Ifield record had come out,” Pitch recalled. “He wanted to know how I achieved a particular effect. I showed him and he got it.”
In 1962, Harry was in the canteen at EMI’s Abbey Road studios when he was approached for advice by the young John Lennon, who was preparing to record his own harmonica solo on the Beatles’ first single, Love Me Do. “It was soon after the Frank Ifield record had come out,” Harry recalled. “He wanted to know how I achieved a particular effect. I showed him and he got it.” Pitch was also in demand for TV commercials. Among the advertisements to feature the Pitch sound were those for Oxo cubes and Nestlé’s Milky Bar.
Pitch was also in demand to accompany television commercials. Among the advertisements to feature the Pitch sound were those for Oxo cubes, Nestlé’s Milky Bar and Strand cigarettes. Goodwin also helped Pitch’s entry into film and TV work. Pitch had been hired in 1957 to provide the mouth-organ music of Colonel Bogey, which was mimed by an actor in a scene in David Lean’s The Bridge on the River Kwai (1957), but his first big contribution to a soundtrack came in Goodwin’s score for Those Magnificent Men in Their Flying Machines (1965). This led to work on soundtracks by leading film composers including John Barry and James Horner. Pitch’s playing was also featured in the 1987 score composed and recorded by Carl Davis to accompany showings of Buster Keaton’s silent film The General, first made in 1926.
Goodwin also facilitated Pitch’s entry into film and television work. Harry had been hired in 1957 to provide the mouth-organ music of Colonel Bogey, which was mimed by an actor in a scene in David Lean’s The Bridge on the River Kwai (1957), but his first big contribution to a soundtrack came in Goodwin’s score for Those Magnificent Men in Their Flying Machines (1965). This led to work on soundtracks by leading film composers including John Barry and James Horner. Harry’s playing was also featured in the 1987 score composed and recorded by Carl Davis to accompany showings of Buster Keaton’s silent film The General, first made in 1926. In addition to Adler (at whose memorial concert Harry performed an Adler favourite, Gershwin’s Summertime), Max Geldray was one of his harmonica idols. Geldray’s numbers were a mainstay of The Goon Show and when the BBC broadcast a 50th anniversary show in 2001, Pitch was invited to provide the harmonica solo.
In addition to Adler (at whose memorial concert Harry performed an Adler favourite, Gershwin’s Summertime), Max Geldray was one of his harmonica idols. Geldray’s numbers were a mainstay of The Goon Show and when the BBC broadcast a 50th anniversary programme in 2001, Pitch was invited to provide the harmonica solo.
Self-taught, he nonetheless performed works from the classical repertoire with leading orchestras. In the 1970s he appeared on stage in the operas La Cubana and We Come to the River by Hans Werner Henze at the Royal Opera House and Sadler’s Wells. In La Cubana he was a match-seller playing from a part taped to his tray.Self-taught, he nonetheless performed works from the classical repertoire with leading orchestras. In the 1970s he appeared on stage in the operas La Cubana and We Come to the River by Hans Werner Henze at the Royal Opera House and Sadler’s Wells. In La Cubana he was a match-seller playing from a part taped to his tray.
A call from the composer Ronnie Hazlehurst to join the musicians for a new comedy series, Last of the Summer Wine, came in 1973. As well as playing the opening theme, for most of the show’s 37-year run, Pitch was a member of the small ensemble providing background music for each episode. He also played on George Fenton’s theme tune for the private detective series starring Trevor Eve, Shoestring (1979-80). A call from the composer Ronnie Hazlehurst to join the musicians for a new comedy series, Last of the Summer Wine, came in 1973. As well as playing the opening theme, for most of the show’s 37-year run, Pitch was a member of the small ensemble providing background music for each episode. He also played on George Fenton’s theme tune for Shoestring (1979-80), the private detective series starring Trevor Eve.
Increasing loss of hearing forced Harry to work less in recent years, but he continued to perform into his early 80s in various ensembles, among them the Thames Valley Jazzmen, and Rhythm & Reeds with the accordion player Jack Emblow. Increasing loss of hearing forced Pitch to work less in recent years, but he continued to perform into his early 80s in various ensembles, among them the Thames Valley Jazzmen, and Rhythm & Reeds with the accordion player Jack Emblow. One of his favourite recreations was sailing on the Thames in his boat, Harmonica Harry.
Among his recreations was sailing on the Thames in his boat, Harmonica Harry. He is survived by his wife Ruby, whom he married in 1946, his son, Ian, and daughter, Gill, five grandchildren and two great-grandchildren.
He is survived by Ruby, his wife of 69 years, his son, Ian, and daughter, Gill, five grandchildren and two great-grandchildren.
• Harold Cecil Pitch, musician, born 9 May 1925; died 15 July 2015• Harold Cecil Pitch, musician, born 9 May 1925; died 15 July 2015