“Showing respect for the profession means being prepared, punctual, and helpful to others; it means going the extra mile and being responsible regarding the commitments one makes. For me, humility is the fundamental value—it always has been—but seeing major artists like B.B. King or Taj Mahal demonstrate such humility, one cannot help but follow that same path.”

Ruben Vaneska: Harmonica Maestro

Ruben Vaneske (full name Ruben Vaneskeheian, also known by the stage nickname "el armenio") is an Argentine musician, composer, and virtuoso of the diatonic harmonica, with a long-standing presence in the blues scene of Argentina and Latin America. Born and raised in Argentina to a family of Armenian and Italian roots, he came into contact with music at a very young age and dedicated himself to studying the blues harmonica. He took his first professional steps in the early 1990s, performing live within the Argentine blues circuit. In 1993, he began collaborating on stage with the iconic band La Mississippi in Buenos Aires, a milestone that solidified his standing among his country's notable harmonica players. Based in San Marcos Sierra in the province of Córdoba, Ruben Vaneske has developed a distinctive personal style. Although the core of his music is rooted in traditional and electric blues, he frequently incorporates melodic and rhythmic elements from the Armenian tradition and the Italian tarantella, creating a unique multicultural sound.                                                      (Photo: Ruben Vaneske)

His virtuosity has earned him recognition as an official endorser for the international harmonica manufacturer Lee Oskar Harmonicas. Throughout his career, he has participated in major blues and harmonica festivals both in Argentina (such as the Siembra Festival) and abroad, notably performing at the Harmonica FEN Festival in Berlin. Alongside his live performances and collaborations, he maintains an active discography with solo releases (singles and EPs), highlighted by "Blues del Equipaje" (2021), "Գինետուն (Ginetun)"(2022), "Frackin' Minds" (2022), "The Ians" (2023), "Stelle di Fusine", and "Entre Pinos" (2026), blending authentic blues expression with his personal and cultural heritage.

Interview by Michael Limnios

How did your journey with the harmonica begin in Argentina, and what drew you to this specific instrument?

I started playing the piano at the age of three, because my mother was a piano teacher, and the sound of the piano filled our home all day long. In fact, my mother used to tell me that while she practiced on her grand piano, I would crawl over and fall asleep on the floor underneath it. I studied piano and classical music until I was 13, but—like many teenagers—I began listening to rock and roll. My interest in that genre led me to explore its origins, which is how I discovered the blues. We had records by Louis Armstrong and Ray Charles at home, though I associated them more with Dixieland and jazz; however, as I sought out blues artists to listen to, I came across Muddy Waters, Howlin’ Wolf, and Jimmy Reed. That sound completely captivated me, and soon my record collection began to grow rapidly with music from these artists. By the age of 15, I formed a blues band with some friends from school; since the piano was too difficult to transport—and the group already had a guitarist, a bassist, a drummer, and a vocalist—the only instrument left for me to take up was the harmonica.

Your project Electro Armenix blends traditional Armenian music with electronic beats and harmonica. How did you come up with this unique fusion?

All four of my grandparents are Armenian; my entire life has been shaped by Armenian culture and music. In fact, when I compose songs on the piano, the first melodies that emerge from my fingers are Armenian. Since this musical style isn't commonly heard on the harmonica, I was intrigued by the idea of experimenting to see how it would sound. Furthermore, the great Lee Oskar served as a major inspiration and guide in this endeavor. I have been an artist for Lee Oskar Harmonicas since 1994, and I’ve had the privilege of joining him on several tours, as well as sharing conversations and receiving his advice. When Lee Oskar launched his own harmonica brand, he had the brilliant idea to go beyond the standard Major Diatonic—the type commonly known as a "blues harp"—by creating three additional models featuring different scales. One of these includes the scale used for Eastern music, known as the "Harmonic Minor." Lee once mentioned the need to promote these less common harmonica models, and that’s when I thought, "Why not perform the music of my ancestors using an instrument other than the ones typically associated with it?" That’s how it all began, and from there, the process felt completely natural—because, much like the blues, Armenian music is something that flows straight from my soul.

“Sometimes, melodies come to mind, and I honestly don’t know if they are truly mine or if they stem from memories I cannot quite identify. I believe it is a combination of many things, but there is no doubt that my Armenian roots always play a fundamental role in it.” (Photo: Ruben Vaneske, an Argentine musician, composer, and virtuoso of the diatonic harmonica, he came into contact with music at a very young age and dedicated himself to studying the blues harmonica)

As an official featured artist for Lee Oskar Harmonicas, how has collaborating with such an iconic brand influenced your sound and technical approach?

It has been a major influence. As I mentioned before, Lee Oskar is a brilliant musician, but he is also a highly entrepreneurial and professional individual. This inspires those of us who are artists for the brand to follow in his footsteps and contribute—in our own way—to both the musical and commercial aspects of the brand. In my youth, long before I became part of the Lee Oskar world, I used to listen to his music—especially his work with the band War—and I was captivated by the magic of his sound and the way he fit into an ensemble that wasn’t strictly playing the blues. Later, while I was a member of the band La Mississippi in Argentina, the people who distributed the harmonicas approached me with an offer to become an exclusive artist for the brand—a role I still hold to this day. Lee Oskar has always championed the idea that the harmonica isn’t just for playing the blues; this challenges artists like me to explore different styles rather than simply staying within our comfort zone.

The harmonica is deeply rooted in blues, but you explore world music and electronics. How do you push the boundaries of what this instrument can do?

When it comes to composing music, I naturally find myself exploring different styles; it’s not something I plan—it just happens. I started with the blues, but later, Armenian music, hip-hop, and any other music that evokes a deep feeling in me came into the mix. In fact, two years ago, I recorded an EP of original tracks in which I combine the diatonic and chromatic harmonica, drawing from an Argentine style known as *folclore*. The band is called Estanislao Monte, and you can find it on various platforms. On that musical adventure, I was joined by Darío Tevez—a great harmonica player in that style, which was something I hadn’t explored before. And, as I mentioned earlier, there’s also the influence and guidance of Lee Oskar.

“I am a musician who relies more on feeling than on technique; for me, music is passion. Even if you lack great technical skills, you can still create music—and make it sound excellent—provided you approach it with a deep commitment to your own authentic self.” (Photo: Ruben Vaneske, an Argentine musician, composer, and virtuoso of the diatonic harmonica, with a long-standing presence in the blues scene of Argentina and Latin America)

You represented Argentina at the Rosario International Harmonica Festival. What did that experience mean to you, and how did it affect your career?

Whenever I have the opportunity to share my music and promote Lee Oskar Harmonicas, it is a tremendous pleasure for me. I have been fortunate enough to play in various countries and learn about different ways of making a living through music; all those experiences are part of who I am today.

When you are creating music that mixes traditions from different parts of the world, where do you find your creative drive and inspiration?

Whether in my memories, my own experiences, or the present day—I have been listening to a great deal of music since I was very young. Sometimes, melodies come to mind, and I honestly don’t know if they are truly mine or if they stem from memories I cannot quite identify. I believe it is a combination of many things, but there is no doubt that my Armenian roots always play a fundamental role in it.

In your opinion, what is the ideal balance between technical skill and raw emotion when playing the harmonica?

I am a musician who relies more on feeling than on technique; for me, music is passion. Even if you lack great technical skills, you can still create music—and make it sound excellent—provided you approach it with a deep commitment to your own authentic self. I truly enjoy listening to musicians who have mastered technique to perfection, such as Jason Ricci and many others; however, I believe music fulfills its purpose only when the listener takes something away from it—a melody, a rhythm, or a message. Without that, it isn’t music for me.

“All four of my grandparents are Armenian; my entire life has been shaped by Armenian culture and music. In fact, when I compose songs on the piano, the first melodies that emerge from my fingers are Armenian. Since this musical style isn't commonly heard on the harmonica, I was intrigued by the idea of experimenting to see how it would sound.” (Photo: Ruben Vaneske on stage with Cedric Burnside)

How do audiences from different cultural backgrounds respond to your experimental and electronic harmonica sounds?

I believe the audience always reacts well when they see and sense that an artist is being honest and passionate about what they are presenting; naturally, the aesthetic aspect of the music is also important, ensuring that it is pleasant and harmonious when it reaches the listener's ears. So, taking all these factors into account, the connection with the audience works very well.

What are some of the most important lessons you have learned so far from your international musical path?

I began working as a professional musician at a very young age. Throughout my career, I learned to respect others—both my colleagues and the audience—and to always give a little bit more. Showing respect for the profession means being prepared, punctual, and helpful to others; it means going the extra mile and being responsible regarding the commitments one makes. For me, humility is the fundamental value—it always has been—but seeing major artists like B.B. King or Taj Mahal demonstrate such humility, one cannot help but follow that same path.

What are your hopes for the future of the harmonica? Do you see younger generations showing interest in learning and evolving the instrument?

There is a great deal of interest, especially in my country. When I started playing the harmonica in the early 90s, it wasn't very common in Argentina, but today there are many excellent harmonica players, and the instrument has become very popular. I see the same thing happening in other parts of the world. I’m always reminded of a phrase by Lee Oskar that I find very apt: he says, "the harmonica is the ideal instrument for those who have lost hope in music." By that, he means you don’t need to be a great musician or have a great ear to pick up a harmonica and make it sound good just by blowing and drawing air…! (Laughs)

(Photos: Ruben Vaneske aka Ruben Vaneskeheian, also known by the stage nickname "el armenio")