New Mexico Jazz Stories Week Two!

Hello New Mexico Jazz Workshop friends,

We're moving STRAIGHT AHEAD with our programming this Fall! Check out our Fall/Winter brochure, The Season of Sound for a full list of events coming up for NMJW. Last week, we launched New Mexico Jazz Stories at the Cooperage. Week one featured saxophonist Glenn Kostur-- he took us back to his childhood and the first song that he learned. Along with his band for the evening (Stu MacAskie on piano, Milo Jaramillo on bass and John Bartlit on drums) Glenn performed music he loves, and several original tunes from his discography. The night was just what we wanted out of a Jazz Stories evening: memories and melodies. Here's a little snippet from the show:

On Wednesday, October 28th, we welcome Larry Mitchell to the Cooperage and New Mexico Jazz Stories.

(Photo by Karen Kuehn)

Larry Mitchell is an international solo artist, sideman, songwriter and Grammy-Winning music producer. As a solo artist, Larry has released six guitar instrumental records which met with significant critical acclaim. The albums range from mellow acoustic to scorching rock arrangements. In 1999 Larry was awarded the much coveted The San Diego Music Awards Best Pop Jazz artist and in 1986 and 1987 won the New Your City Limelight Guitar solo contest.

As a sideman, Mitchell toured as guitarist for a wide range of musical artists including: Tracy Chapman, Billy Squier, Ric Ocasek as well as being a band member of "the Crunch" (T.M Stevens Bernie Worrell, Crystal Talefero and Tony Smith) Currently Larry has been performing live with two-time Grammy-Winner Taos Pueblo Native American artist Robert Mirabal as well as the much celebrated Muskogee Creek Native American artist Joy Harjo. Larry shares song-writing credits with Steve Vai and Thomas McRocklin on the "Bad for Good" Album and with Brian Hard Groove (Public Enemy) and Bootsy Collins on the song "It Is What It Is" on Bootsy's upcoming release. .As a producer, Larry has won many production and engineering awards in various categories such as Adult contemporary, Pop, R&B, and Rap. Most recently Larry Mitchell, won a 2008 Grammy for Co-producing the album "Totemic Flute Chants" Johnny Whitehorse in the Native American category.

Larry performs at New Mexico Jazz Stories with a handful of world-class musicians. On drums is Erik Hargrove. Erik played drums for JAMES BROWN, hello. Erik drums for Bootsy Collins as well. Maud Beenhouwer, Executive Director of NMJW is wicked on bass, and though she's not one to toot her own . . . bass, Maud is an incredible performer and collaborator. Larry welcomes a few special guests to the stage to showcase his collaborations including one of the leading musicians in Native American Contemporary music today, Shelley Morningsong and folk favorite Eileen Meyer.

New Mexico Jazz Stories

an evening with some of New Mexico's finest musicians

Wednesday, October 28th @ 7pm

The Cooperage, 7220 Lomas BLVD.

Tickets are $10 general, $8 NMJW Members, Students, Seniors

For more information, call us! 505-255-9798

NMJW presents new jazz series

Hello New Mexico Jazz Workshop friends!

Hard to believe the summer is coming to an end! Kids are back in school, the weather is changing. Just when you thought Monday Night Football would become the highlight of your week, we've come up with a NEW JAZZ SERIES to get you out of the house!

Life is an improvisation, a mixed tape, an unfinished work-- and no one knows that better than the five professional musicians NMJW has lined up for New Mexico Jazz Stories. They've played everywhere, from juke joints to concert halls, for sophisticated, international audiences, to salty bar flies in dives. Not only have Glenn Kostur, Larry Mitchell, Tommy Gearhart, Michael Anthony and Bobby Shew collected frequent flyer miles, they've collected stories throughout their colorful journeys, and they plan to share them with the New Mexico Jazz Stories audience for the first time.

Glenn Kostur is the first artist in the series on October 21st. Kostur is Director of Jazz Studies at the University of New Mexico. Glenn has performed with such jazz artists as Dizzy Gillespie, Billy Eckstine, the Woody Herman Orchestra, among others. On October 28th, Larry Mitchell, the jet-setting guitar virtuoso performs. A Grammy Award-winning producer, Larry has played with the likes of Tracey Chapman, Joy Harjo, Robert Mirabal. He's a world traveling musician, clinician, and a spokesman for Ibanez Guitars. Tommy Gearhart on vox, will perform on November 4th. Gearhart is a classic crooner with a modern sensibility. You'll enjoy the stories of this Ohio native who has established deep, New Mexican roots.

Guitarist Michael Anthony is a musician's musician. On November 11th, Michael shares his trials and tribulations as studio artist for some of the biggest names in the business. Anthony has played guitar professionally since 1960, and can be heard on the albums of Tony Bennett, Nelson Riddle, The Beach Boys, Diana Ross, and many, many more. World-class trumpeter Bobby Shew brings a type of magic to the stage on November 18th. Winner of the Grammy for Jazz Album of the Year in 1983 (Heavy Company), Bobby played with the Tommy Dorsey Orchestra, Woody Herman's band, and spent several years as a lead musician in Las Vegas. Perhaps he will tell you his Wayne Newton story. You'll have to be there to find out.

NMJW presents

New Mexico Jazz Stories

October 21th- November 18th @ 7pm

The Cooperage

7220 Lomas NE

Tickets $10 general $8 nmjw members/seniors/students

Series pass available!

Felipe Ruibal y Quemozo TOMORROW NIGHT at Salsa Under the Stars

Hello friends!

We're gearing up for another weekend of great music, Under the Stars! We thought we'd whet your appetite for Salsa Under the Stars with a little number from Felipe Ruibal y Quemozo.

And don't forget- tomorrow marks a milestone for the band-- a NEW EP RELEASE! Support local music,

snag a CD before there're all gone!!!

Interview with Tommy Gearhart, PART I

Tommy Gearhart. TOMMY GEARHART. Even the rhythm of his name has an air of sophistication. It's easy to imagine the statuesque Mr. Gearhart in the background of every black and white photo of Frank Sinatra, Dean Martin and Sammy Davis, Jr. swirling a martini, tie undone after a long night of giving the Bellagio all he's got.

If you've heard Tommy's velvety tunes, at Vernon's for instance, then you know this guy means business. Old school business. He's a man about town, a go-getter, a hep cat and that's a fact. What you may not know about Tommy is that he's the guy next door. He's a Mid-Western fellow from Toledo, Ohio-- he's married with kids. He works hard. He's dedicated to the things that matter to him. Tommy is so dedicated to the eradication of Mulitiple Sclerosis that Tommy is nearly single-handedly presenting HEALING, HARMONY, & HEART a benefit concert in September featuring his mentor and 7-time Grammy award winning jazz legend, Jon Hendricks, along with his good friend, concert pianist, Awadagin Pratt because someone had to do it.

When Tommy says he's going to do something, he does it, and he does it big, even if that means dragging a hulking Hammond organ to your house. When we sat down to talk to Tommy about his upcoming gig at Jazz Under the Stars, he made us promise to get it straight and tell it all-- it's gonna take two blog entries, but Tommy, we won't let you down. Here, Tommy talks about the band, the Hammond B3 and his life-time love of the instrument.

[TG]

Please emphasize the importance and my great appreciation and collaboration with the musicians on this project, along with giving a shout-out to my longtime bassist, Dan Spanogle and drummer David Edwards, who are outstanding local jazz musicians and friends.

[MJ]

Sure thing. Tell us about the band.

[TG]

The band is Tony Cesarano on guitar, Steve Figueora on Hammond Organ, Chase Ellison on drums. "It's a pretty diverse band-- age, experience, approach-- it makes it unique. Tony is my primary collaborator. He grew up in the Bronx jazz scene. He just has an infinite sense of harmony. And, Bobby Shew just signed on to play with us-- we just had a smokin' rehearsal the other night!

[MJ]

Why the Hammond Organ for this project?

[TG]

I was a jazz drummer, sitting in and listening to some great organ players. It's the instrument that most articulates the sound of the blues within the context of jazz and how complicated it gets--that's the Hammond B3 organ.

[MJ]

So let me ask you this-- what has to go into the organ? What gets drawn from the fingers and the mind into that sound? Because when you hear that organ it conjures up an idea, you know, and you know exactly where to go to have that experience, that memory. How do you put that into the instrument?

[TG]

Well, Steve Figeruoa is the most soulful guy living here, and he's an amazingly competent jazz musician.

You listen to him. He was saying once that he was playing at the Telluride Jazz Festival when Clark Terry the famous jazz trumpeter sat in with the band. And, in the middle of his solo he looks back at Steve and says, "Maaaan, you sound like you been eatin' chitlin's!" And so that'll let you know about Steve. Steve said, "Well, I've been eating some menudo." He [Steve ] said that was one of the greatest compliments he's ever had as a player, because he does sound like he understands this music at the highest level.

[MJ]

Tell us more.

[TG]

When I started this project, I told Steve, "Be at my house tomorrow with your pick-up truck." He said oh what are you talkin about, Tommy. I said, I WANT YOU TO MEET ME AT MY HOUSE WITH YOUR PICK-UP TRUCK TOMORROW, you can ask Steve about this. He shows up with the pick-up truck, he doesn't know what the hell's going on. . . oh no, here goes Tommy, again. You know what we did? We loaded my A100 which is mostly the same as the Hammond B3, into his truck, drove it to his house and put it at the end of his bed. He's been playing it for about four, five, six hours a day. Not that he's not a great pianist. But being a pianist just doesn't translate to the organ. It's a whole 'nother level.

[MJ]

It's different than playing the piano.

[TG] I mean, we're listening to John Patten right now [in his studo]. [Hammond B3] is one of the first synthesized instruments made to recreate the sound of an enormous, monstrous pip organ. I've listened to Steve talk about his hardships in learning to play this instrument. I mean, with a piano you can barely hit it, you can control that dynamic, press it down and let up-- [the sound] decays. With the organ, when your finger comes up it's over, it's DONE. There's no sustain on it. Then there's all these settings, designed to recreate the sound of the pipe organ-- you'll recognize a lot of these settings within jazz, from the church. You know, like this is where the preacher gets up, he's asking for money-- there's a setting for that. All those guys like Jimmy Smith talk about the settings.

Also, and this is what's beautiful, I had a conversation with Steve once-- he said if I could do it all over man, I would play the bass, and I said, "Why would you play the bass?" He said, I would just walk like Ray Brown, just BE THERE-- it's the most thankless instrument. Steve's father, was a great bassist. His name was Conrad Figueroa, you know, very famous guy in the genres that he played. Steve said, I would just be there for the band, and just do it. People don't do that anymore. So that was feeding into me-- I thought, yeah, I've got the instrument for you. You want to be a bassist? You have to be a bassist and learn to become a bassist with your left hand, when you were just used to playing chords. Steve has had to learn to be that bassist he always wanted to be, on top of all the other stuff he has to deal with, playing the Hammond. You're playing with your hands, your foot . . . it's like a marriage between being a drummer, a pianist and a trumpeter-- that's what the organ was intended to create. An orchestra. It's an incredibly soulful instrument when it's played right.

Look for PART II of this interview on Friday. And don't miss the concert on Saturday evening.

[Marya Errin Jones]

Hot Weekend Under the Stars

Hello there!

We are SO LOOKING FORWARD to this weekend of Salsa and Jazz Under the Stars!

On Friday, we welcome Calle 66 back to the Albuquerque Museum Amphitheater @ 7pm.

Calle 66 reads like a varitable who's who of musicians on the New Mexico scene, and their salsa tunes are burn-your-mouth hot.

Get there at 6:30 and take a FREE SALSA LESSON with a professional instructor! There were 30 people on the dance floor for the lesson last week! It's a blast, not at all scary, and you'll learn a few new steps, so why not??

On Saturday, don't miss Transit Latin Jazz Ensemble! This concert is a reunion of sorts. Former NMJW director Ed Ulman, Amicar Guevara and Barret Martin are all flying in from far-flug locales to do this show, and we're glad for it!

If you didn't here a Maud talking up the band on KUNM the other day,Transit Latin Jazz Ensemble combines the rhythms of Afro-Cuban jazz, Brazilian fusion and Bossa Nova. It's going to be a great concert! Hey, we don't want to neglect our local heroes Rodolfo Gonzalez, Maud Beenhouwer also members of Transit, and Glenn Kostur and Cesar Bauvallet who are lending their artistry to the line-up. It's going to be a great evening under the stars!

And, don't forget about Sunday Jam Sessions at Seasons! This week it's the Rodolfo Gonzalez Quartet, Sunday, August 9th @ 7:30 pm! Get there early-- you know how that lovely, intimate patio can fill up in a heart beat!

Have a great weekend, whatever you're up to! We hope to see you at the Museum, Under the Stars!

Ivon Ulibarri Interview

It's a major understatement to say that Salsa is a male-dominated industry. Musicians (who happen to be women) who choose this style of music as their art form often find that they are welcomed into certain areas of the realm designated for singers only, and even then they are obliged to vy to fill the shoes of the late, great Celia Cruz.

Women who rise to any level of stardom amongst the numerous "Mambo Kings" appear to us like random, distant comets in the night sky of well-known constellations, rather than constant elements in the celestial design that drive this music genre forward. We dare you to name a woman right off the top of your head who has ever led, successfully, a Latin jazz band, as a musician, singer, composer and band leader. Go ahead. Try. Say it. . . Shiela E. We love Shiela E. But, come Friday night at the Albuquerque Museum Amphitheatre, you may want to revise your answer. If you live in New Mexico, you know that Ivon Ulibarri is a name synonymous with salsa, and her group, Cafe Mocha rise to the occasion EVERY TIME, to bring you some of the most sophisticated, charismatic music around. Here's the New Mexico Jazz Workshop interview with Ivon Ulibarri!

You've been pleasing audiences with great Salsa music for over a decade. How did you get started?

I started playing guitar when I was about 12 years old...around the time Carlos Santana came on the scene. I remember being drawn to the congas and timbales in particular, along with Carlos' guitar, of course. I also remember in my Social Studies classes, really being interested and intrigued by the Latin countries. I spoke Spanish fluently and anything Latino captured my interest. My admiration of Carlos Santana continued into high school and I aspired to play like him. I learned to play Oye Como Va, Evil Ways, etc. Somewhere along the way I learned that Oye Como Va was a Tito Puente song. And, somewhere else along the way I discovered the Fania AllStars, Eddie Cano, Tito Puente, Celia Cruz. I liked "that style of Spanish music". It was different and very rhythmic. I was hooked. When I came to UNM I discovered KUNM and the Latin music programming on Fridays, Saturdays, and Mondays: Salsa Sabrosa, Espejos de Atzlan, Raices. I also discovered Ruben Blades, Willie Colon, Johnny Pacheco, just to name a few. I was always drawn to what I later learned was Cuban and Puerto Rican "son". It was those polyrhythms! They mesmerized me and captiviated my soul.

After graduating from UNM, I started a band: Amigas. We played what I called the "juke box variety" because we played everything from Tex-Mex Rancheras to Country to Top 40 (including Michael Jackson songs!), to Carlos Santana, Boleros, Cumbias, Gloria Estefan, and eventually Salsa. We began to learn and play more and more Salsa. I turned everything we played into Latin-Mambo-Salsa. I just couldn't get away from that beat. Still to this day, I hear the world in terms of clave, mambo, son, salsa. I hear the clave in every style of music! It's in my DNA! My band "Amigas" was together for appx 10years. During that time, I earned a name for myself in the ABQ Music Scene for the variety we played but especially for bringing out the Latin style sound in our music.

We know you perform Salsa, Mariachi, and solo guitar. What's your favorite genre of music to perform?

I love them all but, probably Salsa is my favorite because I've been able to evolve musically more within the Salsa genre. I love playing with the band. Again, it's those rhythms that wrap themselves around my soul and fill my heart with music. I do enjoy performing with Mariachi as well. Mariachi music was my first exposure to music--altho' I loved Elvis Presley too. I grew up listening to many genres of music. It all depended what station my mom was listening to. While she cooked supper she'd tune into a station from Amarillo TX and we'd listen to Mariachi, Tex Mex, and Norteno. When she cleaned house she'd tune into our local radio station KTNM, and I'd get a dose of Country music. Other times, I'd tune into KOMA-an Oklahoma city station and listen to the latest Rock and Top 40. I loved it all and dreamed of having a band that played it all. Eventually, I did, including Salsa.

What is it like working in what appears to a male-dominated musical art form? Have things improved over the years, in terms of more women creating Salsa music?

It's been a challenge...regardless of what genre I pursued. I grew up playing music with guys. Females didn't play instruments, per se, when I was growing up. Perhaps instruments like flute, piano, clarinet, violin but not too many played guitar. I learned to play from my brother and other guys in the neighborhood. So, I learned to play an aggressive style right off the top. When it came to playing in bands, I was able to hold my own with the guys and that was my ticket into the scene. Yes, things have changed quite a bit. However, in Latin music, namely Salsa, things are still a bit behind.

Gloria Estefan did a lot for opening doors for women in Latin music. Still, most female Salsa performers are primarily vocalists. Granted there are some exceptions, (Sheila E., for example), but not many. A contemporary Salsera with major acclaim is ALBITA but aside from her and Gloria Estefan and of course Celia Cruz, there really aren't any females who have reached the levels of acclaim that artists such as Ruben Blades, Willie Chirino, Gilberto SantaRosa, Johnny Pacheco, for example. Even though Celia Cruz earned acclaim early on in her career, she didn't attain the crossover that Gloria did until later in her career. In my opinion, Gloria Estefan open the door wider for Celia. Salsa didn't crossover until Gloria Estefan. Gloria Estefan opened the door for all Latinos, including me.

What types of obstacles have you faced as an artist in Salsa and how have you overcome them?

The greatest challenge has been finding musicians who can play it correctly, and radio stations in New Mexico who will play it...aside from KUNM. Unfortunately, New Mexico Music hesitates to acknowledge anything other than the regional New Mexico style. It's very unfortunate not only for myself but for New Mexico music in general. The pool of Salsa musicians in Albuquerque has grown over the years but, it's still a very limited number of players who play Salsa. In terms of being an "Salsa artist"--- the music business is a tough business regardless of what you play. There's lots of competition and egos, in general. One has to really love music, have a passion for it, to withstand all the challenges, criticism, etc. I guess the biggest challenge with playing Salsa--in New Mexico- is getting the typical New Mexican music lover to open up and appreciate another style of Spanish language music. The key to their ears is through music by Carlos Santana. We Chicanos, identified strongly with Santana. Because of him, we have a Salsa audience in New Mexico. Because of Carlos Santana I've been able to penetrate the New Mexico scene. Today, we have many young Latinos who have discovered Salsa separately from Santana, but I'll bet you Santana plays in their discovery somewhere.

You're a composer as well. What's your creative process? What inspires you to create new work?

Social issues, life's idiosyncrasies, life's contradictions, life's struggles, life's accomplishments, everyday life...all of it, none of it, always and never. Ideas just come to me...I hear the poetry in my head. I hear the music. It just happens. When I sit down to write, I open pages to the dictionary, randomly, and start making word lists...like I used to in grade school. The nuns would assign us an essay and have us start by making a word list. So, I still do that. I flip through the pages of dictionaries Spanish & English, and write down words that catch my attention. Later I sort through them to see what story line is in the list. Then I apply the words, or the idea the words gave me, to a melody. Sometimes the song is already written in my head. I just have to dig it out.

What's the first song you remember learning to play?

Yellow Mocking Bird and La Bamba.

What's your guilty (music) pleasure? What kind of tunes do you listen to that would surprise people to know?

Well, the truth is that I indulge in Salsa, & Son. I'm a Salsa & Son junkie! There's no hope for me-nor do I want anything else, honestly. But-- I really like listening to recordings from the 1920's - 1940's, especially the old style Mambo, Cha-Cha---before it was known as Salsa. I like listening to the style of Machito and the Cuban craze of the 40's & 50's. I like those old recordings before high-fidelity recordings! I like Billie Holiday music too.

In your opinion, what's the future of Salsa music?

Salsa music has only just begun! It never really went away. The mambo craze of the 1940's & 1950's faded away in popularity but it never died. It got quiet for a while but it remained alive in the barrios of New York, Los Angeles and certainly the Cuban neighborhoods in Miami.

Salsa & Son have a way of reaching deep into a person's DNA. It gets in there, it stays. There's something about the poly rhythms that move a person even if they don't understand the language. It's in the drums and the percussion that speaks loudly inside an otherwise quiet soul. It inspires an awakening that compels people to participate either as a musician, or a dancer. You can't help but be moved by it. If you feel it, you're hooked. If you don't feel it, then you're not alive somewhere. The poetry in the music is simple yet profound. People are affected by rhythm and Salsa & Son are the godparents of rhythm. It has the capability of crossing all nationalities, genres, genders, age groups, it's beyond International. It's an essential piece of the human element. Salsa & Son are repesentative of generations of histories that tell the story of today's civilizations. Its roots go way back. It's God's musical manifestation in rhythmic form.

Anything else you'd like to share with your fans?

I just want to express my gratitude to all the Salsa music fans in Albuquerque and New Mexico, for their support. We now have a thriving Salsa scene in our state because of their love for the music. Thank you all for making my dream come true.

Que viva la musica Latina y toda su gente. See you on the dance floor!

[Marya Errin Jones]

Ryan McGarvey Interview

Enough about blues artist Ryan McGarvey being a wee lad. And please, don't call him boy. He's old enough to produce a respectable beard, and he's damn sure grown enough to play some gritty, deep and dirty blues like a juke-joint-rockin' old man.

Ryan McGarvey IS young, he's a wee lad of 22. But when McGarvey and his band (K.C. White on drums, on bass, Kevin Kraybill) take the stage on Saturday evening at NMJW's Jazz and Blues Under the Stars, we guarantee you won't be thinking about McGarvey's age-- you'll be thinking about the power of the blues getting thrown on ya like a relentless Mississippi storm with a mind of its own if you can think at all. We recently caught up with McGarvey in the throes of a tour that has him criss-crossing the West and believe us, we had to catch him!

Name the first song you learned on guitar? You know, that song that you struggled to teach yourself, while listening to a recording, or hearing it on the radio? Tell us a little about that. . .

Well, the first thing that I EVER figured out on the guitar was the opening riff to the classic rock song "Barracuda" by the group HEART. But, the first song that I learned all the way through from start to end was Jimi Hendrix's "Voodoo Child." But, of course I learned it more along the lines the way Stevie Ray Vaughan had covered it.

When/how did you find your voice? How/When/Why did the Blues find you?

The first time I ever really sang was when I was about 15 years old. It was kinda just because it was a necessity. The little high school band I had together was only playing long instrumental tunes. So I began singing the Jimi Hendrix blues song, "Red House." I sang it maybe once at a practice, then the next time was at an audition for a city wide talent search which we won, (then I'm sure there had to be 1 or 2 more times after that) but our prize for winning was a slot at Sandia Casino's Outdoor Amphitheater opening for the Latin group SPARX. Well little did we know, it was already sold out- so my first time really singing to an audience was in front of a crowd of near 5,000-- which was basically a wall of people. As for the blues, it was just what reeled me in. All the early classic hard rock stuff I grew up listening to and loving, was all very blues based, and I kinda just traced back everything from each artist I was loving. Like Led Zeppelin for example, my first favorite song from them was "Gallows Pole" which was actually a really old Leadbelly blues tune. And it was the same case for everyone I loved, so I ended up loving all these "new" blues guys, because they were basically what my favorite rockers were playing.

How does the South West feed your Blues style? How has the landscape, the people, the food, influenced your art?

I think it's a great location. Of course the natural beauty found in all those things is influential, however I think it's the other places, the places I visit playing and whatnot-- they are the ones that really get to me and probably feed my style of music the most. I think it's because I don't live there, it makes the visit more special- so it seems like a bigger thing to me. The experiences, and the people you meet along the ride and all. But I can't ever forget home.

The typical question-- who are some of your influences, living or otherwise?

I listen and like to think I am influenced by literally everything. I think the biggest influences are everything from traditional early delta blues like Robert Johnson, classic hard rock like Jimi Hendrix & Led Zeppelin. I really like some really great singers/songwriters like Dan Dyer, Jeff buckley, and Malford Milligan. But, I actually think some of the later more contemporary blues/rock artists are what really captivated me. In that category I would easily say my biggest influences were Stevie Ray Vaughan, Ian Moore, Chris Duarte, Kenny Wayne Shepherd, and Joe Bonamassa. I would have to say everything influences me to a degree, but definitely those were the hugely influential artists.

What's the one constant you can depend on while traveling on the road? The one inevitable thing that occurs at nearly every gig?

Just seeing the first timers and the loyal followers inter-twine. It's great seeing someone that has never heard/seen us perform before, and their response. But, it's also so great to see some of our most loyal followers that will even hit the road with us just to see us in different venues. I'm really lucky to have some of the fans that I have.

On some of your tracks, we can hear the highway, the train on the rails-- what sort of things/ideas inspire your song-building?

I like to think any, and everything inspires me. I like to take an idea, or even just a thought or phrase and work around that. A lot of songs are from personal experience, which I think is better because it helps you connect to the song in a much deeper way. And, if you have been through something, chances are others have too, and therefore they will connect better in the same way.

What's your guilty music pleasure? Is there a genre of music (or even a song) that you can't get enough of, but might be wildly off the music path?

It's really hard to say. I listen to just about anything. Of course there are some exceptions to that. But, I really don't know what would even be considered off the musical path for me. It ranges from all sorts, but I enjoy most anything if it has creative artistic depth to it.Which can even include a good marketing visual. Or, if I can just see that they are really masters of what they are doing. Some country, some pop, bluegrass, punk, etc.. Everything kinda just blends together in my musical pallet.

What other art forms inspire you?

I really love music photography actually. I have really been digging it as of lately. Particularly the work of a good friend of mine Robert M. Knight. He's incredible, and very legendary. Just check out his websites, or his newest movie "Rock Prophecies" and you'll see what I mean. Chances are good you know his work. Karen Kuehn is another photographer I'm lucky to be friends with that does some amazing work.

There's definitely, "Something Wicked This Way Comes" about the Blues, and its history-- the selling of one's soul, at the crossroads, and such. Have you had brushes with "the unusual"? If so, what happened?

We have had a few incidences where the strange and unusual perhaps had some play with things. But never in such a dark way as a "deal with with devil" would be considered. I'm definitely not a Robert Johnson. If anything it is the other way around. This last year heading to Lubbock,TX from a gig at SXSW in Austin,TX- my dad and I were totalled by a speeding 18 wheeler semi-truck that ran a red light in an extremely small town. It was the general consensus there that there must have been some real guardian angels riding with us right then, because we were literally one half a second away from being wiped off the face of the earth.

In your opinion, what's the future of the blues? How does the blues mingle and mix in a world dominated by electronic music?

The blues is constantly growing, and expanding in the hands of the right people. There are purists that don't like to see this happening, and don't want it to grown or change. But that's what it does-- [blues] evolves. Muddy Waters took the blues and electrified it. Jimi Hendrix distorted the blues and made it psychedelic. Guys like Kenny Wayne Shepherd infused with more contemporary rock and made blues somewhat a bit more mainstream. The future of the blues is in good hands with MANY artists out there today. As long as the youth of today are introduced into blues in a right way, and not constricted to keep it TOO traditional, the blues will ALWAYS be around, and forever growing. It can't help it, because you can find blues in ANY music there is out there today."

[marya errin jones]