2014 Journey To Memphis Begins June 6th & 7th At The Lehrer  

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The 2014 edition of the Cascade Blues Association’s Journey To Memphis, to select our representatives at the next International Blues Challenge, will take place on Friday, June 6th and Saturday, June 7th at The Lehrer. Twelve acts will compete before three judges, playing twenty minute sets and being scored in five categories (blues content, vocals, instrumentation, originality and stage presence), with the top two highest scoring acts each night advancing to the finals at the Waterfront Blues Festival on Friday, July 4th.

Over the years, the Cascade Blues Association has been privileged to send some of our region’s best performers, with several making it to the semi-finals and four acts that have reached the finals, two placing in second place overall. This year is another stellar year of exceptional acts that have entered, many old hats who’ve been involved in the Journey to Memphis and the IBC before, and some up and coming newcomers who will surely be making their mark as well.

Start times for the event will be 9:00 pm both nights. Admission is $10.00 each night (and that includes friends, family, wives, roadies, etc. of the acts performing as this is how we raise the money to be awarded to our winners). The Lehrer is located at 8775 SW Canyon Lane. They have a large dance floor, great sightlines and good food, so come on out and cheer on your favorites.

Schedule for each night is as follows:

Friday, June 6th

9:00 – Pat Stilwell Band
9:30 – Ben Rice & The iLLamatics
10:00 – Land of the Living
10:30 – Anne Weiss
11:00 – Rae Gordon Band
11:30 – Papa Dynamite & The Jive

Saturday, June 7th

9:00  – Martin Henry & The Blues Benders
9:30 – Tim Connor
10:00 – David Pinsky & Phil Newton
10:30 – Gabriel Cox
11:00 – Tevis Hodge Jr.
11:30 – Still Water Vibes

Dave Mathis Blows That Harp With A Vengeance

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By Laurie Morrisey

When you talk about great harmonica players in our area you hear names like Bill Rhoades, Jim Wallace, Mike Moothart, Curtis Salgado, Paul deLay, Arthur Moore, Mitch Kashmar, Hank Shreve, and Dave Mathis. Dave is a long time staple in the Portland music scene, with a career spanning over 40 years.

mathis

Dave Mathis (photo by Tony Kutter)

“I started playing professionally in the mid 70’s–acoustically and electric in duos’ and band settings. I also did a half hour TV show on channel 8 called ‘Eight Lively Arts’ in the 70’s.”

Dave says his love of the harp came after hearing Sonny Boy Williamson and the Yard Birds. “I knew I wanted to play blues harp. Once home from Vietnam, I started to check out the local music scene. Brown Sugar was always my favorite. I had done some Shakespeare in high school and later a part in a production of The Fantastic’s, so I wasn’t afraid of getting up in front of people. After doing a few parties and club gigs, I knew I wanted to play harp and sing in a band.”

Dave describes his style as Chicago with some West Coast jump/swing. He plays both diatonic and chromatic harmonicas and also sings. For the last six years Dave has played with Michael Osborn and the Drivers. The band consists of Michael Osborn, lead guitar and vocals; John Moore on drums; and K.G. Jackson on bass guitar and vocals.

Basically self-taught, Dave taught himself to play harmonica by listening to records. Later he took several lessons from Paul deLay and studied with Howard Levy for a week in 1989. He says his musical influences include Sonny Terry, Little and Big Walter, Sonny Boy #1 and # 2, Paul deLay, Norton Buffalo, Mitch Kashmar and Kim Wilson.

Dave’s talent has been recognized with two Muddy Awards for Traditional Blues Act while he was with Sheila and Backwater Blues.

He can be heard on four CD’s: Traditional Blues with Kelly Joe Phelps; Blues Police with Steve Cameron; The Glamorous Life with Michael Osborn and the Drivers; and In Your Face, which is assorted tunes he has done over the last 20 years.

Dave has also played with several bands, including; The Beaver Trail Boys (western swing band) in the late 70’s; Liquid Blues for 20 years (rocking blues); Kelly Joe Phelps for four years (traditional acoustic blues); Shelia and Backwater Blues for four years; Blues Police with Steve Cameron; K.G. Jackson and Dave in a duo and band format; and Terry Robb and Dave in a duo and band format. “Playing 20 plus years with the Liquid Blues Band—Stan Sherer, Frank Solari, Kelly Stites, Jeff Ommert and Ron Ferrante—was a good experience musically.”

In closing, Dave says, “Everybody that I have played with over the years has been an influence on me, as well as my music. It’s reflected in my style of playing.” He says all the musicians in Michael Osborn and the Drivers have years of experience and “there’s a lot of talent. I love this band and its blend of original and cover tunes. Even with three of us singing, I get plenty of opportunity for good vocal work for myself, and we have a good time up there.”

For a current list of where you can hear Michael Osborn and the Drivers, visit their website at http://www.checkerboardrecords.com/

Rob Shoemaker Interview

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Rob Shoemaker - photo by Greg JohnsonIn 1951, the year Fender started selling electric bass guitars, bass player Rob Shoemaker was born in Philadelphia. Coincidence? Makes you think. When he was a kid, his family moved around, starting in upstate New York. Then to the Chicago area from 4th grade through high school. Then all over the west before finally settling in Portland in 1977 and blessing our blues music scene.

He’s been playing professionally for nearly 50 years. When asked if he always wanted to be a musician, Rob says ever since the Beatles were in the US for their first tour. “They were interviewed on television and Paul McCartney said he wanted to see Muddy Waters while the Beatles were in the United States. I already liked blues music, but never thought of playing it until the Beatles.”

Musical Influences

“My Mom was a good, serious piano player. She played every day. My parents always had classical music playing, either on the record player or the radio.”

“I was raised on Chicago radio: listened to rock and roll on WLS and WCFL; listened to blues on WOPA and WVON; listened to jazz on WGRT; and listened to classical music on WFMT. I would sit by the radio and try to play along with everything. I listened to Chuck Berry, the Ventures, the Stones, the Beatles, Muddy Waters and B.B. King, Elvis, all the Motown stuff, James Brown, the psychedelic bands like Jefferson Airplane, Sly and the Family Stone, Freddie King, Albert King, Albert Collins, Buffalo Springfield, you name it. The first bass players I tried to imitate were Bill Wyman and Paul McCartney, then I found out about Willie Dixon, James Jamerson, Jerry Jemmott, Duck Dunn, Jorma Kaukonen, and Larry Graham. I later began to listen to jazz bass players like Ray Brown, Charles Mingus, Jimmy Blanton, Milt Hinton, Ron Carter, Richard Davis, and Leroy Vinegar.”

Musical Style

When describing his own music style, Rob says, “Bass has the same role in pretty much any style of music. The bottom end defines the harmony of the song, knits the melody and the rhythm together. The bass gives the other musicians and singers the framework to build the songs around.”

Training

Although Rob is a bass player now, he started his music training by playing French horn in fourth grade. “The band director, Mr. Koerner, was a wonderful teacher who had played trumpet in marching bands in the Army and Ringling Brothers. I learned to read music and learned teamwork in the school band. The junior high school band director, Mr. Hoffman, was just as good.”

“When I started playing bass, I had a music-minus-one Ventures record that came with a book, and I also had the Carol Kaye bass instruction books. My ears got good enough to learn which notes to play by listening to records. I watched all the live music I could so I could see what the bass players did with their hands, and I would pester bass players with all sorts of questions about what they were doing.”

CD’s

Rob is the bass player on all four of Norman Sylvester’s albums, and is in the process of completing a fifth CD with him. He recently played bass on Tommy Hogan’s Howl Like the Wind album.

Bands

“In junior high and high school I was in a band called the Lonely Souls. From sophomore year on, we worked two or three nights every week and nearly every day during summer. After high school I knocked around with dozens of bands. I started playing with Kate Sullivan shortly after moving to Portland. Also played with Marvin C. Faith, Sheila and the Boogiemen, John Borroz, and Buzz Clifford, before the Norman Sylvester Band got going. I’ve played steadily with Norman for 30 years now,” Rob said.

He has played with numerous local musicians over the years, including Frankie Redding, Janice Scroggins, Dover Weinberg, Jeff Otto, Kenny Wilde, Patrick Lamb, Pete Moss, Renato Caranto, Olan Ray Nelson, Nick Christmas, Ashbolt Stewart, Jolie Clausen, Mark Weisgram, Mel Brown, and Phil Tucker.

His son, Paul Shoemaker, has been the full time drummer for the Norman Sylvester Band for the last four years. “The late Carly T. Helgerson, an excellent harp player, had a lot to do with establishing our sound in the beginning. When Norman’s oldest daughter, Lenanne, began to sing with the U of O gospel choir, he began to use her for high profile gigs. Lenanne was soon joined by her cousins, Rhonda and Estherlita Hill. Other singers include Myrtle Brown, Gretchen Mitchell, Sarah Billings and LaRhonda Steele.”

In closing

“I love this music, and I love entertaining anybody who wants to hear it.” To hear Rob play, check out the Norman Sylvester Band at one of our local venues. You’ll find more information at their website, normansylvester.com.

Cascade Blues Association Website

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In the cyber world of today, it is necessary to keep changing with the times to stay on top of things. With that in mind we are trying to consistently keep our website to be more user friendly and accessible. Over the past couple of years, Bruce Gifford has worked on giving the site a more friendly and easier to read look and we thank him for everything he has provided the CBA during that time moving us in the right direction.

At this point, we wish to introduce you to the new webmaster, Buko. Many of you may know Buko within the music scene in Portland and also for the work he has provided for multiple websites, including his own buko.net and the Twolouies.com site, both chronicle what is happening within Portland’s music present and past. Other sites he has developed and maintains include Kravmaga-sf.com, insulators36.org and sustainableofficesource.com. Buko is working to resolve server issues we’ve encountered in the past, making the calendar even more easier to navigate, bringing back our on-line merchandise store and even more. This is an work in progress that we’ll keep you up to speed on in the BluesNotes, but keep an eye on his progress at cascadebluesassociation.org.

State of Oregon Recognizes Curtis Salgado

Curtis Salgado Wins Big at 34th Annual Blues Music Awards

Curtis Salgado Wins Big at 34th Annual Blues Music AwardsIt is not every day that a musician is honored by the State of Oregon recognizing a lifetime of dedication and achievement, but the State Senate did just that for bluesman Curtis Salgado in February. It is something that fans and musicians already knew about Curtis and now has been officially noted, that Curtis Salgado is a State Treasure.

77th OREGON LEGISLATIVE ASSEMBLY–2014 Regular Session

Senate Concurrent Resolution 205

Sponsored by Senator WINTERS; Senators BAERTSCHIGER JR, BOQUIST, CLOSE, DEVLIN, EDWARDS, FERRIOLI, GIROD, HANSELL, JOHNSON, KNOPP, KRUSE, MONROE, OLSEN, STEINER, HAYWARD, THOMSEN, WHITSETT, Representatives BERGER, BUCKLEY, MCLANE, NATHANSON, PARRISH, RICHARDSON, WEIDNER, WILLIAMSON (Presession filed.)

SUMMARY

The following summary is not prepared by the sponsors of the measure and is not a part of the body thereof subject to consideration by the Legislative Assembly. It is an editor’s brief statement of the essential features of the measure as introduced.

Honors visionary Oregon musician Curtis Salgado.

CONCURRENT RESOLUTION

Whereas Curtis Salgado is a visionary Oregon musician who has inspired generations of blues fans through stunning vocals, passionate song writing, soulful harmonica playing and the example he set in overcoming personal tragedy; and

Whereas Curtis Salgado grew up in Eugene, Oregon, where he played in his first professional shows at age 16 and was already making a name for himself in Eugene’s music scene by age 18; and

Whereas Curtis Salgado started an annual Eugene blues festival; and

Whereas Curtis Salgado’s high-intensity performances and acclaimed albums uniquely combine aspects of blues, soul and R&B; and

Whereas Curtis Salgado has helped bring prominence to Oregon’s music scene since the 1960s by collaborating, touring and performing with such artists as Robert Cray, the Steve Miller Band, Santana, Bonnie Raitt and many more; and

Whereas Curtis Salgado has performed throughout Oregon, the Pacific Northwest and the world,  including at the Waterfront Blues Festival in Portland, the San Francisco Blues Festival, the Chicago Blues Festival, the Beale Street Music Festival in Memphis, the Tampa Bay Blues Festival, Mile High Blues in Denver, Waterfront Blues in Toronto, the Phuket International Blues Rock Festival in Thailand and the Blues Alive Festival in Poland; and

Whereas Curtis Salgado was an inspiration for the Saturday Night Live sketch and major motion picture The Blues Brothers and the best-selling record album Briefcase Full of Blues; and

Whereas Curtis Salgado has received numerous awards, including the 2010, 2012 and 2013 Soul Blues Male Artist of the Year, the 2013 B. B. King Entertainer of the Year and the 2013 Soul Blues Album of the Year for his record Soul Shot; and

Whereas Curtis Salgado has been inducted into the Oregon Music Hall of Fame; and

Whereas Curtis Salgado brought national attention to the challenge many artists face in accessing affordable health care; and

Whereas Curtis Salgado exemplifies the Oregon spirit of steadfast determination by overcoming both liver and lung cancers; now, therefore,

Be It Resolved by the Legislative Assembly of the State of Oregon: That we, the members of the Seventy-seventh Legislative Assembly, honor Curtis Salgado for his visionary music, shining example and service to the people of this state.

Dave Fleschner can tickle the ivories like no other

By Laurie Morrisey

Calling Dave Fleschner a piano player doesn’t really do him justice. It should be compared to an artist finessing the paint brush across the canvas. The way he plays that Nord Stage 88EX or Hammond B-3 organ—it is a work of art.

Dave comes from a very musical family, so becoming a musician was a natural progression. “My mom is a wonderful singer, and she would harmonize with my dad, who would sing and play guitar or baritone ukulele. My mother had training as a kid but my dad just picked up old country and western songs by ear. I didn’t realize it at the time, but having taught for over a decade, I understand now how formative early exposure to ‘live’ music can be,” Dave said.

Dave was born and raised in California—all but a few years in which the family lived in Salem. 1996 brought the musician back to Oregon, but this time to Portland with a jam-band called Uncle Earl and he’s been here since.

He says he wanted to play music from a very early age. The only question was how. “I’ve questioned my sanity many times, but every time I think about what else I could do, I can’t imagine another career. My first paid gig was with my high school rock band, Muddy Undercarriage, when I was 16. We went straight to the music store with the money we’d made and bought a used Kustom PA,” he said. That was 23 years ago and he’s been performing ever since.

In addition to being a musician, he says his day job is “teaching, recording, writing, arranging and anything else I can do with music. I teach piano out of my home and out of the Multnomah Art Center. I’ve picked up a little work as an adjunct professor at Clackamas Community College. I have a home recording studio where I have done full length CD’s, demos, infomercial music, and lots of keyboard parts for other people’s records. I’ve done arranging for the Portland Gay Men’s Choir and for Tapestry Theatre. I’ve worked on a few movie soundtracks for Interfilm productions. I pick up session work (playing parts for other people’s music) in other studios. I also have three kids, so I spend a lot of time being a dad as well.”

Influences

When discussing who influenced his music, Dave said, “I’m a bit of a sponge, so I think anyone I play with or listen to has influenced my music. Spending six years in the Curtis Salgado Band was hugely influential on me, and I’m very grateful for all the opportunities Curtis gave me.”

“I was into The Doors in high school. I learned my first blues licks copying Ray Manzarek, before I even knew there was a blues scale or form. The first blues piano record I bought was Pinetop Perkins playing solo. So often, the piano gets mixed way in the background, and when I finally heard Pinetop playing solo and telling stories, I started to get it. Incidentally, decades later, I got to meet him at Antones, in Austin, while on the road with Curtis. He was by the bathroom hawking his own CD’s at Curtis’s gig. I bought one. You gotta love the blues world,” Dave said.

“Otis Spann and Professor Longhair really helped me figure out how cool the ‘feel’ can be. Curtis turned me on to Little Brother Montgomery, James Booker and Lloyd Glenn, and those guys all have a different kind of approach to blues. It’s still got the rhythm and the grit, but they have more harmonic sophistication. Ray Charles and Stevie Wonder are, of course, way up there.”

“More recently, Mike Finnigan is someone who I have come to really respect and admire. He plays piano, organ and sings wonderfully. He can move between styles effortlessly—very versatile. Larry Goldings is another great who plays both organ and piano. I remember seeing him with Maceo Parker, laying down super funky left hand grooves. Jon Cleary is amazing, too—I love his playing, singing and writing. I got to jam with him backstage on a funky old upright at the Britt festival, after opening with Curtis for Bonnie Raitt.”

Dave credits his dad’s copy of Bob Dylan’s Greatest Hits as an influence, too. “For some reason I loved the poetry combined with the rawness of his vocals. I started finding all his other records. People think of him as starting out as a folk singer, but he’s always been into all types of American music, especially the blues. Throughout all the other music that’s influenced me, I’ve always been a Dylan fan.”

“I know this is an article for a blues publication, but I’ve got to mention some jazz influences. Blues and jazz are like two dialects of the same language. The first jazz guy I loved was Thelonius Monk, for that same kind of quirky rawness I love in Dylan.  I learned gospel from Keith Jarrett, funk from Herbie Hancock, chord voicing’s from Bill Evans and Errol Garner, fire and intensity from McCoy Tyner, and bluesy elegance from Wynton Kelly. Jazz is an offshoot of the blues.”

Dave plays a lot of Hammond B-3 in addition to piano. “Besides Jimmy Smith, who is, of course, the father of modern organ playing, I really dig Larry Young. If you hear his Testifying album, it’s all gospel and blues. I think he was 18 when he recorded that, and I still can’t figure out some of the things he’s doing.”

Training

As far as training, Dave had classical lessons as a kid, and he says his mom would always have classical music on in the house. “It didn’t take back then. I thought classical music was for old people. Now I’ve developed more of an appreciation for the history. American music really came about from the collision of African rhythms with European Harmony. I’ll read through literature, or teach a little, but I can’t perform it. I have a hard time playing the same notes in the same order every time.”

He has a bachelor’s degree in jazz performance from Portland State where he had the chance to study with Darrell Grant, Randy Porter, and Charley Gray. He minored in music at Willamette University and studied for one term at the Berklee School of Music in Boston. “Other than that, I learn from watching and listening to other musicians. I’ve never understood the ‘self-taught’ question, because nobody plays music in a vacuum. Everyone learns from everyone else, whether it’s a formal lesson or not.”

The music

Dave describes his music as American Roots. “To me, that encompasses blues, soul, jazz, gospel, funk, rock—even a little country. I’ve had amazing opportunities to learn and play in a variety of styles with great musicians.  When I get to do my thing, it’s very bluesy, but I can’t ignore all the other influences. When I write, I really don’t know what’s going to come out, unless I’m trying to write something in a specific style.”

Bands

“People who have hired me or bands I’ve been in are: Curtis Salgado, Duffy Bishop, Earl Thomas, Karen Lovely, John Nemeth, the Mel Brown B-3 Group, Chris Mayther, The Alan Jones Sextet (subbing for Randy Porter), Soul Vaccination, The Strangetones, Rob Sheps, Kathy Walker, Rubberneck, Toque Libre, Groove Revelation, Gary Burford, and The Kathy Walker Band (My first CBA meeting).  I’m sure I’m forgetting some, please forgive me.”

Right now Dave is focused on his duo with Alan Hager. “We have so much fun. It’s personally gratifying and musically rewarding. Alan is a master and it’s an honor to be on stage (or in a corner of the room) with him. It might not sound very spectacular, but our residency at O’Connor’s Vault is one of my proudest accomplishments. The people who come in seem to really dig the vibe, and the word is spreading. We’ll be there on March 12th and 19th. Check my website for all our upcoming dates—www.davefleschner.com

He serves as Musical Director for Earl Thomas. “He is an amazing singer. It’s been an honor and a pleasure to work with him.” He’s also been performing with Duffy Bishop, Karen Lovely, and Toque Libre.

Most Thursdays you can find him with Ben Rice and Dave Melyan at The Lodge, 6605 S.E. Powell Blvd. “Those guys are both fabulous musicians, and I feel it’s really helped me re-connect with the local scene.

Guest performances

“The biggest ‘stars’ I’ve had a chance to play briefly with are B.B. King (At the Blues Music Awards), The Pointer Sisters (through a pops concert with the Portland Symphony), Steve Miller (at both of the Concert’s for Curtis), China Forbes of Pink Martini (we played a benefit for our kid’s school together, and she was gracious enough to perform with me at a ‘Raise the Roof’ concert for the Blues Foundation). I got to play with Paul Delay three times, and I treasure those memories. I’ve played “one-offs” or jam sessions at festivals with Joe Louis Walker, Taj Mahal, Eden Brent, Jason Ricci, Boyd Small, Phillip Walker, Robert Cray, Rod Piazza, Andrew Jr. Boy Jones, Sherman Robertson.”

Awards

Dave received two Muddy Awards when he was with Curtis Salgado’s band: 2006 Performance of the Year – A Concert For Curtis; and 2009 R&B Act of the Year – with Curtis Salgado. “I’m honored to have been nominated last year in the keyboards category of the Muddy Awards. Thank you to the CBA and its members for the recognition.”

CD’s

Dave has a long list of CD’s. As a leader or primary member:
Hager/Fleschner Duo, Live From the Vault, 2013
The Dave Fleschner Trio, Creepin’ Up, 2010
Dave Fleschner, At Home, 2004
Zuppa, Walk Funky, 2004
The Dave Fleschner Trio, Just Like You, 2002
The Dave Fleschner Trio, Live at McPeet’s, 2002
Zuppa, Live at the Goodfoot, 2002
Groove Revelation, Grindin’, 2000
Groove Revelation, The Arch Cape Sessions, 1997

As a sideman:
Buzz Holland, The First 21, 2013
Muriel Stanton Band, The Way You Love Me, 2013
Murali Coryell, Live (DVD Portion only), 2012
Kenny Lavitz, Flip Side of the Blues, 2012
Miriam’s Well, Indian’s and Clowns, 2010
Deep Roots volumes I through XI, annually from May 1998 to 2009
Ken Ollis, Confluence, 2009
X-Angels, Mississippi Sessions, 2008
Bad Dates, Primates, 2007
Dave Milne, 2006
Eric Ferguson, Brachiocephalic Trunk, 2006
Elena Lunevskaya, DYX, 2006
Ben Fowler Quintet, The Pilgrimage, 2005
Chris Mayther Band, Big Blue Eyed Soul, 2005
Kenny Lavitz, Too Many Hats, 2005
Michael Partlow Four, 2005
Young Lions of Zion, Your Sanctuary, 2003
The Vantucky Diamonds, Rock House, 2002
Billy Hagen, You Should’a Been Pretty, 2002

Jane Wright, Synergy, 2000

Runs Good, As Is, 2000
Blake Woods and Monica’s Dress, Safe in Heaven Dead, 2000
D. Mark Jackson, 3 Years On, 1999
The Mak Groove, Live at Jimmy Mak’s Compilation, 1998

“Alan Hager and I have at least two records worth of original material we’re working on for future CD’s. We wanted to get a live CD out fast to help promote the duo, but we’re taking our time a little more with the original stuff. Hopefully we’ll get something out this year.”

“I’m also working on recordings right now with Duffy Bishop, Toque Libre, Karen Lovely, Earl Thomas, Ron Rogers and helping Curtis Salgado with some demos. All that stuff is in various stages of pre-production, so I’m not sure what I’ll actually perform on and to what extent.”

In closing

“I feel blessed to work and play with so many amazing and talented people. The ‘Raise the Roof’ concert I worked on last fall, with Earl Thomas and Joey Scruggs, was an incredible experience. It was the most involved I’ve ever been with a show from a production standpoint. All the artists who performed were amazing and gracious, and the show went off without a hitch. I’m very proud of that. I’d like to thank all the performers for their involvement. I hope we get to do another one soon.”

For more information on where to find Dave performing, visit his website at www.davefleschner.com.

Jim Miller, Portland Loses One Of Its Closest Friends In The Music Community

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Jim Miller - photo by Greg Johnson

James “Jim” Miller had his hands in many fires within the Portland music community over the years. He was always on the look-out to bring joy and accomplishment through the power of music. Whether he was playing himself, assisting other artists, producing major events or bringing the healing effects to those in care facilities or senior centers, he was always willing to give his heart and commitment without a thought of receiving anything in return but smiles from those he touched.

Many people who did not have a chance to know Jim very well may only recognize him for his bass duties with various bands, or as the production manager at the Waterfront Blues Festival. They may be unaware that he was the first president of the Portland Musicians Association, a co-founder of The Bite of Portland, a founding member of The Mystic Krewe of Nimbus, and the creator of Golden Harvest Music that brought live music to those in assisted living and care facilities. That he played with numerous local acts including stints with The Cannonballs, The New Iberians, Atomic Gumbo, Jaime Leopold & The Short Stories and as a duo partner with Franck Goldwasser. Or that he worked or played at one time with each of the following national acts: Iron Butterfly, The Nelson Riddle Orchestra, Albert Collins, Ella Fitzgerald, Glenn Campbell and BJ Thomas. He supported many music organizations, including the Cascade Blues Association and had served as a band leader for the Muddy Awards All Star Band and helped create a screen saver featuring CBA Hall of Fame artists and Heroes of the Blues honorees.

Jim Miller passed away in a coma on December 24, 2013, due to the effects of a heart attack ten days earlier. He leaves behind his life partner Wendy, his personal family and his enormous extended family in music. In tribute to Jim, guitarist Franck Goldwasser has released for download on bandcamp.com, a collection of fourteen songs the two had recorded in 2010, called Social Moments. Proceeds from the downloads of this recording will aid Wendy with immediate expenses.

Mitch Kashmar’s harmonica playing will blow you away

IMG_2821 kashmarThe rebel side of Mitch Kashmar started in high school when he first started performing professionally. The underage Mitch, unbeknownst to the bar owners of the area where he grew up, would perform in their venues. “One of them, however, did know, and at that particular place I could exist ONLY on stage, in the bathroom, or outside,” Mitch said.

Originally Mitch wanted to be a piano player–some sort of cross between Otis Spann and Billy Preston. But the harmonica was his destiny. “I played with a lot of older guys, and they made sure I sang some tunes, too, even though I didn’t want to. Then I fell for THAT as well. I’m grateful to them. They knew it would be hard enough to survive, even with all the advantages you can manage, and they thought I could sing, so they MADE me.”

Mitch says he always wanted to be a performer. “I fell in love with playing the piano, harmonica, vocals, and music before I was out of high school and it’s been an obsession ever since. Performing wasn’t what the attraction was, it was the sounds—the music itself.”

“The attraction to the excitement and challenge of performing came later for me, as a way to make the money to pay for the time to make more music.”

“I’ll never forget the first time I got paid for playing music. It was at Torky’s bar in Santa Barbara, I must’ve been 18. We played our tunes, got buzzed on free (and illegal) drinks, full of free chili, the ‘old ladies’ flirted with us, we made six bucks and saw a guy get hit over the head with a pool cue. All on a Thursday night. Man—talk about big excitement and success!”

In the late 70’s and early 80’s, Mitch’s band played with guys like Eddie “Cleanhead” Vinson, Lowell Fulson, Willie Dixon, Pee Wee Crayton,

Big Joe Turner, Roy Gaines, Jimmy Witherspoon and more. “Getting to rehearse all afternoon with Lowell Fulson, then meet back onstage later for the ‘big show’–the value of these experiences can’t be overstated”

“Also, William Clarke was around. He hadn’t been signed to Alligator Records, yet. I lived in Venice, he lived close by in Torrance, and we became fast friends and each other’s biggest fans. I used to tag along with him to some trippy places in inner L.A. He even called me one morning and asked if I could play harp in the studio with him, Jr Watson, Richard Innes, and Fred Kaplan–that was an ego boost. That’s me, 25-year-old pip-squeak, playing harmonica on Bill’s song “Now That You’re Gone”, released posthumously a few years ago.”

“Kim Wilson and I grew up in the same town, although at different times. I didn’t know him then, but I played with guys who were friends with him and had played with him. His parents and friends were still living there so he’d be around during the holidays and time off. Gigs were set up, parties were had, and I got to listen to and jam with one of my heroes in a loose situation. These were all tremendously inspiring experiences.”

Mitch says he knew the music wouldn’t sound right, wouldn’t sound honest, and wouldn’t have the urgency, if he didn’t play for his living. He had to consider himself a pro and put himself up for scrutiny alongside the best. “I don’t think I’d recommend that to anyone. It’s extremely difficult to build any security or sense of future, (translation: make a dollah!). It can be very difficult psychologically and in other ways downright dangerous. It’s something you have to know for yourself. As Johnny Dyer says, ‘You pour your OWN trouble!’ You’re always welcome to some from Johnny’s bottle, but he won’t pour it for you,” Mitch says with a chuckle.

Mitch said his music is often called “West Coast Blues”. “You’d have to call it blues–some stylized form of different blues grooves,” he said.

When asked about influences, Mitch said, “Obviously all the classic blues cats. I love straight-ahead jazz, soul music, some country, and all the different soulful sounds of America. When you travel as an American musician, you’re impacted by what a special stew of influences we have, it’s why they love OUR music around the world to a unique degree.”

“If I was stuck on the proverbial desert island and could have only one artist’s boxed set? Maybe Ray Charles, Little Walter, Big Walter, Sonny Boy, all the Chicago guys, Junior Parker, Papa Lightfoot….then there are certain guys from the next generation who I’ve learned from and have inspired me–guys like

Kim Wilson, William Clarke, and Paul DeLay.”

From 2006-2011, Mitch played harmonica with today’s version of WAR, which includes one original member, keyboardist/singer Lonnie Jordan. He says that had a big influence on him, “To be there every night on the road with such a great live performer, seeing how he draws so much energy and stamina from the crowd energy and the music itself. He seemed to run and run and run without putting any miles on the tires.”

He talked about the many singers who’ve inspired him–all the great classic blues singers–Johnny Adams, Jr Parker, and Bobby Bland. I’ve always bought records by singers, people like Sam Cooke, Lou Rawls, and Tom Jones. One time, in a newspaper article, they said I played harp like Little Walter and sang like Lou Rawls–I need to find that person and hire him/her as my publicist.”

Mitch has four CD’s on Delta Groove and one self-produced from 1999. One of the Delta Groove CD’s is a re-release of the LP his band, The Pontiax, made in the 1980’s. You can find it at www.deltagrooveproductions.com or google “Mitch Kashmar.”

He says he hopes for more CD’s in the works in the future, but how exactly to sell recorded music is something that’s getting more nebulous all the time. “I really don’t know where it’s headed, neither do most of the people in the business of selling music. I’m still selling CD’s overseas, but none here in the States. I’d love to get something done in 2014.”

Mitch has been traveling a lot over the last few years, so he has several different musicians he plays with. “I’ll be in Germany this spring with a trio I’ve worked with several times; another unit of guys when I go to Finland or Norway; yet another in Brazil, where I was last August with Rod Piazza and Lynwood Slim. I moved to Portland in April 2011, and have been enjoying meeting everybody and playing pickup gigs with the best–people like Jimi Bott, Dave Kahl, Alan Hagar, Terry Robb, Kevin Selfe, Allen Markel, Jon Barber, DK Stewart, John Mazzocco, the Knuckleheads, John Neish, Dover Weinberg, Chris Carlson, Carlton Jackson, Lloyd Jones, and anybody else I’ve forgotten.”

Mitch keeps busy touring all over the world, but keep an eye out for his local gigs–then go out and listen. Mitch urges people to get out–“Music is good medicine!”

For a rockin’ night of music, go see the Mike Branch Band

Mike Branch (photo by Jim Dorothy)

Mike Branch (photo by Jim Dorothy)

By Laurie Morrisey

It’s a new year and time to get out and listen to some music. One of the acts to get you dancing the night away is the Mike Branch Band.

Mike is a native Portlander, who wandered for a bit to Reno, NV, to work as the slot manager at Circus Circus and then to South Florida to work on an all original band called BABY Simone. He moved back to the Pacific Northwest in 1999.

He has spent approximately the last 40 years playing music professionally, having played his first professional gigs at age 13.

When asked what he wanted to be when he grew up, he responded, “The first thing I wanted to be when I grew up was to not grow up.  Since realizing that, I have been misspending my youth ever since…”

In addition to playing music, Mike has been doing freelance graphic design, web design and marketing for the last 20+ years.  “My company is called Media Services, I work out of my house, preferably in my jammies,” he said.

Listening to Mike play, you can hear the host of rock influences in his music. “My playing style has been most greatly influenced by Billy F Gibbons of ZZ Top, Rick Nielsen of Cheap Trick and local guitar legend and dear friend, Jim Mesi.  Might as well throw in some Chuck Berry, Keith Richards (Stones) and Joe Perry (Aerosmith) while we’re at it.”

Those influences have helped shape the sound of The Mike Branch Band. In one word he describes it as, “BOMBASTIC!  We are a guitar-driven, rock and roll band that specializes in a classic rock sound geared to pack dance floors. BAM!”

This completely self taught guitar player describes himself as, “a guitar junkie.  I love guitars.  I like nice ones.  Expensive ones.  And after 40+ years I can still make one sound just as bad as the next.”

And if you haven’t figured it out, yet, this guy is a character. His list of awards includes: Spelling Bee, 4th grade. (I tried to verify this fact, but was unable to find any records still in existence from that time period.)

In addition to the spelling award, The Mike Branch Band was first runner up for their now semi legendary, fully animated video of their original song “Peel the Paint” on makeastar.com. The video can be found on the band’s website, www.mikebranchband.com.

The band is currently working on material for the first Mike Branch Band release.  Slated at this time to be an EP and scheduled for release hopefully sometime in 2014.  “Our intention is to record tracks at Nettleingham Audio which is a killer studio in Vancouver, WA and have the project co-produced by Kevin Nettleingham; who’s production track record is truly one of the finest in the city and speaks for itself,” Mike said.

Mike has informally played with a veritable who’s who of the Portland music scene.  Certainly everybody of note in the rock genre and many of note in the blues genre.

When asked about his current bandmembers, he says, “I have an amazing band that, quite fortunately, shares my work ethic, goals and determination. Hard work doesn’t scare these cats.  The Mike Branch Band works more than any band on the local rock scene hands down.  In 2012 we worked approximately 80 dates.  In 2013 we worked over 100 dates.  New Years Eve 2013 was booked sine last February.  New Years Eve 2014 is already booked.  We already have close to 70 dates on our 2014 calendar and I fully expect that number to go over 100 before we’re done with the year.  My band mates are warriors!!”

The Mike Branch Band includes:

Lead Vocals: Jeffrey Parrish.  “Jeff and I have played together off and on for somewhere around 30 or so years. He is a seasoned, veteran front man.”

Bass Guitar, Lead & Backing Vocals: Rojer Blaine. “Rojer has been with us for about 3 years now.  He has played in a number of local bands over the years and is exceptionally well respected.  He is the only musician in the city who has the distinction of having played on both KGON Homegrown albums back in the 70’s.  Rojer has toured the world including Canada, South Korea and Japan.”

Drums: Joe Fazzolari. “Joe is the new guy.  He’s a left handed drummer, which we have decided looks strangely weird and cool at the same time. Joe is officially with us for the long haul/duration since death is the only legitimate way out of the Mike Branch Band.”

“We are the only band in the city that travels with a dedicated light man (Lloyd Lee) and sound man (Doug McKenzie, formerly of Johnny Limbo fame among others) for EVERY show we do, large or small. Big club, little club; doesn’t matter, we take the boys with us. It guarantees a quality control at shows that is tough to beat. It costs us more money but is worth every penny and remains yet another thing that distinguishes us from the crowd,” Mike said.

“I am blessed to count myself as a member and be recognized as a huge supporter of the ENTIRE local music community; both musicians and venues. I enjoy promoting my friends right along with the Mike Branch Band.  I think it makes for a healthier music community and is in turn good for all of us. If venues do well, if my friends do well, then we all do well and the Mike Branch Band does well.  I like to think of the scene in its entirety as opposed to just my little slice of it. I get requests on a regular basis to consult with my peers on the subject of marketing and do so frequently.”

“I believe that much of our success comes down to marketing.  The Mike Branch Band is considered to have the best marketing in the city hands down.  This isn’t us saying it, this is what we hear from our peers and business associates,” Mike said.

“I am a second generation advertising brat.  My father had the largest ad agency in Portland for over 40 years.  I inherited his PT Barnum gene. Along with the graphic and web design skills and a reasonably savvy attack in the social media arena, we have been able to produce a large and loyal following that we refer to as the ‘FamClub—no fans, just family.’  We are proud of our marketing efforts and believe we are raising the promotional bar on the local scene.  We believe this will strengthen the entire scene.”

“A companion to our marketing efforts that allows us to be leaders in certain areas of promotion is our merchandising.  We have produced one of the largest merchandise catalogs in the city.  Everything from buttons, bumper stickers, key chains, custom jewelry, mugs and a huge variety of t-shirts and custom apparel, all heavily branded with the iconic Mike Branch Band logo.  When it comes to marketing, branding is king and we do it well.  We are able to do our swag because Rojer (the bass player) and his wife Linda do silk screening, embroidery and custom ad specialties through their company, Sew Fine Dezign.  If you can print on it, they can produce it.”

But aside from the marketing, promotions, etc., Mike knows what truly keeps the fans coming, the music. “Finally and maybe most importantly, we are sincerely humbled with gratitude by our growing success and consider ourselves extremely fortunate to be able to do what we love to do.  We never take that gift for granted.”

Visit the band’s website at www.mikebranchband.com for information about upcoming shows and to purchase some of the swag.

The Roseland Hunters are on the Prowl

Roseland Hunters CD coverThe Portland blues scene is one of the best in the country. So many musicians—there’s never a dull moment and you can find fabulous live music every night of the week. One of the newer musicians on the scene is Michael Quinby and his band, The Roseland Hunters.

Michael is one of those musicians who is self taught. He plays guitar and piano. He first Read more