2016 CBA Officer Election Coming In December

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Every December, the Cascade Blues Association asks its members to attend the monthly membership meeting to cast their votes for the people who they would like to run the organization for the coming year. All five officer positions (President, Vice President, Treasurer, Secretary, and Membership Secretary) are open for anyone who would like to seek the positions. We do request, however, that for the Membership Secretary position that you have knowledge of spreadsheets and mailing, and for Treasurer you have a firm grasp of accounting and filing taxes.

If you would like to place your name on the ballot for any of the CBA positions, please submit a letter stating your intent to run and outlining your qualifications no later than Friday, November 27. If you would like your letter published in the December BluesNotes, please submit the letter by November 15. You may mail your letter of intent to Cascade Blues Association, PO Box 6566, Portland, OR 97228-6566.

Big Al Carter To Represent CBA In Best Self-Produced CD Competition

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Big Al Carter CD coverThe entries for acts seeking to have their CD sent to Memphis to represent the Cascade Blues Association in The Blues Foundation Best Self-Produced CD competition were tremendous this year. We had the most entries ever with thirteen, and all were outstanding albums worthy of representing the CBA. But alas, we are only permitted one entry.

A group of CBA board members gathered together and listened to each of the discs, then scored each entry based upon blues content, musicianship, sound quality, artwork, and liner notes. The entries this year came from Ben Rice Trio, Big Al Carter, Bottleneck Blues Band, Hank Shreve Band, James Clem, King Louie & LaRhonda Steele, Lil’ Queenie, Pete Karnes Blues Band, Rae Gordon, Roseland Hunters, Sister Mercy, The Sportin’ Lifers, and Tracey Fordice & The 8 Balls. After all the entries were heard and scores tallied, the judges chose Big Al Carter’s disc Fresh Blues to represent the CBA.

We will be sending four copies of the album to Memphis where it will be then be scored by select judges, with multiple rounds whittling down the entries to the finals where the overall winner will be announced at the International Blues Challenge finals on January 30, 2016.

Thank you to all those who submitted their discs for our regional competition. All were amazing and well deserving of being heard.

What is a Family Membership in CBA?

Definition of Family Membership

It has come to our attention that many people are not certain what a $40.00 Cascade Blues Association Family Membership involves. A Family Membership includes two adults and up to three children under the age of 18 all residing within the same home (not for your visiting relations). One copy of the BluesNotes will be mailed to the home each month and you will receive two membership cards, two Muddy Awards ballots and entry for your family members to the summer picnic, holiday party, and Muddy Awards.

Julie Amici Band Is a New Act That Has Some Familiar Faces From the Portland Blues Scene

julie amiciOne of the Muddy Award “Best New Act” Nominees is the Julie Amici Band. Julie Amici is the collaboration between vocalist Julie Yanko and bassist Dean Mueller, which got its beginnings in late 2014. The name is derived from Julie’s first name, and Amici, the original family name of Dean’s father. “Much like the name is a melding of the two, the music is much the same, combining Julie’s country roots and childhood dreams of singing jazz, with my deeply rooted blues foundation,” according to Dean.

“Although we perform as a duet, we usually team up with a guitarist to perform as a trio. The two main calls have been Chris Carlson or Alan Hager on guitar. With Chris’s move to Florida, the recent transplant, Mark Shark, has started to perform regularly with the trio. When drums are called for, our first call is always Carlton Jackson. All of these artists have made very meaningful contributions to the Julie Amici sound.”

Dean discussed the flexibility of the band. “We have hired many sidemen along the way including Dave Fleschner, Henry Cooper, and Dan Gildea. They are by no means ‘former’ bandmembers as I am sure they will be back at some point. In addition to the excellent support and influence that Chris Carlson and Alan Hager have been to our development, we have also received some great support from Curtis, Duffy, LaRhonda, Rich, and many other amazing humans—you know who you are—thank you!”

They describe their music as late 50’s period vocal centric blues/jazz and roots. “Sultry and alluring but firmly grounded in the blues.” According to their bio, “Julie’s strong yet sweet voice is reminiscent of the 50’s when female singers ruled the world of music, a time when jazz and blues co-mingled at the height of popular culture. Her repertoire combines the jazz of Billie Holiday with the soul of Nina Simone and the sophisticated country of Patsy Cline. Dean’s bass playing is rooted in the blues chops he learned playing with some of the finest blues legends in America and touring with the award winning international act, The Insomniacs.”

Musical History

Dean has been playing professionally since 2006 when The Insomniacs were formed and has played with a variety of acts in the Northwest ever since. In 2014 Dean had drafted Chris Carlson to play a couple gigs at the coast and they slowly developed the act and the band “Julie Amici”. It was officially formed in late 2014 when Julie quit her day job to pursue music full time.

“Ever since I was a child, I’ve envisioned myself singing in a red dress onstage, (she says with a chuckle.) I had no idea how that was going to happen. It’s been a long road, a lot of hard work, and on-the-job learning. I don’t come from a musical family, and was not encouraged to follow a musical path when I was younger. But my dream was always there, so eventually I started following my heart,” Julie said.

“I took voice lessons with Thomas Blaylock after Curtis suggested I do so. Dean has helped me to refine my voice, listening to the nuances, and developing a better ear as well. We also attend a weekly musical/jam tutorial called AJAM, Alan Jones Academy of Music.”

In addition to music, Julie has several side projects. “I have always enjoyed creating, so I paint and sew. I have an etsy shop, gofiggy, and have my paintings in galleries. I work at a wine bar and a small hi-tech business, both part-time jobs at the coast, so I am back and forth to the city every other week. I’m also a yoga and life-drawing model.”

Dean played trumpet in grade school and always wanted to be a musician. “But I doubted my capabilities to make it work. After going to college I dropped music completely but always wanted to return to it someday. That day came in 2003 when I purchased an upright bass and went to the Centrum Blues Camp up in Port Townsend, Washington. Over that week the confidence and desire returned and I came away with the desire to fulfill my childhood dreams and have not looked back.”

Dean’s training has come from various teachers but he says the majority of his learning has been from listening to old recordings and emulating his favorite players and songs.

“My job revolves around all things musical. I book and produce shows at Lake Theater & Café in Lake Oswego and also perform similar functions at venues on the coast and in Hood River. I also offer web consulting for musicians, studio work, producing, and teaching. I have been on the faculty for the Centrum Blues Fest for the past 10 years. In addition to Julie Amici, I play with the Duffy Bishop band and I pick-up gigs with many northwest and national artists.”

Musical Influences

When Julie talks about musical influences she says, “Oh, there are so many and the list grows every day. A lot of local musicians whom I’ve been able to know personally have offered their guidance. When I was younger it was Billie Holiday, Tori Amos, Jewel, Nina Simone, then Anita O’Day, and Dinah Washington —. now Julie London, Patsy Cline, Ella Fitzgerald, Sarah Vaughn. But mostly, I admire those musicians that have followed their hearts and have a positive message. I actually admire Eminem a lot…‘Lose Yourself in the Music,’ as he says.”

Dean also lists many influences. “From a ‘teacher’ perspective, I owe a lot to the drummer Alan Jones and his AJAM program. I still study with him today and my first music lesson with him was way back in 2004. I am still learning from that very first lesson. The entire Centrum blues program has been a huge influence on me—I owe thanks to all the instructors I have met over the years. John Clayton also has had a big influence on me and taught me some very important lessons that stick with me still.”

“As far as musical influences, the list is endless but a few that come to mind are Willie Dixon, Paul Chambers, Ray Brown, Miles Davis, and Keith Ferguson. As far as local influences go I’d have to mention Marco Savo. In the beginning days, when I went to Duff’s Garage every week to the Wednesday jams, I learned a ton from watching him. He had a big impact on my playing as I went into The Insomnaics.

“We have been lucky enough to perform together with many great northwest and national artists including Curtis Salgado, Duffy Bishop, Rich Delgrosso, Sunpie Barnes, Terry Bean, Billy Mays, Billy Flynn, Daryl Davis, Mary Flower, LaRhonda Steele, and many others. We are fortunate that our association with Centrum and the Lake Theater have given us many opportunities to share the stage with many great acts,” Dean said.

CD’s

Dean has performed on many CD’s but the Julie Amici Band hasn’t published a CD, but they are working on it. “We are writing songs and working on one to be released in 2016.”

In Closing

Julie Amici Band is a new act that should be added to your “must see” list. To find out where to see them visit their Facebook page at https://www.facebook.com/julieamici

Gary Davis Bio – Say No To The Devil – Book review

gary davis bio  Imagine for a moment living in New York City, say, sometime in the late ’40’s or early ’50’s, and while out for a walk coming upon a blind street preacher in Harlem, playing divine Piedmont style blues guitar riffs while offering a soul-stirring sermon revolving around that hypnotic music and The Holy Spirit — something close to “Holy Blues.” That is the world Ian Zack explores in his clear-eyed biography of Reverend Gary Davis, Say No To The Devil. Here, Zack follows the blind guitarist and street preacher through his hardscrabble, poverty-riddled childhood in South Carolina, his struggles against racism as an adult black man trying to survive as a street performer and itinerant preacher in the Jim Crow South, and eventually to his life in New York City as teacher, mentor, and inspiration to many young folk musicians and popular artists growing up in the Northeast during the late 1950s and ’60’s. Zack throughly researches Davis’s life, and in prose as clean as baptismal water he breathes life into the history of one of the most important — and perhaps least known —influences on modern American music.

In fact, it would be quite difficult to overestimate Davis’ influence upon Twentieth Century music. One can directly trace the development of musicians and bands such as Bob Dylan, Peter, Paul, and Mary, The Grateful Dead, Ry Cooder, Keith Richards, and The Jefferson Airplane, directly to Davis’s mentoring and teaching — and this is just the short list. As Grateful Dead guitarist Bob Weir, one of Davis’s many students, remembers, “[Davis] had a Bachian sense of music, which transcended any common notion of a bluesman.” While reading though this biography one begins to realize that modern popular music, not just the blues, owes a substantial debt to Gary Davis.

By all accounts — and there are many in this book — Davis possessed a preternatural ability on the guitar, and in keeping with the mythic nature of his abilities, Davis’s first guitars were home-made affairs he assembled from his grandmother’s pie pans, using small pieces of lumber for the neck and copper wires for strings. Zack explains that “for [Davis’s] efforts, his grandmother usually whipped him.” Perhaps pie plates were in short supply in South Carolina.

Zack fills this biography with many examples of Davis’s ability to survive as a street performer and preacher. For example, to attract and hold his audience in place, Davis would use “his bag of street performer’s tricks — making his guitar mimic the human voice, as when he slid his fingers up and down the strings to simulate shouting ‘good God.’” Or, later when Davis would “[play] notes or entire chords with his left hand while keeping time with his right by snapping his fingers or beating on the guitar top or strings with his palm.” Davis would also echo the sound of an entire band by “using moving bass lines, counterpoint, rhythms variations, and changes in timbre.” All this, Davis later noted in an interview, was “to bring some brightness to the minds of the people about how we should do, how we should live.”

Not that Davis always took his own advice. Despite his saintly music, Davis was far from a saint. He enjoyed his whisky and his ladies in equal measure, and Zack portrays Davis as a man with a sackful of faults. Of course, any good biographer will attempt to humanize his subject, and in Davis’s case, Zack successfully give us a portrait of a man pursued by demons who in the end manages to fend them off — most of the time.

Davis was a master (some argue THE master) of the Piedmont blues, a style that echoes the ragtime musical structure popular in the late nineteenth century, and Zack examines in detail the influence that Davis’s style of fingerpicking had on the burgeoning folk music scene in New York City. He also describes several of Davis’s performances at various folk and jazz festivals. It was through his connections to this folk music and his performances in these festivals that Davis was “rediscovered” and became a mentor to young musicians such as Joan Baez and a seventeen-year-old Bob Dylan. But, as accomplished as musician Davis was, he rarely played the blues in public until quite late in life, preferring instead to use his vast musical talent to extend the kingdom of God.

Ian Zack has produced a well-written, enjoyable, and informative biography of Rev. Gary Davis — a musician whose gifts we still appreciate and whose influence we still feel. Hallelujah, Brother.

Say No To The Devil: The Life and Musical Genius of Rev. Gary Davis.

Ian Zack, Author; The University of Chicago Press, 323 pages. $30.00

What’s On Tap For October General Membership Meeting . . .

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Melody Ballroom, 615 SE Alder St., Portland
Wednesday, October 7, 7:00 pm
Members always Free – Non-members $3.00
Opening Acoustic Set – Justus Reece
Second Electric Set – Martin Henry and Freedom Street Band

After such a blistering hot summer we’re starting to feel a little briskness and chill coming in the air. Fall has descended upon us, but we know we do not have to look too far to find great blues music to help warm up those nights. And as always, the monthly general membership meeting of the Cascade Blues Association is the right spot to find just that.

Justus Reece - photo by Greg JohnsonOpening the night for us in October will be a young artist who has caught our attention a few times over the past few years. At only nineteen years of age, Justus Reece has appeared onstage at happenings like the Blues For MS concerts and participated in this year’s Journey To Memphis competition at The Lehrer. And he is going to Memphis this coming January to represent the Cascade Blues Association as our first entry in the Youth Showcase that has taken place the past few years at the International Blues Challenge.

Justus is quite an accomplished guitarist. Influenced and inspired by musicians like John Fahey, Mississippi John Hurt, Charlie Hunter, Gary Clark Jr, Lionel Loueke, Doug Smith, Michael Hedges, Stevie Ray Vaughan, Jerry Garcia and Terry Robb, with who he has shared time on stage with and taken lessons from. He has been playing since he was eight years old and hopes that he can make a future with music. “The blues are my roots,” he states, “but all music is related.”

For our electric set, we feature Martin Henry and Freedom Street Band. The Martin Henry and Freedom Street Band - photo by Hocus Focusband is based out of the Portland area, comprised of a tight collection of accomplished musicians from throughout the Northwest, providing highly energized entertainment from a diverse set of songs ranging from rock, blues, country, and R&B.

Each of the band members brings years of dedication and skills in their craft. Band leader vocalist, percussionist and harmonica player Martin Henry with thirty years under his belt performing, vocalist Tracie Brown also contributes as a songwriter, dual guitarists Chad Van Dyke and Jim Presley, drummer Bill Ebert, and returning for the second straight month (she played with Drop Dead Red in September) is versatile bassist Joanne “Grandma Funk” Mead.

The Freedom Street Band is currently working on recording tracks for a demo CD at Angels Recording Studio, owned by and operated by Martin Henry as well as producing a music video. Expect to have nothing but a good time with this popular band.

And as usual, the meeting will include our member favorite free ticket drawing between sets, our multi-CD winner take all package, and we’ll inform you about events coming up in our area. Don’t miss out on the monthly meeting, you may find an act that you’re unfamiliar with that’ll turn your head in approval, and of course it’s always a great place to meet good friends. See you there!

Chuk Barber Walks to the Beat of His Own Drum—Literally

Chuk Barber by Tony KutterI’m sure some of you have noticed that cowboy drummer hanging around the local blues scene. That would be Chuk Barber. Chuk is a busy man, but he stopped long enough to answer a few questions so we could learn more about him.

Q: Where were you born and raised? How long have you lived in the Portland area? 

A: New York City…The Bronx, specifically. By the time I graduated from high school, we had moved out to Westbury on Long Island. I’ve been living in Portland for 10 years. I came here from New Orleans—right after Hurricane Katrina.

Q: How long have you been performing professionally? 

A: I started playing the drums at age 11. Louie Bellson was my first drum teacher. He gave me my first three lessons as a favor for my dad. Then he and Pearl Bailey went on a European tour and he sent over his friend, Hal Blaine. He was my drum teacher for the next year. Then Jimi Hendrix came on the scene and my preoccupation with jazz went straight out the window. I was officially “A Rocker!” We started playing at high school events. I played a club when I was 14 for ten whole dollars! There was no stopping me after that.

Q: Did you always want to perform professionally, or if not, what did you “want to be when you grew up”? 

A: I never gave it much thought then. I was too busy caught up in playing music because “Chicks thought you were cool!” Ha, ha, ha! I really wanted to be a cowboy and got the chance several years later when I went to college in New Mexico. I went on a cattle drive on King Ranch up towards Raton, NM. I rode, roped, dipped, and clipped. I was 18.

Q: Do you have a day job—what is it and how long have you been doing that—or do you not want to mention this? 

A: For eight of the ten years I’ve been in Portland, I’ve taught Afro-Brazilian, Afro-Caribbean Drum and Dance to middle school children at G.R.E.S. Crianҫas de Zumbi Samba School. Before that, I taught in New Orleans at New Orleans Charter Middle School.

Q: Who has influenced your music? 

A: Everyone—from Miles to Stevie Wonder, the Doobie Bros. to the Allman Bros, Basia to Gilberto Gil, Ruben Blades to Sting. Personally, I’ve had some very good friends, mentors, and teachers through the years—my brother-in-law, Curtis Pierre; my best friend and brilliant percussionist, Kenyatta Simon, who use to play with the Crusaders and Dr. John; Moses Wheelock, Marvin Gaye’s old percussionist, who was the percussionist in War before me; Bill Summers (Herbie Hancock & the Headhunters) who stayed with me, Curtis and my sister, Carolyn, when he first moved to New Orleans from LA; Airto (Return to Forever); Don Elias(Joni Mitchell); Jai Johnny Jamison (Allman Bros.)’ Bear Bryant (Tower of Power); Bobby LaKind (Doobie Bros.); Mongo; Tito; Patato…I could go on and on.

Q: How would you describe your music? 

A: Definitely world music. I pull from everything I hear. Jazz, rock, reggae, samba, reggae ton, cha-cha, mambo, rumba, gospel, R & B, neo-soul…you name it.

Q: What instruments do you play? 

A: All drums and percussion instruments, except for Tabla (that shit is hard! Like a thousand different patterns.) If it has a “skin” on it, I can play it. I don’t know if you can call it playing but I can find notes on the piano…Ha, ha, ha!

Q: Did you have any formal training or are you self­-taught? 

A: For the most part, except for the very beginning, when I had lessons from two of the greatest drummers in history.

Q: What awards have you won? 

A: Does my middle school Samba School winning five ribbons in five years at the Jr. Rose Parade count? Of the five years, we paraded in the Fred Meyer Jr. Rose Parade here in Portland, we’ve won 1st place three times and 3rd place twice. Five ribbons in five years…not too shabby! I’m extremely proud of this.

Q: What CD’s do you have out? 

A: In 2007, I got together with some local musicians—Al Criado, Brian Ward, Cedric Wright, Tom Sandahl, La Rhonda Steele, and Michael Bard—in a band we called Indigo, and made a CD called Moist. Curtis Salgado even plays harmonica on the track “Spill the Wine”(WAR). I’ve played percussion on a lot of other people’s albums. Two just last month.

Q: Any more CD’s in the works. 

A: Lowrider Band is coming out with a new CD sometime in 2016. It will be the original members of WAR’s first CD in about 30 years.

Q: Who have you played with? 

A: Currently, the Lowrider Band and the California Honeydrops, but through the years I’ve played with Dr. John, the Neville Bros., Erma Thomas, Anders Osborn, Pin Stripe Brass Band, Old Dominion Brass Band, Steele Pulse, Bill Summers, Casa Samba, Kid Marv, AfroSkull, Jonas Risin’, Bonnie Raitt, Curtis Salgado, Patrick Lamb, LaRhonda Steele, Tyrone Hendrix, Sumo, Transcendental Brass Band, Michael Ray, SunPie Barnes, Big Al Carson, Lloyd Jones, Where’s Danny?, Indigo, and Duffy Bishop. I’ve traveled around the world with the Brazilian National Soccer Team (with Ronaldo and Ronaldinho) in their samba band.

Q: Your bandmembers—what instruments do they play, how long have they been with you, etc.? Are there any former band members you want to mention?

A: I just got off the road with The Lowrider Band, formerly known as WAR, which has four of the original members still playing their original instruments—Howard Scott, guitar and vocals, writer/composer of 80% of WAR’s iconic hits—“Spill the Wine,” “LowRider,” “Cisco Kid,” “Why Can’t We Be Friends,” “Slipping into Darkness,” “The World is a Ghetto,” “All Day Music,” “City Country City,” etc.) I can’t put into words how much I love this man; Harold Brown, drums and vocals; B.B. Dickerson, bass and vocals; and Lee Oskar on harmonica. Rounding out the lineup is Lance Ellis, saxophones, flute and vocals, and Pete Cole on keyboards and vocals. I, of course, play percussion and sing. I have been with them 19 years, which is the same amount of time Papa Dee Allen, the original percussionist who died in 1988, was with them.

I want to give a shout out to all my boys in my former groups—AfroSkull, Jonas Risin’ and Sumo. Also to my newly “bestest” bandmates, the California Honeydrops!

Any Other Comments: 

I also am an author and a playwright. My latest novel is called Endangered Species about the last African on planet earth, and my play is entitled Dear Xango, which follows the life of a 15-year-old African girl named N’belle as she journeys from the motherland to the Caribbean and southern United States as a captive slave. Both are available for sale. Contact me at drchuk60@gmail.com.

Trails End Saloon Anniversary Party – Oct 23rd

It has been a year since Mark and Linda Temple took possession of the Trails End Saloon in Oregon City, continuing its long history of presenting quality music in the award winning venue. To celebrate the ongoing success of the Trails End for the past year, everybody is welcome to help mark the anniversary with a party and a customer appreciation night on Friday, October 23. Expect a full night of prizes and fun, featuring live music from Bigger Yellow Taxi and it all happens without any cover! It all starts at 6:00 pm, so don’t miss out. The Trails End Saloon is located at 1320 Main Street in Oregon City!

And don’t forget about the regular musical showcases every month, with Scott Bouck acoustic jams on Tuesdays, Big Monti & Guests on Wednesdays, the American Roots jams every Thursday with Ken Brewer & Danny O’Brien and Guests, Rae Gordon’s monthly Sunday Gospel, and starting in October the Sunday Women’s Music Revue with Sonny Hess, Lisa Mann and Guests! And of course, there is the rotating cast of superb acts every weekend. Make the Trails End Saloon a choice destination whenever looking for outstanding music!

The Beacon Street Titans Will Make Your Feet Want to do a Happy Dance

By Laurie Morrisey

If you’re up on the dance floor swinging to a jump blues sound, chances are you’re listening to The Beacon Street Titans. These seven musicians have over 214 years of combined experience and this lively band was nominated for the Cascade Blues Association 2013 Muddy Award for Best New Act.

Beacon Street TitansBut how did they become The Beacon Street Titans? “After a couple of years of playing under less-than-inspired band names that sounded good at the time but we ended up hating after seeing it in print, Dan, our first saxophone player showed up one day and asked ‘What about The Beacon Street Titans?’ We, that is, myself, Howard, and whatever drummer we had at the time (we’ve auditioned 23 drummers over the years) thought ‘Yeah, we like it.’ It sounded like a big band. By that time we all had aspirations of growing the band so we felt The Beacon Street Titans seemed to live up to our aspirations, even if the number of personnel hadn’t quite filled out yet. The more guys we took on and the closer we got to a swing-centric set list, the more it resonated with our fans. It was definitely a step in the right direction branding-wise,” according to Daryl Boggs.

The band has been around for about 10 years, with Howard McClung (on vocals, harmonica and sax,) and Daryl Boggs (on guitar,) working together since the band started. Its founding rhythm section consisted of Craig Birnie (on bass) and Rick Berman (on drums). “Both are great human beings and talented musicians,” Daryl said.

“Lots of guys have been in and out on the rhythm section but Dan Covrett (on sax) has been with us about six years and Steve Maliszewski (on upright bass) joined up not long after Dan. Tom Ladouceur (on sax) joined perhaps two or three years ago. Jim Swecker (on trumpet) and Bill McNamara (on drums) are the most recent editions in the past year or two.”

All these Individuals have been playing professionally for decades. Steve and Bill said they always wanted to musicians. Daryl said he wanted to be a professional baseball player, while Howard said he had aspirations of being a machinist. “But from the time I started playing the harmonica, I knew I wanted to be a professional musician,” Howard said. Tom wasn’t sure what he wanted to be when he grew up, while Dan confesses he doesn’t want to grow up.

Daryl describes their music as “Portland’s answer to Roomful of Blues. We do a lot of blues, west coast jump, swing, jazz and R&B.”

Their musical influences come through their sound. “We are a product of two worlds coming together to perform music in a really special way. We started as a straight-ahead west coast blues band that slowly took on the sonic identify of something closer to neo-swing as we added more players who were rooted in jazz. Little Walter, Magic Dick, Jimmy “Baby Face” Lewis, Slim Gaillard, Buddy Rich, Joe Jones, Stan Getz, Chet Baker, Stanley Turrentine, Houston Person, Sonny Stitt, Hollywood Fats and Benny Goodman are some of the band’s combined influences.”

The bandmembers have varying experience and musical education.

Daryl was self-taught and holds Certification from Musicians Institute/Hollywood California. “I played in Los Angeles for 18 years with some of the best unknown players in so Cal with various groups. The Daryl Boggs Quartet, my last outfit in Los Angeles, marked the pinnacle of my success out there. Over the years I’ve shared the bill with Mike Morgan and the Crawl, Big Sandy, Robben Ford, Kid Ramos, Doug McCloud, Lynwood Slim, Denny Freeman, Joe Sublett, Bugs Henderson, Smokey Wilson, Arthur Adams, Burning Water w/Michael Landau and Juke Logan, John Marx and The Blues Patrol, Lenny Kurley and The Blues Priority, Kenny Blue Ray.. . . and many more that slip my mind at the moment. Local players that come to mind are Franco Paletta, Linda Myers, Kirk Bryant, Donny Osborne and Ben Rice. Of course, the current players I’ve surrounded myself with in The Beacon Street Titans are some of the best I’ve ever had the honor to work with and I’m really very fortunate to call them my friends.”

Howard was also self-taught. “I’ve played with The 55th Street Blues Band, Dallas Tally Band, and Michael Fierro, but the best musicians I’ve ever played with are the ones in this band.”

Steve is self-taught with a music degree and played with the Willamette Falls Symphony Orchestra.

Bill also has a music degree. He has played with Tommy Newsome, Tonight Show Band, Ed Shaunessy, was founding drummer for Chesterfield King, and was with the Sultans of Swing for ten years in Bakersfield, CA. He played with Vicki Carr and for the Joan Rivers Show. He also played in college, Cal State Bakersfield, Jazz ensembles. Bill was with a professional jazz ensemble called Electric Oil Sump for ten years, well known in Bakersfield, CA. And he was the drummer in his own big band for over a year, Vintage Note, with sixteen pieces.

Dan’s music degree helped him as music director for the Del Vikings. He played with Steve Lucky (of the Rhumba Bums) when they were in the Blue Front Persuaders. He’s also played with countless local people.

Tom played with Kansas City Rockers, NorthWest Jazz Orchestra, Left Coast Jazz, “and, of course, the great The Beacon Street Titans,” he said.

They are currently looking at studios for their debut CD. To listen to their music and find out about upcoming show, visit them at www.reverbnation.com/beaconstreet.

Anne Weiss Wows With Her Mixed Musical Style

By Laurie Morrisey

AnneWeissCD Photo1“A mix of blues, soul, gospel, funk, and folk, depending upon the song,” is the way blues singer Anne Weiss describes her music. “I like to start with one of several genres and expand outward. Some are just straight ahead R&B, and others can be more in the contemporary folk genre with a groove. Sometimes I will use a Delta blues feel, and add something like sitar. I really like to bring in different elements to create a new experience.”

That’s how Anne describes her music, so it’s hard to believe when this gritty blues singer says, “I was very shy about performing when I was younger. The music business at the time seemed like something I wanted to stay away from, so I didn’t originally think of music as a career.”

Born and raised in New York City, Anne’s first gig was in a coffeehouse in Manhattan when she was 13. “But I would say that I started thinking of myself as a musician when I was hired to do background vocals with Shawn Colvin and Patty Larkin when I was 23. Shortly after that I got to open for Richie Havens, who really encouraged me to follow music as a path.”

“I also began teaching guitar and voice around then. So depending upon how you count it, I have been a professional musician for either 30 or 40 years,” she said.

But music isn’t the path she first started down. “I had a big interest in the outdoors, and I became an environmental educator and professional outdoor leader/mountaineer for many years. During some of that time I took a break and went to college, where people would ask me to come perform at benefits for important causes, and I felt that no matter how shy I was, I ought to go perform.”

“At some point those performances led to having a music engineer, a producer, and a bunch of musicians offer to help me record an album for free, so by then I was out of excuses for why I couldn’t make an album. Back then, my first recording was on cassette, and even the duplication costs were generously covered by a fan. From there, I started being offered shows and festivals, and I knew I was lucky. So I came to music as a profession through the back door.” Anne said.

After touring on and off for about 20 years, Anne wanted to stay home more often and “have a family, community, and garden. I love producing and supporting others’ music and teaching music, and so when I’m not touring or performing you can find me singing on recording projects, producing, or teaching. I teach at Portland Community College, Artichoke Music, at music camps and privately. I teach folk and blues vocals, guitar, piano, ukulele, and songwriting to kids and adults.”

She also leads a world music choir called The Everyone Welcome Community Choir. “It’s all very flexible work, so it enables me to perform as much as I would like,” according to Anne.

Influences

Like all artists, Anne says a host of musicians influenced her music: Aretha Franklin, Muddy Waters, Bonnie Raitt, Tracy Nelson, Rickie Lee Jones with some Jackson Browne thrown in for lyric influence. “My friend, Dar Williams, also has influenced my writing and my career over the years,” she said.

Training

Anne’s musical training started at a young age. “I took piano lessons from my grandmother, Elizabeth Weiss. They were classical lessons, but because I had visual problems that went undetected, I learned everything by ear. She was a very patient and loving teacher who was always willing to play a passage for me over again. I developed a really good ear for instruments and for harmonies. I learned a lot about technique and music theory too, but even more importantly, I learned how to be a patient and encouraging teacher, which has been priceless.”

“I also took a summer of guitar lessons in my teens from a wonderful hippie guy who recognized my natural ability and pushed me really hard for a whole summer. It was great to have a teacher who had so much faith in my ability. He had me playing Pheobe Snow songs right alongside Elizabeth Cotton tunes and blues riffs. It was pretty great.”

When Anne first moved to the NW she had the opportunity to study with the one and only John Cephas. “I had one week when I was really starting out in Delta blues where I got to take lessons from John every day, just me and one other student. I still play all the deep dark Skip James songs John taught us and tell stories from that wonderful time.”

These days Anne is primarily a vocalist, but plays piano, guitar, blues ukulele, and “about one really good lick on harmonica,” she said.

Awards

When discussing awards, Anne said she avoided most competitions. “A few years ago I won second place at the Telluride Blues Festival competition. It kind of changed my outlook about competitions, because everyone there was rooting for each other, where I had expected a very edgy vibe. It was a really nice experience. Very few women have been awarded first or second place in that competition, so it was also nice to represent.”

CD’s

Anne has several CD’s out, including Tomorrow’s Gate, Crossing the Border, Braille, Concrete World and the Lover’s Dream, Singing for the Vocally Challenged (instructional CD), and Where Folk Gets The Blues (double CD). She is currently working on another release which she hopes to have “in the can” in the next few months.

Artists Anne Has Performed With

“Since I’ve been playing such a long time, I’ve had the good fortune to play with a lot of wonderful people. The short list includes opening for and/or playing with Taj Mahal, Chris Smither, Ani DiFranco, Cephas and Wiggins, Richie Havens, and Dar Williams. Locally I have had the pleasure to perform with Mary Flower, Alice Stuart, David Jacobs-Strain, LaRhonda Steele, Norman Sylvester, Joe McMurrian, Janice Scroggins, the Northwest Community Gospel Choir, and many others,” she said.

Band Members

Anne’s band members change depending upon the gig and location. She often plays in solo, duo or trio form but occasionally has a whole gospel choir backing her up. “Lately I have been part of a lot of projects, such as the Bonnie Raitt Music Tribute, which has involved Dan Steuber on drums, Mark Bowden and David Jacobs-Strain on electric and slide guitars, Lisa Mann on bass, and Rich Lauder on keys. She shares lead and background vocals on the project with Ara Lee, Bre Gregg, and Shelley Rudolf.  “I have also worked a lot with Spank Hopkins on drums and Donny Wright on bass. I have had the pleasure of working with JP Garau on piano quite a bit lately.”

Adopting

These days, Anne and her partner Eric are busy preparing for the adoption of a baby girl from Ethiopia. She is about nine months old and from the region of Gambella. “After three years of filling out paperwork, waiting, hoping and jumping over many hurdles, we joyfully received and accepted her referral on March 5th, my birthday. What a birthday present!” said Anne.

One of the big hurdles left in order to adopt their baby is funding. At this point, they still need to raise another $20,000. “Every single step in adoption has costs, some of them reasonable and many unreasonable but all beyond our control. Adoption is tragically expensive and complicated, tragic because so many families can’t afford it and can’t take all the complicated steps necessary to adopt here or elsewhere, and that leads to many parentless and homeless children. But adopting her means one less homeless child, and Eric and I will become one less childless family! This is our dream.”

Anne and Eric have a GoFundMe page at http://www.gofundme.com/r3b77yc. All donations over $50 get a free CD as a thank you. For donations over $500, Anne will write a song for you on any topic you like, in almost any style or Eric will make you a beautiful hand turned wooden bowl (your choice.)

They have had two fundraising concerts in Oregon and a third one is set for August 2, 2015. Anne Weiss and Friends will perform at a house concert in Oakland, Calif.  Special guests include Marc Silber, all around mandolin player Gerry Tenney, Tom Wishing, Noam Cohen, and Jill McAnally. Contact Rufus Diamant at rufusdiamant@gmail.com for ticket details and directions. “If anyone would like to host a fundraising concert at their home, please let me know,” Anne said.

Eric is also selling his beautiful handmade wooden bowls as a fundraiser. His work is incredible. Take a look at: http://www.nwfinewoodturning.com/. To order a bowl, please get in touch with them directly through their gofundme site.

In Closing

Life these days is busy for Anne, with her top priority being to get their daughter here from Ethiopia. She does have some upcoming shows, including “Something to Talk About: A Celebration of the Music of Bonnie Raitt” on October 10, 2015 at The Alberta Rose Theatre. For more information about Anne and her upcoming shows visit her website at www.anneweiss.com.