Saturday, April 28, 2018

Steve Krase is Just Waitin'

Steve Krase is not stranger to this blog. He's a good friend, a great singer/song writer, blues harp musician and record producer. I've reviewed several of his releases and a few from his record label, Connor Ray Music. He's got new one coming up and this is the official release info from Mark Pucci Media.



HOUSTON, TX – World-class harmonica player Steve Krase expands his blues music into new territory on his fourth CD, Just Waitin’, coming June 15 on Connor Ray Music. Produced by Rock Romano (who also played bass and sang backing vocals), Just Waitin’ features Steve Krase (vocals and harmonica), backed by a solid cast of additional notables, including David Carter (guitars and backing vocals); Tamara Williams (drums, percussion and backing vocals); James Gilmer (percussion); Brian Jack (accordion); Mike Vee (rubboard); and Kenan Ozdemir (lead guitar). 
Steve Krase will celebrate the new album with a special CD pre-release show at Houston’s famed Big Easy Club on Friday, May 18th (5731 Kirby Dr., Houston), where he’ll be joined by several special guests including the legendary singer Trudy Lynn, plus James Gilmer on percussion and Brian Jack on accordion. “I’m so pleased to be showcasing our new CD at one of the finest Blues Clubs in the world, Houston's Big Easy,” says Krase. “This is a new band, a new sound, and I'm excited to roll it out.”

Just Waitin’ spends much time within the blues world, with songs from Howlin’ Wolf and Big Walter Price, among others; but also traverses beyond that into roots and Americana styles, with a song on the new disc from Hank Williams (“Settin’ the Woods on Fire”) and even a Zydeco –flavored take on the theme from the “Beverly Hillbillies” TV show (“The Ballad of Jed Clampett”).
In the liner notes for Just Waitin’, Krase sends a big shout out to all the musicians, production personnel and fans for their work and support. “Thanks to all the great musicians that I am lucky enough to have in my corner,” he says, “especially to my band: David Carter, Tamara Williams and most notably to Rock Romano, who pulled triple duty as bassist, producer and sound engineer on this recording, in addition to penning three of the songs. Special thanks also to Trudy Lynn, who continues to amaze me with her talent and from whom I continue to learn. Very special thanks to the clubs that continue to support live music and KPFT Houston radio for all of their support  Finally, I want to thank all of the people that contributed money to assist the Houston Blues musicians in need after Hurricane Harvey.”
Said producer/bassist Rock Romano about the recording sessions: “Steve really delivered on this CD; great song selections delivered with dynamic heart-felt vocals along with his unique and powerful harmonica style.” And special guest James Gilmer, longtime percussionist for Lyle Lovett, added, “I love this project! It’s like Magic Dick and Peter Wolf meet Howlin’ Wolf and Little Walter!”

Just Waitin’ Track Listing

1)  Settin' the Woods on Fire  
2)  I Don't Mind     
3)  Just Waitin' on My Brand New Baby
4)  Irene Irene    
5)  The Ballad of Jed Clampett  
6)  All in the Mood  
7)  Dirty Dirty  
8)  Blame It All On Love 
9)  Nobody Loves Me 
10) My Baby Walked Off  


www.stevekrase.com                   www.connorraymusic.com

Mark Wenner's Blues Warriors

Here's the official press release from Mark Pucci Media for one of my all time, old time favorite blues harp players. I have an LP of Mark's self-titled debut that finds itself on rotation frequently. Glad to see he's back with a focus on the blues. 


WASHINGTON, DC – Mark Wenner, founder and leader of beloved roots band The Nighthawks, announces a June 15 date for the self-titled debut CD of Mark Wenner’s Blues Warriors on EllerSoul Records. Joining Wenner (vocals, harmonica) in the band are fellow Nighthawks mate Mark Stutso (drums, vocals), as well as Clarence “The Bluesman” Turner (guitar, vocals), Zach Sweeney (guitar) and Steve Wolf (upright bass). 

Produced by Wenner and recorded earlier this year, Mark Wenner’s Blues Warriors showcases the tight-knit band’s foray into many facets of the blues, embracing influences from Chicago, New Orleans and Mississippi. The disc’s 12 tracks include two instrumentals, where the band gets to strut its collective stuff on the Paul Williams chestnut, “The Hucklebuck,” as well as the original, “Just Like Jimmy,” an homage to the legendary Jimmy Reed. Just like most of the Nighthawks albums of recent vintage, Wenner tosses in another salute to Elvis Presley with a blues-ified version of his classic, “Teddy Bear.”

“This band is actually a blues band,” says Wenner, addressing comparisons to the ‘Hawks. “The Nighthawks are a blues and roots-rock band. This band, with upright bass, is more authentic, old school and swinging. It’s closer to the Cash Box Kings than J. Geils; a whole different animal.”

The Blues Warriors have been active for several years and playing shows in and around the Washington, DC, area. They’re set to play two DC-area festivals in June: Takoma Park Jazz Fest and Silver Spring Blues Fest. The band will also open for The Nighthawks at the Ramshead on May 13 and will play for the Baltimore Blues Society picnic on Labor Day weekend. 

Wenner explains how the band’s personnel and recording came about. “About 20 years ago, The Nighthawks played a concert in The Netherlands to kick off a pub-crawl style festival, and I saw a listing for Clarence "The Bluesman" Turner FROM WASHINGTON, DC! I thought I was on top of the DC blues scene, yet I didn't know this young man, so I made a point of catching his set. Clarence knew all the guitar tricks and put on a hell of a show. What really impressed me was how DEEP his blues were. I waited to meet him, and he turned out to be a nice guy and a real gentleman. Although he came up playing bass in the Go Go scene, he had grown up in a house full of blues, both recorded and live. He went on he became quite visible in the thriving Washington blues world and a favorite of the DC Blues Society. He was the obvious choice for a collaborator in a traditional blues band.

“One of the primary factors in such a band had to be upright bass, as opposed to the electric. Steve Wolf, who subbed in the Nighthawks for several tours in the ‘80s, had become a world- class upright player with experience in jazz as well time with the Washington wonder of many styles, Danny Gatton.

“Nighthawks drummer Mark Stutso was also recruited to form a swinging, shuffling rhythm section. To match Clarence, we looked at the young guns playing blues guitar. Zach Sweeney, who I had played with when he was too young to come to the blues jams without his parents, had returned to the area after some serious road experience with Wayne Hancock, was back  and playing blues, rockabilly and honky tonk all over town. We got him. 

“Squeezing gigs in between Nighthawks tours and everyone's busy schedules, we developed a swinging old school sound that demanded to be recorded. We found a sympathetic ear at Ambient Studio in Laurel, MD with Ray Tilkins, and had a lot of fun making this disc. I think the joy shows through in the tracks.”

The songs (with comments from Mark Wenner):
1) “Diamonds at Your Feet”- Clarence comes out swinging on a not-overly-covered Muddy Waters tune that features Little Walter-style chromatic harp.
2) “Teddy Bear” - Although the concept was pretty pure blues, I just couldn't help taking an unlikely piece from one of my favorite blues singers and giving it the Warriors' feel.
3) “Rock a While” - Not a well-known Joe Turner piece, Clarence says his parents played this one over and over in their house.
4) “Checkin' Up on My Baby” - Sonny Boy or Jr. Wells? We opted for Junior's version, bringing us into the early ‘60s when Buddy Guy was using James Brown grooves in the Chicago Blues guitar sound.
5) “Just to Be with You” - Clarence gets low down with more Muddy.
6) “King Bee” - Slim Harpo's tune was one of the first blues melodies I learned in the ‘60s and one of the first blues albums I bought. I got to play with Slim and Lightnin' Slim in New York shortly before they both passed.
7) “It’s My Own Fault” - Although Mark Stutso has sung this song in many bands, including Jimmy Thackery's, Tab Benoit's and Jason Ricci's, this is the first studio capture of his magnificent take on the B.B. King classic.
8) “Hello Josephine” - This version of Fats Domino's tune is based on the Terry Garland arrangement I played on. Chuck Berry meets Fats. I'm using the 12-hole Sonny Boy style big Marine Band. Blues Police Beware: There is a little Hillbilly in harmony. 
9) “Trust My Baby” - Unrehearsed one take of a harmonica show-off Sonny Boy Williamson piece.
10) “The Hucklebuck” Zach and Steve get to a chance to really strut their stuff. 
11) “Just Like Jimmy” - An “original” one take, on the spot, creation in honor of my first harmonica hero, Jimmy Reed.
12) “Dust My Broom” - Clarence's favorite “get hot” tune, less guitar and more harmonica driven than the usual and it just plain rocks. 



This press release is courtesy of Mark Pucci Media.

Saturday, January 20, 2018

Something New and The White Roach

I think I've mentioned before that I've stepped away from writing reviews in regards to blues releases. Just couldn't keep up with the number of cds that folks began sending me. I got really behind when my blog went wonky on me and just don't do it any longer. I don't buy recordings like I once did, but I do grab something every once in a blue moon. Since we've had a couple of those during the past year I thought that I share the few new blues that are in my hands now. Not reviews as such, just some passing thoughts.

First off, I have to mention a fantastic little record shop on Magazine Street called The White Roach. My daughter lives a few blocks away and my son-in-law turned me onto the place. The gal who runs the place has a great stock of vinyl, some rare and some new, including blues and lots of stuff from the Fat Possum catalog. I have a great deal of what she has, but always walk out with something. The last trip this last fall, I walked in and she was spinning a Magic Sam record. This woman knows the way to my soul.

Anyway--I spotted a double album entitled 4GDB. Sounded like a rap album or something. Closer inspection told me it featured some of the best danged blues guitarist in the state of Texas. I'm very familiar with Alan Haynes, Bert Wills, and Derek O'Brien. Not so much with John Inmon, until I researched the fact that he was a founding member of Jerry Jeff Walker's Lost Gonzo Band and had played with everybody who's anybody in Texas. Wills is a Gulf Coast treasure from the Galveston area and Haynes has been tearing it up for years for in every blues bar in the state. Of course, any blues fan worth his salt knows about O'Brien's stint as guitarist in Antone's house band from the git go, and they are bound to have blues albums featuring his tasty blues guitar.

I grabbed it, and when I paid The White Roach lady asked me whether I was familiar with Bert Wills. Told her yes indeed, had a few of his recordings. She said that she once did his online promotion for awhile, which I thought was quite cool. Sooo....

4GDB--A wonderful album full of those marvelous guitarist slinging and stinging the blues. Some acoustic, some rarely covered covers and a few originals. All four guitarists bring something to the table and the menu prime blues. Don't know how easy it'll be to get ahold of this, but it'll be worth the search. The White Roach solved that one for me.

Sonny Landreth Recorded Live In Lafayette--While at The White Roach, I spotted Sonny Landreth's new one. I'd seen him play a show a few years ago and the slide guitar wizard blew me away. I picked it up, put it back, picked it up and put it back. Kinda regretted not picking it up. My wife and daughter went shopping later and asked if I needed anything. Jokingly told them that if they passed by The White Roach, picked up Sonny Landreth's album. They did it. And didn't put it back.

It showcases just what a master slide guitarist Sonny Landreth is. The double album features and acoustic set, chock full of blues with some zydeco and Louisiana swamp music thrown down. The second disc features his electric set. Some more blues and some of the other worldly slide that only Landreth can conjure up. Mojo hand gone wild. Fantastic release and it's been nominated for a well deserved Grammy. So, you can find this one.

Johnny Nicholas and Friends Too Many Bad Habits--My wife went over to The Bugle Boy in LaGrange to see Johnny play awhile back. I've mentioned that great listening room here before. I've been a fan of Johnny's since he recorded with Big Walter Horton for Blind Pig way back in the day, and I told him so. He released Too Many Bad Habits at around the same time in the late '70s and it sort of disappeared. He told me that he had gained possession of what Blind Pig had in their vaults and that a slew of unreleased stuff he did with Walter was among the masters and to keep my eyes out for his planned remastered release. My ears perked up at unreleased Big Walter. He was woefully under recorded. So, when Too Many Bad Habits hit the market I had to, you know, get it in my hands. The first disc is a straight up re-issue of the original disc with lots of fine picking by Johnny and friends, including Asleep At The Wheel's front man, Ray Benson and the legendary Johnny Shines. Johnny played a number of years with Benson's band. Big Walter is featured on a number of cuts bouncing his fat harp tone off Shine's lead guitar.

Disc two is where the unreleased stuff appears with Shines and Walter, along with Boogie Woogie Read on piano, laying down the back in the alley blues as only the veterans could do. Walter sings on a few of the tracks, letting his harp do most of the talking. Nicolas' vocals drip blues blood all over this two disc set. Well worth the price of admission. Got this one and the following one through Blue Beat Music. If Charlie ain't got it, it can't be got.

Lester Butler featuring 13 Live @ Tamines 1997--Got this one because my wife kept bugging me about what I wanted for Christmas. Butler's live King King with his band The Red Devils has been one of my favorite live albums ever. His follow up featuring a new band lineup called 13 was a great one also. Then he died. That was it and very few examples of what he left behind surfaced, so when this one did, you know, I had to get it. It not exactly on the level of King King, which was wonderfully produced by Rick Ruben, but it's darned close. The dynamic harp playing rips and roars, along with Butler's tortured vocals and a  step is not lost with Alex Schulz in the guitar chair. There's too little Lester Butler out there, so this one with fill the bill until someone steps forward with something else.

Kim Wilson Blues and Boogie Vol. 1--Hell, it's Kim Wilson blowing and singing the blues. 'Nuff said. Another one of those 'what do you want for Christmas' thangs. This is Wilson getting back to his roots covering blues tunes he's been wanting to release for quite some time. He throws downs a few originals with a hand picked group of the best blues musicians on the West Coast. Might be the last recordings that we'll here from the stupendous keyboard man, Barrelhouse Chuck. This is my Kim Wilson. I've always loved The Fabulous Thunderbirds, but as of late, Wilson has been into his R&B and Soul bag, and, well, that just ain't my bag, but bring on the fat back blues harp sucking that Wilson mastered a long, long time ago and I'm in heaven. 'Nuff for now.







Wednesday, November 1, 2017

Harp Train 10 Update

Thought that while my blog seems to have straightened it's wonky posting problems I'd update my Lone Wolf Harp Train 10 amplifier experiences since a reader or two posted comments on the original post (search for Harp Train 10 for that one).

Last time out, I mentioned that I substituted the 12ax7 preamp tube for a 12ay7 to lower the gain just a bit and give the amp more headroom and be able to crank it a bit more. A blog reader asked about that swap and I'm repeating some of my answer. It came in especially useful at a frequent outdoor jam I participated in and at which the stage volume began to rise considerably each time out. The 12ay7 changed the tone somewhat, but not in a bad way and the HT10 held it's own. Eventually, I chained my Kalamazoo 1 into the mix using the Lone Wolf Terminator pedal for extra punch. I ran my Lone Wolf Reverb through one amp and my Lone Wolf Delay through the other. Eventually, a dude with an overkill sound system began setting up and miking up all the participants. My instructions were to lower the volume on my rig, so I used just the HT10 with the Balls knob and Loudness knob both just a notch above 3. That is what this post is all about.

I found that if I turned the HT10 Balls knob and Loudness knob below 3, the fine tone of the amp dropped out to dull. Not really a problem until I brought the amp to my regular gig at a small venue. My bandmates insisted that I needed to turn down below 3 and the tone was just not cutting it. I did stick my Lone Wolf Harp Break in front of the amp and recovered a decent tone--somewhat.

Listening to a FB clip by the fantastic Australian harp master, Ian Collard, solved my problem. In the clip (pretty sure it was a Little Walter number), he's practicing with his new lineup for his group, Collard Greens and Gravy. First thing I noticed is that he's blowing through his HT10 sitting on a shelf directly behind his head and getting a fabulous tone (of course, a lot of that is from Ian himself). I commented on the post asking whether or not he was playing a first generation HT10 and whether or not it was stock. He answered that it was stock (with the 12ax7 tube) and that he had the Balls knob and Loudness barely cracked. And that he had both his Lone Wolf Reverb and Delay pedals in line. So, if I had left things as was I would not have had the low volume tone loss. Once I swapped the 12ax7 back in, I discovered that, indeed, a nice tone could be achieved at low volume. And barely above 1 on both knobs proved to be perfect for the venue and a perfect blend with my bandmates. Of course, I had to stick my reverb and delay pedal in front just to emulate (or get somewhere close) to what I heard that Ian was putting out.

I've played with the same guys now at much larger venues and outdoors a couple of times. The key there has been that our lead guitarist knows how to mike us all up properly and I needn't push the amp above 3 on both knobs hear myself

Bottom line is that Randy Landry and company over at Lone Wolf knew what they wanted out of their amp. I'm just one of those guys that likes to tinker around with amps and things, but I'll likely keep the 12ax7 in place...until I don't. 'Nuff for now.


Tuesday, October 31, 2017

28th Annual Blues For Food Festival

It's that time of year again. A gathering of some of the most fabulous Houston blues musicians stinging it and slinging it for a marvelous cause--the 28th Annual Blues For Food drive. BOOYAH!

Please join us Sunday, November 12th at the Shakespeare Pub for the 28th Annual Blues For Food Festival and celebration featuring the largest collection of Houston blues artists on one stage of the year!
Featuring BERT WILLS AND CLINT BOYD - THE HIPWADERS FLYING CIRCUS - LARRY FULCHER – CAMPFIRE SOUL - JAMES WILHITE - ALISHA PATTILLO - SONNY BOY TERRY BAND - RICH DELGROSSO - JONN RICHARDSON - Raa-Raa Zydeco - JOHN McVEY - MILTON HOPKINS AND TEXAS JOHNNY BOY- EVELYN RUBIO - TANYA RICHARDSON - ANTHONY TERRY - WILLIAM HOLLIS - LARRY GARNER along with radio personality R. CHRISTIAN TUCKER as emcee! Topped off with Spare Time Murray's World Famous Blues Jam. Over 12 hours of non stop Texas blues!
A special hand crafted Keith Alan Courson Cigar Box Guitar honoring the late beloved Texas Johnny Brown with auctioned off with all proceeds going to the Houston Food Bank with a special focus on those who have been hurt from the Harvey flooding.
Blues for Food event on Sunday November 12th at the Shakespeare Pub. All proceeds benefit the Houston Food Bank.Brought to you by Keith Alan Guitars, The Hart Foundation, KPFT 90.1, The Houston Food Bank, The Houston Blues Society and The Shakespeare Pub. PLEASE SHARE! THIS IS A MUST ATTEND EVENT FOR ALL LOVERS OF GREAT BLUES!
We have also added an important new twist to our annual Blues For Food Drive. A representative from the Hart Fund will be on hand to do basic blood pressure testing etc for any musician who wants to get checked out. The Blues Foundation out of Memphis has in recent years established the HART fund (Handy Artists Relief Trust) for blues musicians and their families in financial need due to a broad range of health concerns. The fund provides for accost, chronic and preventive medical and dental care as well as funeral and burial expenses. Blues For Food organizers feel this is a a great way to increase awareness for blues musicians who may need assistance while also letting blues fans know where they can assist in helping blues musicians in need. For more information about the HART Fund visit www.blues.org/hart-fund/



Monday, June 12, 2017

Ain't No One Like Paul Oscher

Trekked over to The Bugle Boy in La Grange once again to witness a legend of the blues once again lay down some of that Old School, down in the alley, gut bucket blues that very few choose to do any longer. Paul Oscher plays nothin' but....and he'll tell you that that's only what he knows how to play. It's more that skin deep with Oscher. He's lived the life since taking up with Muddy Waters back in the late 60s and he's still got it going on. I'm not going to go through his bio and all that stuff because it can be read first hand on his revamped website here


I've been meaning to make if over to C-Boys in Austin, where Oscher conducts a happy hour blues blast every Thursday, since the last time he visited The Bugle Boy. Just thinking about hitting Austin traffic that time of day raises my blood pressure, which I don't need. The last time Oscher kicked butt at The Bugle Boy, he was doing his one man band thang. He did not disappoint then and he danged sure didn't disappoint this past Saturday night when he brought drummer Wes Starr and bass player Randy Glines with him for a trio gig. Wes Starr has played with EVERBODY in the state of Texas and is on countless blues recordings, so I will not attempt a list of such. I will say that he has been traveling around with Mark Hummel, Anson Funderburgh, and Little Charlie Baty with their Golden State Lone Star Revue. Anyway, Oscher brought the an 'A' list with him this time. Glines has been a go to bass dude around Austin for quite some time. His main gig for a long time was with the late, great Jimmy LaFave. Anyway, the gig cooked from the time this rhythm section sat down and banged out an introduction piece that brought Oscher to the stage.

Once seated, technical glitches arose around his wireless mic rig attached to his harmonica rack that sent a signal to his vintage Premier amplifier. The glitch being...no sound. His young roady valiantly attempted to get it going, to no avail. They tried a number of things that would not work, until someone in the audience said, 'Just plug into the second channel of your guitar amp'. Oscher was reluctant to blow harp into the Fender Hot Rod Deluxe, not trusting it's tone for harp. He did it though and once again it proved to me that great harp tone lies not within the speakers of an amp, but within the body cage of the man. His fat, low down, greasy tone blasted out of an amp that I would consider a poor choice for amplified harmonica. There was no dialing in, just plug and play. He was quite perturbed that his reverb/delay rig wasn't operational either. Not to worry. His tone rocked. At intermission, he  was very apologetic for the tech issues and didn't feel the sound was optimal. I assured him, as a blues harp aficionado, that his tone was absolutely killer. I know of no harp rack players who can suck the blues out of a harp like Oscher can. At the last gig when I visited with him, Oscher pointed to his chest and said, 'This is where I get my tone' and that's where it came from last Saturday, because his equipment had let him down.

To say that Oscher can capture a room with his charisma and his tales of playing with the greatest bluesman whoever lived, is an understatement. BUT it is the playing of the blues that he learned from the great bluesmen around him that rocked the house. He played with the real deals and he is the real deal...ain't no pussy footin' around. When he slips his slide across his guitar strings and it sounds so eerily exact to Muddy's wail, when he blows Little Walter's stuff like Juke, or Jimmy Roger's That's Alright, or the myriad of his originals that seep ChiTown authenticity, well, the hair on back of your neck just may stand on end. I can't sit here and tell my readers exactly what he played, because I was in the moment each and every time a note hit the air, or his roughed edged (but unpretentious) vocals filled the room. When Oscher sings about having the blues, there is not doubt that he either does, has, or will have. Stages ooze and drip the blues that Oscher occupies and no one can avoid getting it on them.

I can't say enough about Glines and Starr (who, by the way, had never played with Oscher before). Even as a one man band, Oscher manages to fill a room, but these two guys followed him and chased him down when needed  and gave the stage a lot more wang dang doodle...all night long. The music mushroomed with their help. There certainly could have been a lot more patrons at The Bugle Boy. In my mind someone as legendary and has the stature of Paul Oscher should be a sellout event. There ain't too many folks left who do it like Paul. The right way.

Great show by a great bluesman and his sidekicks. 'Nuff for now.


Tuesday, May 30, 2017

Sweet Home Brenham

My little Texas town of Brenham has been re-inventing itself over the past few years. The downtown area has become more dynamic as a tourist destination. New restaurants have popped up and the live music scene has been hopping.

Venues such as Home Sweet Farm, Brazos Valley Brewery, Roux Street, Deer Road BBQ and 96 West are some of the newer kids on the block offering live music at least once a week. Down the road a piece in Burton, The Whitehorse and the Burton Roadhouse have it pumping. Mobius Cafe, Nathan's BBQ, Shooter's, and Little Mike's have been doing it for awhile. Local musicians such as Sam Murski, Neil Kulhanek, Robert Zientek, Allison Crowson, Rob Moorman, the Amelang Family, Lou Lou Barbour and the Kelms (Charlie, Pat and Peyton) have been stirring the live music pot for quite some time.

Of course, what gets me up and off the couch most often is when some blues gets played up in there. Home Sweet Farm Market has been a go to place for a dose of what I need to hear. They've been featuring a very eclectic lineup since opening a year or so ago, but they bring the blues to the stage very often. They not only feature local blues folks like Ben Laskoskie and Aaron Loesch, but have brought in some very talented Austin and Houston musicians. The downtown businesses plotted out a Sunday Funday for the first Sunday of every month full of music, food and fun. Home Sweet Farm's part in that scenario was Sunday Blues Day with Loesch, Austin's Coming Up Muddy and Houston's The Mighty Org. The Mighty Org has been a favorite of mine for a long time, so it made my day that he trekked in from the big city. His original tunes knocked me out and the man can sing.
The Might Org


I missed the band, Coming Up Muddy, but caught them this past Memorial Day. The band consists of Todd Roth playing acoustic guitar, slide, cigar box guitar, harmonica and vocals. Chel Rich accompanies him on drums and they kicked butt, playing a mix of originals and chestnuts from Son House to Muddy Waters with a rendition of Voodoo Child played on the cigar box. Todd knows his book of blues and plays a rack harmonica as good as anyone I've heard.

Coming Up Muddy


I've played Mobius Cafe with Rob Moorman and Company for a number of years, so they are near and dear to my heart. Long time restauranteur and bass player, Henry de la Garza has assumed ownership and is upping the music ante at the venue. He held down the bottom for us at the last gig and never let Moorman's eclectic set list throw him.

Deer Road BBQ has been a barrel of fun since local legend, Sam Murski started a Thursday night jam. Since it is just over the hill from me, I've joined in with my harp more than a time or two. Brickyard Kane featuring Mitch White and guitar wizard Brian Sherer and Sam began swapping out jam nights and those guys can cook. Some fantastic musicians have shown up over the past year.

Anyway--I've run out of steam, so 'Nuff for now.