Vashon Events

Loren Sinner, when he's not running his Island-based lumber yard at L.S. Cedar, will tell you that he's a lifetime musician.  Besides raising three amazing sons who are his biggest fans and supporters, Loren plays music around this Island quite often.  Loren has played in many bands in the past, most noteably The Great Divide, an  all-islander band that was formed in the early '80s and played locally for many years before hitting the "big time", touring with blues guitar great Elvin Bishop. In 1987 the band won the Marlboro Country Music Talent Roundup, with a $5000 grand prize, and the privilege of opening for Alabama, The Judd's and George Strait in the Tacoma Dome before a crowd of 20,000.  Loren is performing Friday, April 4th at 8:30pm at the Red Bike with Johnny Lund & The Galaxies and then doing a solo show at The Hardware Store on April 16th, from 7-9pm.
  
1. What were your musical beginnings?

I really don’t remember starting.
 
2. Is your family musical?

My whole family was musical. Mother was an accomplished pianist, father and sister both played. My father was a professionally trained tenor. We had a family tradition of gathering around the piano, with dad singing (sometimes in German) while my sister played occorion and I played baritone horn. It was super cool, but unfortunately there are no recordings. 
 
3. What was the first tune you learned?

No way to remember. Probably a simple piano exercise. 

4. What genre of music do you consider your work to be?

Hard to classify. Let’s say folk/rock/blues/jazz/country.
 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Steely Dan. Period.
 
6. What instrument(s) do you play?

Guitar, bass, piano. Current favorite is my Taylor 710 that was purchased from Kat Eggleston.  

7. What's the most unusual place you've ever played a show or made a recording?

I worked one whole summer recording in the old studio behind Portage Store with Albert Lyon and his band. This was back in the 70’s, and it felt like I was recording with The Who or Led Zeppelin. Albert was a local legend who passed away some years back. He was a prolific writer, and played a black Les Paul cranked up past 11. I didn’t like being inside all day though, and it was pretty much the end of my recording career. 
 
8. What is your process for writing songs?

Most of the time I come up with a line or a thought that seems like it should go into a sing. Other times it will be an instrumental passage that needs words. I’m not much of a writer though, and mostly enjoy exploring other artist’s material. Most of my original material is instrumental.  
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I am constantly discovering new artists. This is largely due to the media that is available through Youtube. 
 
10. What aspect of making music excites and discourages you the most right now?

Music has always been a way for me to relax and challenge myself. I find it both meditative and exciting. 

11. Do you get nervous before a performance and how do you handle it? 

Funny, the larger the audience, the more comfortable I am. Biggest fear is sitting in someone’s living room and they say “Loren, play us a song!”
 
12.   How often and for how long do you practice/rehearse?

Anywhere form 20 minutes to a couple hours a day. 
 
13. How do you balance your music with other obligations?

Music happens whenever it can. I’ll jump on the piano while waiting for water to boil on the stove. Many times the water is gone when I return to the kitchen. 
 
14. What is the saddest song you ever heard?

Tears in Heaven by Eric Clapton.
 
15. What are you up to right now, music-wise?

Just trying to keep up. Every time I hear a good performance it makes me want to get to the next level of playing. There’s always someone to look up to. 
 
16.   How would you describe the musical community on Vashon?  

The music community is one of my favorite things about the island. Virtually everyone I know who plays is a joy to be around. The best thing is that players of all levels are accepted graciously. The support is enormous. 
 
17. What are your short and long term music career goals and how would you define success?

I know an old jazz player that was quite famous in the Seattle scene. His name was Frank Sugia, and he played every Christmas as Frederick and Nelson downtown. He knew Sinatra and all the old school bog shots. Frank was probably the most accomplished musician I ever rubbed shoulders with. He said, and I quote (Rich Italian accent) “Music should-a-be-a-fun-a. Music is-a-supposed to be easy.” This is my goal, to make music fun and easy. If I can help someone else feel joy and find a way to relax through music that is success.

18. What are your ideas on how to improve the music scene on Vashon?

Get young people started early. The schools are lacking in primary music instruction. 
 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams?

My mom. 
 
20. Any last words/thoughts?

Steely Dan. 

Greg Dember currently performs as a solo singer-songwriter, and, as he says,  “when he’s lucky,” with a full band backing him. He has previously played in (and occasionally still does play in) many Vashon Island bands:  Delilah Pearl and the Mantarays, Rainy Days and Mondays, Rumpus, CHIEFLY, Lavish Cat, Mike Dumovich’s band, and Rusty Willoughby & Jennifer Potter. He is choosing not to list all of his Seattle-based bands in order to save space! He has been a musician all his life, but got serious about it when he was about 20 years old. Greg currently splits his life between Seattle and Vashon.

 
1. What were your musical beginnings?

Even when I was about 4 or 5 years old, I'd started making up little ditties that I either charmed my family with or drove them crazy with. I still sometimes sing those little songs in my head, even now.  I started taking kid classical piano lessons at age 7.  Stopped at age 12 and immediately started teaching myself how to improvise and sound out songs by ear.  I started learning about chords and stuff in High School and kind of picked up the guitar then.  Played keyboards in my first rock band senior year.  We played Who covers, mostly.
 
2. Is your family musical?

Not really.  My older sisters were really good at their instruments (piano and clarinet) and won state competitions and stuff, but stopped after high school. We didn't really make music together as a family.  It was mostly my own little world I went into.
 
3. What was the first tune you learned?

The first song I sounded out and taught myself to play was “The Sounds of Silence” by Simon and Garfunkel.

4. What genre of music do you consider your work to be?

“Post-genre, indie-pop singer-songwriter"  is my main thing, although many years ago I was into a genre I would have described as "Grateful-Dead-inspired jam band."  And recently, for 3 or 4 years, I played piano in a kind of jazz standards/ lounge-singer type band. And I also love totally experimental, free form improvisation with mixes of conventional and weird instruments.
 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

It's really impossible to pick one, but I will say Elliott Smith, since a lot of the other ones I might mention (The Beatles, etc... ) are ones that don't really set me apart.  I think I'm keying in on the question "think more people should be listening to" for this, but of course I do flat out LOVE his music, and he has been a major influence.
 
6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

The instrument I'm most skilled on is piano.  I have a "real" upright piano at home which I enjoy playing a lot more than my digital piano that I bring to gigs. However, I will say that digital pianos are so much more realistic now than they were in, say the 80s or 90s that they are still pretty satisfying to play, and 90% of the time I'd rather have the sonic control I get, in a live situation, with a digital piano than I would with whatever "real" piano they might happen to have at the venue.   I usually buy a new digital piano about every 7 years or so, to keep up with the improving technology.   I also play organ, synth, melodica, guitar, baritone ukulele and a little bass.  

Even though guitar is not my best instrument, I have better stories about my guitars than I do about any of the keyboard instruments I've owned.   

For example:  A couple years ago I acquired my first electric guitar.  It was hanging on the wall in a studio (in Columbia City, Seattle) where I was recording.   The song needed some electric guitar, and so the engineer said I could use this one that a friend of his (whom I had met briefly myself, at a party) had left in the studio. Besides that, it looked really cool and as soon as I had my hands on the strings, I fell in love with it and knew that it was finally time to get an electric guitar and I needed one just like that.  I meekly asked the engineer (Matt)  if he knew what kind of guitar it was and how I would find one. He informed me that it was a  Burns Steer, which are made only in London, and it's the kind of guitar that Billy Bragg (another one of my heroes) plays.  Matt said that the friend of his who had left it in the studio might very well be willing to sell it.  So, over the course of the recording session I had a back-and-forth of emails with this guy Paul, who not only said I could buy his guitar, but kept insisting on offering me LOWER prices than what I was offering.  At one point, however, there was a hitch when he found out that his band was counting on him giving that particular guitar as a gift to a benefactor of theirs, with all their autographs on it.  So Paul began researching EBay, etc., to find me ANOTHER  Burns Steer I could buy.  When he could not find one that he felt was in good shape and at a fair price, he came back and told me he had figured out something else they could give their benefactor and that I should have this guitar, and then he offered me an even LOWER price.  All of this took place over a couple of hours, in between takes and rough mixes, and I just left a check with Matt to give to Paul and walked away at the end of the day having had a productive recording session and  with this amazing electric guitar.  Somehow it seems that both Matt and Paul  knew I was meant to have it.  I'm not much of a gear guy in general, or a guitar guy specifically, but all of my "real" guitarist friends seem to drool over it and I certainly love it.

 
7. What's the most unusual place you've ever played a show or made a recording?

The most unusual place I performed was a public indoor swimming pool at Greenlake, in Seattle.They used to have an annual Valentine's Day party for all the regular swimmers, and since I was one of the regulars, the duo I was in at the time (with my then girlfriend) was invited to perform at the event, right by the edge of the swimming pool.  It would have been really crappy acoustics  for a loud band, but the natural echo was awesome for us, and I'll never forget watching people swimming laps to our rendition of the Beatles "In My Life." Favorite venues I've performed at are The Tractor Tavern and the Sunset, both in Ballard, Seattle, and both having a great mix of legit-ness and intimacy.  And, of course, I always love playing at Vashon's Snapdragon and Red Bike when I get the chance.
 
8. What is your process for writing songs?

I've done it a lot of ways. Music first, lyrics first, often music and lyrics coming in inextricably braided together. Inspired by what my hands do on an instrument; other times hearing the entire song in my head to start with. There was a time when I felt like most of my songs that I had written up to that point were overly bound to specific events or relationships in my own life, and so for one album of songs I set up a process that forced me to come up with lyrics quickly and under pressure, which helped cajole me into writing about made-up people and situations.  Of course, later I realized that there were still personal emotions of my own going into those songs, and conversely, the songs that I wrote with a very specific situation in mind have, come over time to mean other things to me, and the interpretations that I've found out other people have are all over the map.  I almost never write songs with political messages, or that try to tell the listener what to believe, in general. I just try to be a journalist of the heart and human experience.  
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I keep being interested in seeking out and listening to new music and new kinds of music.  I don't think this is related to my own identity as a musician, but more to myself being a big FAN of music.   
 
10. What aspect of making music excites and discourages you the most right now?

It's always exciting to me to collaborate with a new person, or collaborate with an old friend in a new way.  The most discouraging thing is encountering the apparent limits of my ability to find the audience I feel my songs deserve. However, that can be a good thing, because it forces me to do that inner work of valuing my creativity for its own sake. Also, I've had conversations with musicians at many different levels of success, and what I've learned is that wherever someone is, they always covet some next, higher level. So, as much as it sounds like a cliché, it really does need to be just about your own relationship with the music, in the moment.
 
11. Do you get nervous before a performance and how do you handle it?  (e.g. making mistakes, advice you would give to beginners).

Sometimes I find that, even though I'm not emotionally AWARE of being nervous, my body acts like it is nervous, such as having to cough a lot before a gig, or having an insane desire to drink huge amounts of water and then needing to pee a lot, etc...  As far as actual nerves are concerned, I will often find it takes a few songs before I feel connected to an audience and comfortable with myself and  the acoustics of the room, etc, which means I may be only 60% as competent as I normally am.   So, I try to start off with songs that are both fairly easy to play/sing and also seem easy for an audience to connect with.  When a performer makes mistakes, I think the most important thing is to stay present and keep the audience with you.... let them feel like they are having an intimate moment with you, and you are all sorting it out TOGETHER, but they can trust that YOU are still in charge and they don't have to get tense on your behalf or do any of their own work to protect your fragile ego..  When it happens to me, I make split second judgments --  if I forget a lyric, I usually  just fudge over it, and hope nobody notices (or cares), but sometimes, if I feel like the story I'm telling with my song does not make any sense with that mistake I just made, I will stop and start a verse over again, or even the entire song from the beginning. It's more important to me to get a song across the way it deserves than it is for me to convey some notion that I am this perfectly graceful, competent musician or singer.  I guess the key thing is to know that your audience WANTS to hear what you are transmitting, they WANT you to be good and to be having a good time, and there is nothing to apologize for at any time.  Also -- in the advice department -- make things easier for yourself at the time of performance by doing everything you can BEFORE performing to make sure all the technical things will be set up right... have your beer or glass of water in a convenient, reachable place, microphone at the right angle, if you need cheat sheets for a few songs, make sure before the gig that they will be readable in the dim light, etc...  test out everything you can BEFORE you are on stage.
 
12.   How often and for how long do you practice/rehearse?

For my own solo act, I don't have a discipline of practicing regularly.  Playing music is just a part of my day most days and it's mostly the fun of it that  motivates and guides me.  Leading up to a gig, of course, I will practice songs so that I feel confident about them.  And, when I've led my own band, or for other people's bands that I am IN, the normal routine is a weekly band rehearsal.  In my twenties, I would be in bands that would practice 3 times a week, etc... but I think that is less possible and less necessary when we are older and more experienced.  The band rehearsals I'm in always have a strong social component....  joking around, philosophizing, catching up with each others' lives etc. between songs.
 
13. How do you balance your music with other obligations?

I've been single for a number of years and have never had kids, so I'm pretty flexible with my time.  When it comes to recording projects,  I do go through intense periods where I need to be in a recording studio during normal work day hours, but I have a job where I work for myself and set my own hours, so as long as I cover my clients' basic needs during those times it works out.
 
14. What is the saddest song you ever heard?

"I Didn't Understand" by Elliott Smith:  https://www.youtube.com/watch?v=sExlr1F2PQs
 
15. What are you up to right now, music-wise?

I’m working on recording a new album of songs. In the past, I always went into studios, and let someone else handle all of the engineering, but this time around, I’ve acquired some of my own recording gear and am doing as much of it as I can on my own, and going to studios when something is beyond my level, such as recording drums.  

I also have a long-distance recording collaboration with a woman in CA named Brit Benjamin who I have never met in person, or even spoken over phone or Skype with!  We met on MySpace many years ago as mutual fans, and, long story short (It's actually a great story), we reconnected recently, and  did a one-off duo rendition of the oldie "Tonight You Belong To Me" over Christmas. We are now starting on maybe a full album's worth of Elliott Smith covers.  This is all by sending tracks back and forth through dropbox recorded in our home studios. She’s in law school, though, so progress is intermittent.  
https://www.youtube.com/watch?v=cOw2aBSkp84

And I have another intermittent long-distance recording project going with a really good friend of mine, Leon Dewan, who lives in New York.  It’s kind of a wacky, psychedelic garage-rock thing.
 
For the "Greg Dember" band, the most recent thing I finished was a full-on narrative video, shot entirely on Vashon for a song from Beck's Song Reader.  (My most recent recording project was an EP of my versions of 5 songs from the Song Reader.)
Video:  https://www.youtube.com/watch?v=Xex1uEBZyeU
Full EP:  https://gregdember.bandcamp.com/album/grek-benson-five-from-becks-song-reader

 
16.   How would you describe the musical community on Vashon?  

There is definitely a nice sense of social comradeship among musicians, but I've had mixed experiences in terms of actual musical support.  I try to make a point of going out and seeing any musician I have personally met at least once, and if they were not my cup of tea the first time around but a long time has passed, I will try to go again to see if they have grown or changed. Honestly, though, there are a lot who have not reciprocated. I certainly do not feel like people are competitive in any kind of petty or mean-spirited way, but maybe just preoccupied, uninterested or skeptical?  Almost all the musicians who I have asked to help me out on recording projects have been extremely generous with their time and talent.
 
17. What are your short and long term music career goals and how would you define success?

At the age I am (recently turned 50), this is a tricky question. I've had some cool things happen (song in a movie, songs on the radio, BMI royalties), made several albums that I am proud of and continue to enjoy listening to myself, and of course I have developed some wonderful lifelong musical friendships with people on Vashon, Seattle, and elsewhere.  But it's probably not realistic to think that I will have any greater "outward" success than I've had so far.  I have some secret hope that the project with Brit might go somewhere, partly because she is a lot younger than me... but at this point music is just something that I don't seem to be able to stop myself from doing, so I try to keep improving and learning and having fun with it.  Also... I'd like for the video we made for "Old Shanghai"  (from Beck's Song Reader that I mentioned above) to get a lot more views and for Beck to see it himself!   While I enjoy playing in other people’s projects, I think what I really want is to get a small band together again to play my music, and just have opportunities to play out locally (Seattle, Vashon, around the region) like I have in the past, but not with any big aspiration that it will turn into something bigger than that.  I'd like to have more of my songs used in film, and that is something that could feasibly happen.
 
18. What are your ideas on how to improve the music scene on Vashon?

I wish there were more genre diversity.  I feel like there is a core cultural style that appeals to Baby Boomers and other people with similar tastes. Roots styles:  Folk, Blues, Jazz, Reggae, Country, Funk, etc...  While these genres probably are indeed the most popular with the largest demographic on the island, I do know that there are music fans who are interested in other styles and they have given up on finding music locally to the extent that if an artist that they WOULD like were playing they would likely not be paying attention and miss it. I often see these folks on the ferry when we are all going overtown to hear the bands that we like.  I also know musicians who kind of keep to themselves because they don't feel there is a receptive audience. It's kind of a Catch-22. In my opinion, there was a time when things were a bit more musically chaotic and unpredictable on Vashon, but I don't have any immediate ideas on how to bring that back.  If anybody wanted to meet and discuss it, I'd be open to that, though.
 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams?

In high school, due to some weird scheduling quirk, I ended up getting essentially private piano lessons from Mr. Roman, the music teacher, one semester.  It was strictly classical, not rock, but I he taught me things about dynamics (loud/soft)  and getting into the heart of a song that I still use today. A few years ago, his email popped up in an alumni newsletter and I wrote to him to tell him how much he impacted me, and when he wrote back, not only did he remember me, but he had googled my original music and said some very perceptive and kind things about it. My ex-girlfriend and long-time best friend (and sometimes bandmate) Linda Ceriello has been my most ardent fan and supporter, and my most exacting critic, always believing in my capacity to grow artistically and nail whatever I'm having a hard time with.
 
20. Any last words/thoughts?

I have a website!
http://www.gregdembermusic.com

Rebekah Bevilacqua Kuzma has been singing since she was a wee lass.  She doesn't like to think of herself as a musician until late middle school to high school when she started singing and playing and instrument.  Rebekah performs often around town, whether it's Snapdragon, the Red Bicycle, The Hardware Store or the Farmers Market.  Upcoming gigs are on April 18th at the Hastings Cone Gallery (Snapdragon), along with Andy James and then May 1st First Friday at the Sugar Shack.  You'll also see her at Hastings Cone Gallery with a band on May 16th. 

1.    What were your musical beginnings? (e.g. when and why did you start playing) 

I started singing as soon as I could open my mouth, I'm pretty sure. I started Mandolin at around age 6 or 7 my first teacher was my dad. I started playing because my parents were musical and it was just a natural part of life. I do remember being asked by my parents if I wanted to play and what instrument interested me. I wanted to play the violin, but ended up with the Mandolin, after my dad played me Mandolin orchestra records and other master players. I learned from my dad for a while and then he searched for a teacher. I had 1 or two until we met Jan Deweese in Portland. Those were fantastic years, I still miss them. I went on to study with Jan for many years, playing Irish, Scottish traditional tunes and songs. As I got older that turned into a little band. Classical voice came later during most of my school years with a few teachers. My fondest memories were with Marie Peak, she had been a professional Opera singer and had sung for the firestone opera hour. She was amazing. My first lesson she came to the door in a floor length Chiffon gown classy and inspiring, she what a wonderful teacher! My early youth was filled with choirs both church and school. I fondly remember Mr. St. John who filled his high school students with wonderful music and life lessons. During middle school my mother started working for Ellen Faull an Opera coach. She was from NYC and taught at Julliard.  In retirement She moved to Washington State. Though I didn't have the pleasure of taking lessons from her, I did spend many days there off and on soaking up her voice and learning by listening from the kitchen. She really inspired me at that age. She encouraged me,  it was an experience getting to listen to professional Opera singers in her home.  That was my first dream what I really wanted to pursue..... that is another story for another time.   

2.       Is your family musical? (e.g. fondest musical memories) 

Yes! My parents both sing and play. My dad plays guitar and teaches as well, he also plays Uke and runs a local "Uke's for St. Luke's" through his parish open to the community, a little teaching a little jamming. My mother Played hammer Dulcimer when I was young, as well as lap dulcimer. She plays a small accordion too. My sister also plays Guitar and studied several years of classical Guitar with Scott Kritzer. My earliest and fondest memories are of my parents sitting in the living room singing in harmony and playing. My sister and I joined in too at times. This is how I learned to sing and harmonize. My mom is a natural at harmony she can sing with anyone. I am really grateful to have had this as a young girl, it just became so normal I could do it in my sleep. Thanks Mom and Dad!

3.       What was the first tune you learned? 

I am not sure I can answer that. It could likely have been " My dog blue" My dad sang that often or "The Garden song" Pete Seeger. possibly a hymn.  

4.       What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

This is hard to answer. I am exploring writing, which would put me in a folk singer songwriter category. However I am a chameleon, that is probably the best description for me. I listen to many genres and I can sing and use my voice different ways. I enjoy singing Traditional songs, singing that takes me into myself and allows deep expression. Interpretation of good music is exciting to me, it could be classical, traditional, jazz, blues etc..

5.       What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

This is yet again hard to answer. I love Pierre Bensusan. I will focus on the singers I love, that have influenced me. Cecelia Bartoli, June Tabor, Dawn Upshaw, Joni Mitchell, Nina Simone. Yes you should listen to them. There are more I am sure, many of them friends.

6.       What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I play Mandolin, Gibson 1917, Tenor Guitar, Kay 1930's and a Martin Tenor Guitar 1968, Irish tin whistle.  My mandolin was a trade up, I had an old Kentucky, and we took it in and did a partial trade, if I remember correctly. It is a lovely old instrument with a warm sound. My original Tenor I bought from my music teacher, I played it for several years and then sold it later after not playing much ( my biggest regret). I just lost my drive to play and sing, I don't really know why. Back to present day. We moved to the Island just under 4 years ago. I started to go to the Snapdragon Wed. Celtic Session. I was instantly brought back to to my days playing with Jan Deweese and being in that little Irish band and it felt so good to be playing again.. My first night at Session was my first time playing again in 15,16 years. I borrowed another tenor one night and had to get another one. I bought the Vintage Kay Tenor a couple months later for 100.00 and loved it.  A few more months went by and a friend and fellow session player gifted me a Martin Tenor Guitar, just before Christmas, I play it everyday. Big Thank you! It happens to be almost the exact one I sold!

7.       What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

The most unusual place I have recorded video would be with Andy James in the Snapdragon Loo! I have sung at many churches, weddings, funerals. In Choirs and National Honor Choirs.  Then Traveled to the east coast after high school with a small choir. In an Irish band we played at weddings and for the Irish Ceili dances, which was a favorite. Fast tunes for several hrs. Red bike, Snapdragon, Nirvana, The Grange, Burton Church, Strawberry Festival, private events and regularly at St. John Vianny in the choir and as a Cantor.

8.       What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I am new to writing, I keep a little journal writing down thoughts. The last song I wrote was several months ago. I get words down and then work on melody. I don't see myself as a songwriter. Right now I am just making writing a habit, until it becomes good material for songs. The last song I wrote was about my journey after the death of my son. I have a couple others inspired by changes in my life and the nature around me. Mostly I find inspiration in interpreting songs that mean something to me. Traditional, classical and beyond.

9.       As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I am always seeking new music, it's inspiring. It helps to hear what other artists are doing. There are times I am not seeking that, if I am concentrating on a project or working hard on a piece. 

10.   What aspect of making music excites and discourages you the most right now?

Writing is the most discouraging for me. It's in there, getting it down on paper in a compelling way is the challenge for me, it's exhausting. The exciting part is collaboration with my musical friends, new bands and songs that take me out of my comfort zone. I am growing, my voice has changed a lot since I have started to really work again. I am older now and I am settling into my real voice, that is exciting for me. Also stretching my classical chops again has been a great joy.

11.   Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

Yes, I am always nervous. I actually do better in performance when I have some nerves, I relax after I start. I focus on why I am doing it, and it helps me. I take deep breaths before starting and close my eyes and try to relax. To a beginner, be yourself, sing with your own voice and no one else's. It's ok to be nervous, it gets easier the more you do it. It can be terrifying, the first plunge is usually the worst.

12.   How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I practice everyday, on my mando or guitar. Singing is everyday, not a specific time or amount. I am just generally always working on something in my head. Little vocal exercises and breathing.

13.   How do you balance your music with other obligations (mate, children, job?)

Right now I am a stay at home mom with our youngest twin boys. Balancing them and the four eldest can be a whirlwind. Most of my practice time is at night in our little studio, where I can concentrate. Sometimes it's in the kitchen singing out loud or in my head. My husband and partner in life does so much for me and supports me in child care, which allows me performance time and rehearsing time. I am indebted to him and our older kids for all they do to help.

14.   What is the saddest song you ever heard?

For me it would be a June Tabor or Andy M. Stewart. Of course there are plenty of wonderfully sad Opera pieces  too. Sorry can't narrow it down to one =)

15.   What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

My plate is full. Working on writing, learning new songs, singing with the Rumble Strips. Most recently working on a set list for a solo show in May. Practicing for a show at VAA in November. One Friday a month you can find me playing music with Andy James at Snapdragon. As well as weekly Wednesday Session for traditional tunes, reels jigs and songs.

16.   How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

The musical community on Vashon is fantastic. The folks I have had the pleasure of working with are warm, generous and supportive, I hope I have reciprocated that to others.  I love to attend as many shows of fellow musicians as I can. The musicians I am surrounded by are brilliant. I feel very blessed to be here at this time of my life. We are a very lucky community to have so much talent and not just limited to music.

17.   What are your short and long term music career goals and how would you define success?

In the short term I would love to record, I have always wanted to, we'll see! Long term is to keep recording. I want to continue doing what I love, I would like to concentrate on growing my voice, stretching my range. In the very long term, I dream of singing with the Opera Company here on Vashon. Ultimately I am happiest singing and playing with friends for the sheer joy of music. 

18.   What are your ideas on how to improve the music scene on Vashon?

The music here is thriving and that is such a gift. If I had my ideal? I would buy a building in town a small funky theater just for local music shows.  

19.   Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

Yes, but I can't just pick one. I have had several stand out folks that have inspired me and changed me forever.

My parents

Gary St. John ( Highschool Choir teacher)
Jan Deweese ( Mandolin teacher and bandmate)
Holly Boaz
Kat Eggleston, Wally Bell, John Dally
Andy James
Jennifer Krikawa, Andy Krikawa
Charles lovekin
Kevin Pottinger
and more.......

20.   Any last words/thoughts?

Sing! It's good for you! Don't be afraid to ask for help with music, voice lessons, instrument lessons. Be teachable! Be open, let your guard and your ego go, learn from each other.  The human voice is extraordinary, having someone skilled help you tap into yours is a life changing experience,  I feel  so lucky to have had a few teachers do that for me!   Music is a great healer, a connecting force, inspiring.  Music fixes things! Thanks fellow friends and musicians.  I appreciate you!

Jason Everett (aka Mister E) is a multi-instrumentalist, composer, arranger and producer who plays a variety of stringed and percussive instruments including his custom Conklin seven-string fretless bass guitar, electric upright bass, and an electric sitar of his own design.   Jason's been playing music since he was old enough to stand.  Jason attended Northern Arizona University on a full scholarship for music and started playing professional gigs at sixteen years old.

Jason is the past executive director of Vashon Allied Arts, and a past member of the King County Arts Commission (now 4 Culture). He is currently a firefighter/EMT and the CEO of Mister E Productions a world music production and management company. 

Jason's current projects are:  Facing East (based in San Fransisco), touring with Ancient Future, solo work.   Previous bands that he was a part of were Tarana, Avaaza, Andre Feriante and The Bohemian Entourage, Sarab, Resonance, Tal Maya, Machete' and Little Green Men

Next/Upcoming performance(s):
Ancient Future ~ Vashon Theatre April 29th
Facing East ~ Cadillac Hotel San Fransisco May 15
Facing East ~ Sheba Restaurant San Fransisco May 15
Solo ~ The Hardware Store
 
1. What were your musical beginnings? (e.g. when and why did you start playing)

According to my mom, I started pretending to conduct with Arthur Fiedler when I was two.  I remember (and she confirms) that I said "I want to play THAT instrument" (referring to the bassoon who played "grandpa" in the audio classic Peter and the Wolf) at three.  

I started guitar at 8, but did not like it that well (probably the instruction). I started clarinet at 9 and loved it and did really well and became wholly invested in band at school and started playing other instruments including the saxes, percussion and bass clarinet.  At 11 or 12 I started to learn bassoon and picked up the bass.  That summer I had been watching the Blues Brothers and really connected with Donald Duck Dunn and his bass playing.  The school had a bass so I checked it out and taught myself how to play.

I discovered Rush about that time and Geddy Lee's playing really turned me on, so I learned how to play all of the Rush tunes by ear.  My Sunday ritual was to play every song on every Rush album in chronological order (it took about 8 hours).

In high school, I played bass with the jazz band and then formed my own Rush cover band (we also played some Van Halen and other 80s rock stuff). It was then that I discovered Jaco and my world was changed.  I loved the sound and expressiveness of the fretless bass and (with permission) pulled the frets from one of the school's electric basses so I could learn how to play it.
 
2. Is your family musical? (e.g. fondest musical memories)

In terms of the family I grew up with, I am the only musical one.  My folks were divorced and have found out in my later life that my biological dad's side was musical.

3. What was the first tune you learned?

hard to say…probably Mary had a Little Lamb
 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

 I am a fusion artist.  I take what I love from different styles and cultures and blend them together in a way that I find pleasing, and intellectually challenging, but hopefully still musical.  I am particularly fond of Indian music and Flamenco music but also enjoy Arabic and Eastern European styles.  I also love funk.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

There are several…Zappa, Mahavishnu, Shakti with John McGlaughlin, Oregon, Weather Report, Brand X, Snarky Puppy 

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I play a custom Conklin 7 string fretless bass.  I rebuilt this myself.  As a result of my recent success getting out there, Conklin approached me about using my bass as template for a Jason Everett Signature Model which will be released this summer.  I have also just landed an endorsement deal with my string manufacturer, Kalium Strings and will be making that announcement soon.  I play a MarkBass amp and use Presonus digital recording hardware.  

I have modified many instruments and my Geddy Lee bass (Ricenbacker 4001) became an electric sitar many years ago…I am having some intonation issues with it so am modifying a Conklin to achieve the same sound.  

I can play a number of instruments including hand drums (I was part of Geoff John's AfroCuban drum group) but am focusing most of my musical attention on my primary instrument. 
 
7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

nothing too exciting here... 

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I compose in a number of different ways….sometimes I start with a groove and add melody to it.  Sometimes I start with melody and add groove to it. Lately, I have been adding very different grooves to the same melody changing the chords and feel with the same melody.  Almost all of my compositions are odd metered, and frequently are modal (like Indian music…) 

9.  As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I am a self-proclaimed musical snob, so I have a pretty high threshold of quality…but I love to listen to new music and when I find something great, I really delve into it.

10. What aspect of making music excites and discourages you the most right now?

I am really excited by the evolution in digital technology for recording and editing.  I used to build recording studios in my late teens and to think that that whole room of keyboards, mixers, tape decks, cable, etc resides in just my laptop and my mixer is pretty crazy. I remember the days of cutting and splicing tape and man-oh-man, digital is so much easier (and precise)!

I am discouraged by how hard it is for musicians to make a living in this country. I don't make my living making music (I am very fortunate to have the job that I do), but I am working with many really outstanding musicians who struggle to make ends meet.  Part of this is our culture and part of this is the ease with which people can pirate music.

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

No, I don't really get nervous before performances…I have been doing it my whole life.  

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

It varies, but ideally a 2-4 hours a day.  In actuality, some days none, and other days 8 hours, but the average is about 2 hours a day.

13. How do you balance your music with other obligations (mate, children, job?)

Its a challenge, but again, I have a great job that allows me several days off at a time so I have the time and income which affords me the freedom to be an artist and play what I want.

14. What is the saddest song you ever heard?

"Love Theme from Romeo and Juliet" by Henry Mancini.  It is a beautiful blending of the passion and pain felt by lovers...

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

Playing in SF a lot, working on my next solo CD, more videos etc. Facing East might be organizing a tour of India this winter.

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

I think Vashon has a ton of talented musicians here.  They are very supportive of each other.  I think you (Pete and Allison) have done a tremendous job supporting the music community here.  

17. What are your short and long term music career goals and how would you define success?

I would like to build audience for world music.  It seems really hard to get people to come out to it. Anoushka Shankar (Ravi's daughter) only sold 120 tickets at her last show in Kirkland at KPC but she sells 5000 seats when she plays in Europe.  
 
18. What are your ideas on how to improve the music scene on Vashon?

Musicians need to get paid to do their thing.  Again, I appreciate what you have done to support musicians (like paying performers at Strawberry Festival this year), but people at large need to pay cover charges and purchase CDs. 
 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

The people who stand out the most are the artists who have inspired me: Donald Duck Dunn, Geddy Lee, Jaco, Zawinal, Bootsy Collins, Ravi Shankar, Zakir, John McGlaughlin, Paco deLucia, Ali Akbar Khan, Trilok Gurtu, etc...

20. Any last words/thoughts?

Come to my show on April 29th with Ancient Future!

Andy James, when he's not working at Chautauqua Elementary School, is a musician here on Vashon, performing in the band The Rumble Strips and also with Rebekah Kuzma in a duo.  Rebekah and Andy sit down at Snapdragon one Friday a month and play music and sing.  Andy occasionally performs with The Pahoehoe Boys as well.  Andy has been a musician long enough to reach the ground...

Andy's next upcoming performance: The Rumble Strips play at the Red Bicycle on Friday, June 12th.   Stop by Snapdragon and you'll see him there too.

1. What were your musical beginnings?

As a boy I loved to experiment on the piano (see below). The guitar was suddenly there when I was about 12. I wanted to play Beatles songs, so I worked through the songbook — an awfully good university for melody and song structure. I wanted to play everything, so I learned how to bounce sounds from tape to tape, junked around with drums and cheap synthesizers and gizmos. But I really didn't do much with music until about 7 years ago, when my life stabilized on Vashon and I found a lot of musicians around me. A lot of musical possibilities that had been suspended came back to life.

2. Is your family musical?

My father played the banjo and folk guitar but stopped when I was young. My parents filled me up with Stevie Wonder and Beethoven and Beatles, an eclectic mix but well within the range of a family in the 70s. I learned to harmonize by singing with my sister — I'd say about 90% Beatles and Christmas carols. Us singing in unison didn't sound right, and if I was going to learn a harmony part I'd have to figure it out by ear, so I did. Even today my sister takes the melody part and I take the high harmony above it.

3. What was the first tune you learned? 

"Off we go to Music Land, training eye and ear and hand." First song in the John Thomspon Modern Course for the Piano series. All of the songs in those books seemed like real pieces to me. Something about the combination of those line drawings, the song titles, a few notes to play — it gave me lots of material to dramatize, which I did to an audience of myself. For pop songs, once I started they came in a flood, so I can't recall the first.

4. What genre of music do you consider your work to be?

The Rumble Strips play dance music with roots, however distant, in West Africa. So even if we're playing something familiar we build the house on rhythms from Cuba, New Orleans, Brazil, Puerto Rico, or West Africa itself. We have horns, percussion, guitars, a killer rhythm section, and cast of singers.  

Rebekah Bevilacqua and I are harmony singers, and we go where the harmonies are, so that could be anywhere in the world. We'll sing a Kinks song and follow it with an Italian folk tune.

On my own I play a lot of clawhammer banjo, often in front of Chautauqua Elementary School, where I work coaching the teachers in technology. (I used to be the music teacher there, and the kids and I made a couple of full-length CDs based on folk tales. But that's another story.)

The Pahoehoe Boys are pure Hawaiian hokum. We (that's me, Mick Etchoe and Barry Cooper) like to be asked to play, and then you can't get us to stop.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

I was lucky to have a friend guide me into African music, taking me down to Pioneer Square to hear the hottest bands from the Congo and Mali. What the musicians of Sub-Saharan Africa have done with Western instruments and styles is just astounding: It's rough and sophisticated and joyful with a lot of depth. I'd start with Omona Wapi, an album by Franco and Rochereau. Or perhaps Extra Ball by Loketo. Or three compilations: African Ambience or Guitar Paradise of East Africa or The Indestructible Beat of Soweto. Then clear the floor and turn up the volume.

6. What instrument(s) do you play?

Guitar, mostly. I'm not much of a gear-head. I like to play a good-sounding guitar (I have a nice red Strat) through a good-sounding amp and leave the rest up to my fingers. I play a Bart Reiter banjo that's way out of my league. I keep tons of extra instruments: A charango, an udu, an mbira, hand percussion of all kinds. I love to hit at a drum kit when doing so doesn't causing others suffering. I also became really good at clapping when I taught music; didn't know I could be good or bad at it. I'll sing, not shy about that.

7. What's the most unusual place you've ever played a show or made a recording?

Rebekah and I recorded a song in the bathroom at Snapdragon because it sounded good. (Here you go: https://www.youtube.com/watch?v=wVHDz0b4C5k) With the Rumble Strips, we're just getting started, but we like the idea of mixing regular gigs (like the Red Bike) with DIY shows in spaces we remake. We want food available, the room redone with lights, a party. There are, at last count, 11 of us, so finding a hall that fits our music is an interesting puzzle.

8. What is your process for writing songs?

I don't write songs! There may come a day for that but I don't feel urgent about it. There's such an enormous field of undiscovered wonderful music, and so many ways to remix it into something fresh, that I don't care if I'm singing something I made from scratch or not.

That said, I like treating a found song as a raw material, with no obligation to stick to the original. Usually I'll pick a few elements that I suspect will mesh. I can think of one song we do that's an old blues song, with a horn line and feel borrowed from a song from Benin, and a percussion line from Puerto Rico. Once those elements are set up the band runs with them and the song takes a life of its own -- you won't hear the individual elements anymore. By that time if it's "original" or not doesn't matter to me.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

If I listen to recorded music now it's for research. I play so much music with live human beings that recordings feel like looking at other people's vacation pictures. But the people I play with stretch me into some amazing new territories. The time I spend digging through new possible musics — Celtic tunes to play at Snapdragon, Balkan or Italian pieces to sing with Rebekah, all kinds of music for the Rumble Strips — is just heaven.

10. What aspect of making music excites and discourages you the most right now?

We're all grownups with lives and jobs and many of us have kids, so we can't all live in one big house and play music until it sounds completely organic. So we have to plan and practice hard and pin things down. Everything else is exciting, even the up-and-down parts. I'm itching to play every chance I can.

11. Do you get nervous before a performance and how do you handle it?

I don't get nervous beforehand. I get nervous afterwards. I start to second-guess, the voices in the head have their terrible say, I wonder if I made a fool of myself (sometimes, yes). But I've found it's good to just keep at it. Check in with other people, find out what they heard and think that over. Listen to recordings, keep thinking of new possibilities. Nail down that chord, memorize that verse a little better. There's always work to do and other possibilities, so why get nervous?

I haven't played out a lot. I have respect for the people who have gone on the long journey, and put their music out in every place and for years. I'm just an amateur, but we need amateurs too.

12. How often and for how long do you practice/rehearse?

The Rumble Strips meet just once a week for a few hours. When a show is coming we also rehearse in sections: percussion, vocals, guitars, and so on. Rebekah and I take in new songs all the time but usually get together when a show is coming.

For myself, my family say they feel like I'm always practicing. I feel like I never am. I'm certainly almost always tinkering with something musically.

13. How do you balance your music with other obligations (mate, children, job?)

Balancing my head and my own habits is harder than balancing the externalities of my life. My son is 12 and becoming more independent, my wife Dana is unbelievably supportive. I'm lucky enough to work half time. I have a great life, now I'll shut up about it.

14. What is the saddest song you ever heard?

"I Don't Want to Play in Your Yard." Thanks, Holly Tuttle, now I'm feeling rejected.

15. What are you up to right now, music-wise?

The Rumble Strips are just getting started. It's a really great gang of musicians. We want to play all the time and play shows that feel like parties, with dancing and interaction and craziness on stage. 

I've offered to help build a musical setting for Rebekah on her own. That's fun. I really like arranging and love it as a way of reaching out to new musicians, especially with instruments and styles I'm not familiar with.

16. How would you describe the musical community on Vashon?

There really is no reason that there should be so many genuinely kind-hearted and supportive musicians in this small space; it isn't supposed to work that way. Just one example: Before the Rumble Strips even started playing at our last show the gang from the Coop were giving us hearty cheers. If anyone is reading this and I'm behind on catching your shows, I know. I'm working on it. And if musicians are selective or just don't get out much that's fine. 

17. What are your short and long term music career goals and how would you define success?

My overall goal is to be a model of the amateur musician. A society that divides the world into real musicians and people who are not musicians is unhealthy that way. So promoting myself, building my name, counting revenues — feh, you can have it. I just like to be part of the big swirl.

18. What are your ideas on how to improve the music scene on Vashon?

It's pretty good these days. Just play all the time. Learn the songs, help each other, reach out. If you know a musician who doesn't play much, be encouraging and give them an easy setting to play in. If you have an idea, especially for a musical community for lots to participate in, give it a try.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams?

Like I said, I lost music in my life for about 20 years, then got it back here on the Island. I feel like whole gangs of people woke me up musically and I want to describe a few.  Shane Jewell started the Free Range Folk Choir, and joining got me back to singing.  Geoff Johns, who was a world-class drummer and teacher, ran drum groups that gave me whole new perceptions of music and rhythm.

Never underestimate the courage of just reaching out to people. Stephen Buffington invited me over to play music just for the sake of playing it and he and I are still musical compatriots. Rebekah Bevilacqua said "you should sing with me" and kept at it because she saw something in me.

The schools put me in the spot teaching music at Chautauqua. The community supported me making a couple of CDs of music I helped the kids create. We had wonderful guest teachers who helped shape the music: Bill Moyer, Ela Lamblin, Geoff Johns. The Blue Heron even made a dance production of one, "The Whistling Monster." The kids were the biggest support, willing and adventurous.

I also think of a couple of scenes: The Wednesday Celtic session at Snapdragon, with Kat Eggleston, John Dally and Wally Bell as incredibly gracious hosts. I even credit our monthly Fairyoke at the Eagles for being such a good quasi-musical party with an open spirit. When people make these scenes they bring other people to life.
 
20. Any last words/thoughts?

Still looking for a good horn or sax partner for Van Crozier in the Rumble Strips. Let me know if that's you!

Photo credit: Mick Etchoe

Progressing from college sophomore to folk-music groupie-worshiper of Tom Rush, Fred Neil, Buffy St. Marie & Bob Gibson in early-60s Miami, John Browne's musical career has been what he jokingly refers to one long, downward spiral to this present time……but we all know differently. 

In the guise of 1/5 of the Ph Phactor Jugband in the 'Frisco of '66, John was present (if stupefied) as an opening act for a number of notable performers- many of them dead- including Frank Zappa, Lenny Bruce, Dan Hicks, The Dead, The Doors, The Quicksilver Messenger Service, Blue Cheer, The Byrds, The Airplane, Lightnin' Hopkins, Mance Lipscomb, Country Joe & the Fish, Art Linkletter, The Congress of Wonders, and others.

Just don't ask him what he remembers... because he WAS there, you know... He is married to his art- and journeys on with something old, something new, something borrowed, and something blue-- all of which will likely accompany him to the Final Fireplace (and some sort of more-or-less inevitable Immolation). He loves everyone, and everything (& perhaps some unquantifiables, as well) because he is a Hippy.

Band(s): Modern Jug Quintet, Richard Cranium & the Phoreheads, Bubba Doom, (formerly) pH Phactor Jug Band

How long a musician: 50 years

Next/Upcoming performance: May 23 @ Snapdragon; May 28 @ Rock Creek Tavern (greater Portland); May 29 @ Muddy Rudder, Sellwood (Portland); June 12 @ Rock Creek Tavern

1. What were your musical beginnings? (e.g. when and why did you start playing)

Singing came first... songs I made up before I started school, and singing with family when young. Some Gregorian chant in early Catholic grade school... guitar began in late teens.

2. Is your family musical? (e.g. fondest musical memories)

Both my maternal grandfather and paternal grandma played... g'ma Browne played ragtime piano and taught piano to farm girls when she was a teenager... traveling by horseback around the area they lived (where Ft. Lewis is now)... Roy, Yelm, etc.  Grandfather played fiddle, piano, xylophone, and my mom played along with him. My dad played a wee bit of boogie-woogie piano, & mom taught herself to play (and to read sheet music). They both sang pretty well, too.

3. What was the first tune you learned?

Turkey in the Straw (from Grandpa Cleary).

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

I like a wide variety of stuff... standards, 'old' stuff (broadsides from 18th century) blues- and blues 'roots'(early jazz/jug band' string band/ etc), liturgical music, 'folk', pop, etc. My "stuff" is generally 'protest' (or "whining and complaining")... both as tragedy & comedy (which is often 'other people's tragedy'). I also occasionally play gospel & Celtic (but not at the same time).

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

They're mostly dead... Mississippi John Hurt, Skip James, Memphis Jug Band, Gus Cannon, Thelonious Monk, Leadbelly, Lonnie Johnson, Django, Hoagy Carmichael, Dave van Ronk, Buffy St. Marie, Fred Neil, Chuck Berry, Bo Diddley, the Everlys, Iris Dement... so many!

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I play a mahogany Gibson LG-0, and am delighted with it. I have an old (1927?) parlor guitar- a Leland- (Chicago Music Co.) that has an enormous resonant voice (and weighs almost nothing). There are a couple other guitars here, a mandolin, a mando-banjo, an er-hu, a uke, harmonicas, washboards (& other percussion objects), a trombone, a sax, and some odds & ends that you will NEVER hear me play. I still think of my voice as my 'best' musical instrument.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

I played in a munitions bunker underneath a WWI gun placement above Muir Beach in Marin County once. Only played harmonica there.

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I make up songs several times a week... and let them go right away. They're mostly expressions of doggerel verse, triggered by events in the news. Probably less than one in a thousand actually sticks around to become a song. Tunes are often 'borrowed', and sometimes the tune provides a satirical counterpoint to the subject matter (a la the Capitol Steps).  Rarely, a tune comes before the words... because I'm a 'word' person (and a whiner & complainer)... and seldom create 'original' tunes. It has happened, though.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I don't listen to much music purposefully... but will put on a radio station and just let it flow. I currently listen to KBCS fairly often, and really appreciate John Gilbreth's choices of music.

10. What aspect of making music excites and discourages you the most right now?

I've been "mike-shy" my whole life... but the new stuff (and the boards they run through) really impress me. I still like 'pure' acoustic, for my own sake... and never practice amplified... which is probably a major failing on my part.

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I always get nervous! It's like going swimming... and I'm a "wade in slowly", not a "dive right in" person. Still carry a lot of ambivalence about performances (as contrasted with 'simply Playing'... which is pretty easy now).

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

Unless I force myself to LEARN SOMETHING in particular, I have no regular practice procedure. I could pick the guitar up any time of day and play a little. I sing, whistle, hum, yodel, etc pretty much any time I'm outside working, without giving it much thought.

13. How do you balance your music with other obligations (mate, children, job?)

I probably wash dishes as often as I play guitar. I live moment to moment... not too much advance planning. (aka "whatever happens...")

14. What is the saddest song you ever heard?

Different ones over the years have 'got to me'... after my brother died it was the Hollies "He's not Heavy, He's My Brother"... and "Abraham, Martin & John" has brought tears. "Strange Fruit" has grabbed me, too. I've written lyrics that I couldn't sing, because I'd choke up and 'lose it'. A LOT of the 'black' music- blues and ballads- have grabbed me, when the Meaning of the lyrics became clear... and the pain & anguish was transmitted directly. I'm a kind of an emotional pushover... maybe more, now, than when I was younger.

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

Not a darned thing! There are a couple of songs I'd like to finish to my satisfaction, but I've worked on one of them for about 5 years... and it just won't behave. (Still, I try...)

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

All of the above. LOTS of good players here... and LOTS of personalities, too. I would like to go out and listen more often... and will, I think. I'm not much for leaving the Island, though. In fact my inner hermit has been running my show for a few years, now. I'm looking to change that. :)

17. What are your short and long term music career goals and how would you define success?

I don't have any... beyond learning songs that come into my head and challenge me to 'find' them with my fingers. "Success" is simply wanting to keep playing, singing, and making music... and having it in my life. So far, so Good!

18. What are your ideas on how to improve the music scene on Vashon?

I don't know. I DO think that a place where young people could play/perform  regularly would be a PLUS. I really miss the Antique Sandwich open mikes, that were broadcast every Tuesday for years and years. Maybe VOV could do a remote broadcast on a regular basis from a local venue... and "all ages" would be a PLUS.  There are some cool options now, with Snapdragon. Cafe Luna, occasionally Roasterie, the Thursday scene at the Coop, etc to gather.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My dear friend Walter Barbee, a retired school librarian in Seattle, has always been there. David Coffin, a guy I met while playing in a University District laundromat in the 60s (we just wanted to be warm!) took me to his place and played the early John Hurt records... and encouraged me to learn to play like that. We still get together occasionally to play... although he's in Portland, now. Friends who were also musicians have been the "most likely (supportive) suspects", I reckon.

20.   Any last words/thoughts?

Learning to play an instrument has helped me so many times to have some mechanism to quiet my mind, to busy myself with something as a meditational activity, to help me appreciate- and Be- "in the moment".  In other words, it has acted as a psychological support, as well as a means of expression.

Singing is so natural and obvious an activity to let one's spirit go where it will... to be the instrument and hear oneself 'play'. It can be enlightening to hear what comes out of one's mouth, sometimes... possibly discomfiting and alarming, at times, and truly satisfying at other times... "getting things off your chest" and out of the depths of one's mind... an instrument that can facilitate revelation, and help anyone to know themselves better.  ^..^

Allison Shirk's honey voice will draw you in, but it's her smart songwriting that will capture you. For Allison, making music is about telling stories that connect us to each other. Her songwriting is seeping with thoughtful lyrics and sweet melodies. And if that wasn't a big enough glass of water, there is a refreshing message to her songs that subtly takes up issues of social justice through stories of small town life that resonate with a hunger for change.

Allison can be reached at allison@allisonshirk.com. You can also find her at her website - www.allisonshirk.com; facebook.com/allisonshirkmusic; twitter.com/allisonshirk.

Allison's next performance with a full band will be on Saturday, June 13th at 7:30pm at Vashon Allied Arts.  Join her and her band mates Joe Panzetta, Kevin Almedia, Sarah Howard, Paul Colwell, Wesley Peterson and Christopher Overstreet for a really fun night of music.  For tickets, click here.
 
1. What were your musical beginnings? (e.g. when and why did you start playing)

I have always loved to sing, since I was a little girl. My mom would take me to old folks homes and have me sing a cappella for them, especially around Christmas. I always loved to sing for people. When was in college, I realized that I wanted to learn to play guitar so that I could accompany my singing. Since then, I've been writing songs and performing. 

2.  Is your family musical? (e.g. fondest musical memories)

My uncle was very musical and almost made it big time. But he died of drug overdose before he had that chance. He's the one who first taught me some chords on the guitar. 

3. What was the first tune you learned?

I pretty much taught myself guitar by looking at a Beatles song book that had chord charts. I Wanna Hold Your Hand was the first song I learned.
 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

My album is in the country genre, although the word 'country' has difference connotations for different people. I'm not doing pop-country, it's more on the Americana side.   

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

 Star Anna and Jeff Kanzler are two of the most amazing songwriters I've heard in a long while. Their music is so melodic and passionate. I'm drawn to the lyrics.

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

My first guitar was given to me by my step-mom. It was a red beginners Washburn. Then I borrowed my ex-husbands guitar for a while, which was better for performing. In the summer of 2012, I played every gig I could to save up to buy my own guitar and ended up with a beautiful Guild from the 1960's. But the soundboard had been split and repaired and was a nightmare for the sound engineer when I was performing. So I now have the most beautiful Taylor guitar. It's made out of Koa and sounds and feels amazing. I've been writing new songs like mad on it. 

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

I have mostly played on Vashon and I love the Red Bike, Snapdragon, Cafe Luna, the Blue Heron, Open Space, and the High School Theatre. My dream is to play the Tractor and the Triple Door.

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I keep a lyric book that I jot down ideas for lyrics and sometimes whole songs. Then I sit down with my guitar and work out the chords. Usually the song is already in my head before I sing it out loud or find the chords on the guitar. When I'm in the right mood, right frame of mind, songs come pretty easily. Most of my best songs have been completely written in one sitting. But I always come back and tweak the lyrics and the melody as I play it over and over. 

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

Whenever I find myself slipping into a musical rut, or feeling uninspired, I go back to listening. I also think it's important to support other musicians so I try to get out and see other folks play as much as I can.

10. What aspect of making music excites and discourages you the most right now?

When I formed the band, American Standard, with my ex-husband Brad Shirk and David Foege, there was nothing in the world better than playing music together. We would stay up all night long playing music, get up in the morning and start playing again. We were writing songs together and inspiring each other and going to concerts together. Since David died and Brad and I split up, I've been playing mostly solo and bringing in professional musicians to fill out a band sound and record my album. But I really miss having a real band to play with that you get to rehearse with and write music together. There is something pretty special about that relationship between band members. I'm working on putting together a new band right now for my June 13th gig at the Blue Heron and I'm hoping this band can stick together for a while to play some gigs. But that is definitely my goal, forming a band.

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I get super nervous. Part of it is that I never feel like I've rehearsed enough, and part of it is just feeling so exposed on the stage. Before the show starts I'm all butterflies, but once it gets going it all melts away.

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I don't practice enough. I wish I could be a full time musician that only played music all the time, but I work hard at my various occupations and spending time with the kids always takes priority. I found that keeping my guitar next to me all the time helps me pick it up throughout the day.

13. How do you balance your music with other obligations (mate, children, job?)

Family comes first. When you have little ones, you have to live in the moment with them while they still want your undivided attention. I also run several business - my grantwriting practice, training seminars, graphic design, freelance writing, and of course Vashon Events. Unfortunately, making music isn't a huge money maker, so my work has to take priority too. Music takes the back seat, but it's a constant passenger in my life. Playing music makes me incredibly happy. Writing songs makes me incredibly happy. If I won the lottery or something, I'd spend all my time being with my kids and making music.
 
14. What is the saddest song you ever heard?

When I was 8, I sang in a talent show at my school. I performed Me and Little Andy by Dolly Parton. It's an incredibly sad song and it still makes me weepy when I hear it.
 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

I'm promoting my new album, Break My Heart, and putting a new band together. I'm also writing a ton of new music that I'm excited to debut on June 13th at the Blue Heron. 

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

I think everyone is really supportive. I go out to hear other's play and I see other musicians at my shows as well. I feel pretty comfortable asking other musicians questions and most of the time, they are happy to take the time to give me advice. I also really want to support the young ladies that are playing music that are in high school and just coming out of high school. They are super talented!

17. What are your short and long term music career goals and how would you define success?

Here is my musical bucket list: Hear my music on KEXP, play the Tractor and the Triple Door, sing a duet with Ian Moore, busk in Central Park NYC, make a music video, sing backing vocals for Star Anna, open for Norah Jones, play a gig in Austin TX, sell all my CD's, play a gig with Bradford Loomis, win a songwriting competition, ...

18. What are your ideas on how to improve the music scene on Vashon?

We really need a new venue that is a listening room, bigger than the Red Bike, smaller than the Open Space, with food/beverage. 

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My dad has been a huge fan, my kids are huge fans and are very supportive, and most of all Pete Welch, who believes in me and knows me like nobody's business. He never misses hearing me perform and he's there for me 110%.

20. Any last words/thoughts?
 
Just that I have huge respect for all the musicians on this Island and I'm incredibly happy to live here.

From a folk-rock beginning, forever Jon Whalen has been enjoying listening to and playing music that has percussive quality as well as intriguing melody.  Rock and Celtic styles, as well as a month long workshop in Senegal, West Africa has flavored his music and his input to the bands he's been in.  

Jon spent some time studying dance, which is why he wants music that he plays for people to be dance-able at times.  

He was hooked on rock music and performance when he was about 12 years old, though he'd been playing for a little bit by then…. Jon was at his grand-parents house in New Jersey and there was a band practicing across the street in a garage.  He was taken in buy the guitars, the chrome on the drums, the noise, and the crowd that milled around while they played.  It was a little magical in that garage-rock spiritual sense.

Jon plays solo, as well as in the bands The FieldHands and Single-malt (w/Simon Martin).  Next up in terms of performances is a slot at the Vashon Island Strawberry Festival with The FieldHands on Sunday, July 19th.
 
1. What were your musical beginnings? 

My mom was into popular music, bought many first albums; Neil Diamond, Beatles, Simon & Garfunkel, Elton John. She gave my older sister the Stones, as well. My dad played a little guitar, a little piano and was often singing around the house.  A member of the Folk trio at my late 60's family church in Pittsburgh, PA gave me lessons for 6 months until we moved away.  My first guitar came from Sears.  I've taken about 9 months of lessons in my life before the age of 15, other than that I've been self-taught.
 
2. Is your family musical? 

See my last answer and three of the four siblings in my family play an instrument as well.  We took some long road-trips in our various vans and VW Buses and singing is how we passed the time.  We could sing all the words, verses and harmonies to The Beatles, Abbey Rd., the sound-track to the Sound of Music, many of the songs of the Partridge Family as well, and a bunch of off-color army songs my dad taught us. So yes, we're musical. 

3. What was the first tune you learned?  

Hang Down Your Head Tom Dooley, was the first song I remember learning to play all the way through.  It was the first song in a May Bel Learn-to-Play-Guitar book that I got when I first started lessons.
 
4. What genre of music do you consider your work to be? 

Americana, Folk-Rock.  Americana for me includes roots music, the blues and the combining of folk styles with rock or even electronica instrumentation. The folk and rock influences are obvious in my music. Although, The FieldHands lean toward the "wood" and "world" flavoring of the music, we have a bunch of rockin' tunes as well.
 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?  

The FieldHands...(!)  Its funny, though I have some people that I go back to regularly, there's no one that falls into this category for me. The Beatles, Peter Gabriel, and some others are favorites.  Listen to as many musicians and styles as you can.  Thank goodness for independent radio!
 
6. What instrument(s) do you play?

My primary instrument is the 6 string guitar, both acoustic and electric. I played bass in a band, Failure to Disperse for 8 years. Big fun! I loved the percussive quality of the electric bass.  I am very fortunate to have two six-string instruments that I bought simply because they were a decent brand and I could afford them at the time. They both have turned out to be very fine instruments; '85 Stratocaster (Japan) $125, '76 Martin D-18 (US) $200.  I like hitting stuff and make some pretty good noises, too.
 
7. What's the most unusual place you've ever played a show or made a recording? 

Made a cassette recording while riding on a bus from the Dakar airport in Senegal West Africa, jamming on my guitar with a dude playing a Dan; a three-stringed instrument, made from a gourd, very buzzy but melodic sound, similar to a kalimba.  My favorite venue is the Red Bike, formerly Bishop's.  I've played there the most and have always had a great crowd.  My mom used to let my band practice in the living room while she held League of Women Voter's meetings 10 feet away across the hall.  (She would also help me load gear.)  I've played for church services that I did not belong to; at a community center meeting in Lake City; at Pike Market, The Oregon Country Fair (on the main trail...), The Patty Summers lounge; The Seattle Peace Concerts;  and on the streets in Hamburg, Berlin, London, Dublin, Galway, Belfast and Milan. (yeah, thats all braggin'!)   
 
8. What is your process for writing songs? 

Stories that I have lived or made up, imagery from events and people around me and of course some political content make up my lyrics.  Most of my songs come to me quickly, usually a lyric arrives and then music I've messed with previously or something brand new emerges.  A couple songs have taken years to gel into a complete piece of music.  The FieldHands have been particularly key in finalizing some of my songs from the last couple of years.  A very creative group we are.
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?  

Interesting question, I've been thinking about this recently.  I think I have always gone through phases in what I seek out musically.  Working as a contractor offers me time to listen to the radio so I hear a lot of music when I do that work.  My recent work as when I was in early childhood education, I listen to less music other than my own.  New music is always great to hear.  When I do listen to music regularly, obviously its inspiring.
 
10. What aspect of making music excites and discourages you the most right now? 

The lack of time I have had over the last 6 months has been very unfortunate.  The band, and I myself, have a number of new songs just waiting to be brought out.  I like to have a rhythm to my life with time for music somewhat sacred.  I seek to reclaim that in the near future. 
What's exciting? When either Dorsey or I bring a new song in to the band is always a bit of a rush, scheduling gigs and when we get to go into a studio and record.
 
11. Do you get nervous before a performance and how do you handle it? 

I always am at least a little nervous for every performance.  It's part of the electricity and why I do it.  I use that energy as best I can.  Sometimes it takes over and is distracting.  I do a like a single-malt scotch before a show at a club, but any more than that is usually a disaster.  Finally, live performance and mistakes are synonymous so one great thing to learn at an early age is to get over your mistakes and play-on!  Most of your audience missed them anyway.  
 
12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

For the last 25 years of my life I have played music with one band or another pretty much once a week for most weeks with brief periods of hiatus.  I keep my guitars handy so that I can play anytime I can, 2-3 times each week for 30-90 minutes..  I do not have a sacred music time other than band practice.  I bought myself a travel guitar because I would miss it when I was away for numerous days.  I don't play to get better, I get better because I love to play.
 
13. How do you balance your music with other obligations (mate, children, job?)  

I have been fortunate that my family has known that music is truly a part of me even though I am not a pro. It is like air, water and food for me, it makes and helps keep me happy, which leads to those around me being happy...most of the time.   Responsibilities never go away and being a dad and partner are wonderful things so evening has till now been the time when music happens; Job is done, family is in bed, out comes the axe!  Many practices happen between 7:00 pm - 12:00am, shows too.   As I get older though I find myself striving for daytime hours to practice.
 
14. What is the saddest song you ever heard?  

"And The Band Played Waltzing Matilda", by Makem and Clancy.  There are many sad songs I know, but I played that once for my Mom and it made her cry, which made me cry.
 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc) 

The FieldHands are getting ready for a busy summer.  I have a side project with Luke McQuillin and a group of very talented performers coming together for October.  My secret project is I'm preparing material for a solo recording before the end of the year, if things go well.
 
16. How would you describe the musical community on Vashon?  

Abso-f**kin'-lutely fabulous.  Holy crow! I have met and played with so many great people.  Not only are there an incredible number of performers and other various artists on Vashon, many of them love to jam!  If your are able to find the time and agree on a musical style, almost everybody plays with everybody on Vashon at least once.  The only drawback is that there is so much going on that it is impossible to see it all so I miss so many of my friends performances.  Of course I want to see people at my shows, but I want them to come because they want to come, not simply to support my music, however kind that is.  So everyone is off the hook...
 
17. What are your short and long term music career goals and how would you define success?  

I have one dream that I have not achieved and that is to play to a crowd of 10,000 or more, and one never knows!  Other than that, I have done so many great community-level performances and will continue to do so.  Another FieldHands recording is on the horizon.   I feel really successful when people tell me they have heard my music or saw a show and they enjoyed it!  I've got a day-job so that is what its all about.  I was in Thriftway on the island a few years ago and a girl of about 10 years old saw my face and jumped, turned to her mother and half-whispered "That's the one...!", she had just seen a show I was in.  It made my year!
 
18. What are your ideas on how to improve the music scene on Vashon?  

There are smarter heads than mine....Like Pete and Allison, that have been actively growing the Vashon Music scene for the last 15 years.  I've been the beneficiary of that as a performer and consumer.  The sheer variety, availability and affordability of music shows on the island is amazing.  Between the Bike, the O-Space, The Blue Heron, the Vashon Theater, The Vashon High School auditorium, Sporty's, the Grange Hall, the Sportsman's Club, Camp Burton and the Havarat, there are so many places to see shows.  The scene has been constantly improving.  Heck, the performers at Strawb-Fest are getting paid I hear!  Even a token, that recognition is really fantastic.  
 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? 

As I said, my immediate family has been really supportive of my music and performance in general. My wife and son come to all my shows if they can.  As a kid my family tolerated my early rock & roll escapades which were always LOUD, but they gave me only a little grief.  I've had very few people that were not accepting and supporting of my music.  I must have been quite fortunate. There was a DJ at a local radio station that lent us microphones for a couple of our gigs.  There were the teachers that allowed the talent shows and the school dances where my various bands played during high school.  
 
20. Any last words/thoughts?  

Thanks for letting me talk.  See everyone soon.

Michael Whitmore is a multi-instrumentalist, composer, a DJ, certainly a record geek and the occasional raconteur. He spent years playing in the LA music scene before moving to Vashon a decade ago. Besides dozens of recording credits to his name he has also released 3 acclaimed solo CDs. He has received a NEA Composers grant, scored music for small films and theater and has for the most part had a pretty decent life, though he may claim otherwise for the sake of conversation. Recent music projects include Delilah Pearl and the Mantarays, Propellers of the Moon, m2domus, and the Callipygous Trio -- who over the last 2 years they’ve been performing at the Snapdragon Café for the Sunday Night Music blending the sounds of South America, bossa nova, samba, tango, with a good dose of North American primitivism. It’s all a bit abstract, but it’s beautiful and kind to the ears. He also hosts 2 radio shows on local KVSH 101.9FM, the Friday Morning Scramble and Strange Cargo. 

Michael will be performing with Delilah Pearl and the Mantarays at the Red Bike here on Vashon on First Friday, July 3rd.  All-ages and FREE!  Then you can catch Michael at Strawberry Festival too - with Michael Whitmore & Callipygous Trio on Sunday afternoon on Pandora's Box Stage at 3:30pm.
 
1. What were your musical beginnings? (e.g. when and why did you start playing)
 
I was a sickly asthmatic child, missed a lot of school. At about age 7 my parents gave me an AM radio, one of those plastic Philco models … and everything changed. This was back in the hey-day of AM radio and LA had the best stations around -- KHJ, KRLA, and KDAY. From the start I tended to like the darker songs. Me and minor keys are life long cronies. The Animals were my first favorite band. Soon to be followed by the swampier sounds of CCR. At about age 9, I discovered my great grandfather’s Irish tenor banjo, dabbled with that a bit. And in October ‘70 (WHEN!!) I got my first guitar. Its been down hill ever since.
 
2. Is your family musical? (e.g. fondest musical memories)

When I was a kid my Mom only listened to the local Muzak station, eventually she got into some country music -- Loretta Lynn and Roger Miller. My Grandmother had this huge collection of exotica records -- Yma Sumac, Martin Denny, Arthur Lyman -- but seldom listened to them, I did. It was my Dad who was into music. He had a good jazz collection, lots of West Coast cool and Miles Davis; he also loved the Doors and was spellbound by the Iron Butterfly’s ‘In a Gadda da Vida’. The radio was always on in his workshop. He also played a little piano, his big piece was Lecuona’s Malaguena -- he’d pound away at it. Huge chords! Flashy fingering! Gigantic dramatics! 
 
3. What was the first tune you learned? 

Originally I studied classical guitar, my first pieces were Greensleeves and oddly enough Lecuona’s Malaguena. In fact, last year at Christmas, I played Greensleeves at the Red Bike -- just a lot more Coltrane-esque. But like any teenager, I wanted to r-o-c-k! So I switched teachers. The first song I learned, ‘House of the Rising Sun.’ 
 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?) 

It’s pretty geeky. Generally what I play falls in the category of avant folk-jazz, but with a heavy dose of bossa nova, tango and American primitivism (acoustic guitar picking style influenced by rural blues, country and slack key styles.) There’s also a hint of jazz in my playing. But except for Lenny Breau, Gabor Szabo and Grant Green, I was never really into that whole jazz guitar thing. I was more into pianists like Bill Evans, McCoy Tyner and Cecil Taylor.
 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you? 

In my Dad’s collection was a Charlie Byrd record -- pre Byrd’s bossa nova fame. His recording of ‘Fantasia on Which Side are You On’, a 20-minute jam, seriously stuck with me. It’s probably the reason I play a nylon sting guitar today. Early on I discovered Tim Buckley and Tim Hardin. Ate it up like bacon. When I was 14 I found a Sandy Bull LP stuck to the bottom of a trashcan. Took it home, plopped it on the turntable -- and wow! That record kicked open the doors of all the weird musical possibilities out there. One of my all time favorite artists is Robert Wyatt. He first recorded in the ‘60s with the band Soft Machine, and still puts out incredible records today. I love his songs and arrangements, his cracked, tiny, heart broken voice -- always beautiful, always intriguing. Another huge influence -- the French singer Brigitte Fontaine and her strange, alien twist on the French pop style ‘YeYe’, warped into avant-garde theater and jazz. That left a mighty dent in my sphere. The incredible Brazilian guitarist and composer Baden Powell, his influence may be the most significant. Some 20 odd years ago, a couple of completely respectable guitarists thought that my playing sounded like Powell’s. I had no idea who he was then and I’m still dubious about the comparison, but shit, I’ll take it. Add John Fahey, Bert Jansch, Robert Quine -- the list goes on ...
 
6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument). 

I play several types of instruments. But nylon string guitars are my thing. I don’t own an electric. My workhorse is a mid-80’s Takamine, a Jasmine model with a built-in pickup. It plays like a splintery 2x4, but it sounds great. I also play a ‘73 Japanese Diastone. It plays magnificently, but the pick-up sounds like dropkicking a cowpie. I prefer my 1960 Jose Ramirez flamenco guitar, but of course it has no amplification. My other classical guitar has ten strings with a 4-inch wide neck, built by Eric Sahlin in 1980. It was my main instrument for about 12 years until my arthritis made it too difficult to play. I also play a 1906 Gibson A4 mandolin, a mid 30’s tenor guitar by Regal with a homemade pick-up, probably installed in the 40’s -- the volume knob is from an old radio. I have a Dean Resonator guitar modeled after the old Nationals, a Trinity Irish Bouzouki, and an Eastwood Airline electric mandola. And I still have my great grandfathers Irish tenor banjo. Needless to say, there are a few more instruments lurking about. But what I really want is a mandocello! And according to some schools of thought, I should also include my 2 Stanton turntables.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

I remember recording in this filthy studio, literally beneath Hollywood Blvd. The place gave me the willies -- rat feces everywhere and a stench that said welcome to your overdose. Once in Santa Barbara CA we had this gig in a very proper, classic theater. We used to play a murder ballad. At the point in the song where the character dies, there was a gasp from the audience. After the show, we were asked -- why did she have to die? Because its … a murder ballad!?! In New York, years ago, we were gigging during a blizzard and there was no heat in the club. All the players wore gloves except of course the bass player and me. I remember looking over and seeing the composer Glenn Branca’s breathe billowing up like smoke from a burning tire. Favorite all time gig may have been in Florence, Italy. It’s a long story, but it was packed. We played on the floor, and at one point when I stepped back to change instruments, my spot on ‘the stage’ was re-filled by 2 people sitting down, taking my place. 
 
8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

Sometimes it starts with a melody, tinkering on an instrument. Sometimes a song starts with a lyric. Sometimes I begin in a certain genre. And sometimes, like almost always, the concept changes. My natural inclination is to write instrumentals but I like singing. Neil Diamond once said that songs are about life in 80 words. Ha! I think songs are about whatever the listener thinks they hear in about 20 words. My subject matter tends to be pretty typical, just abstractly written. I’m a simpleton – its either about some girl, real or imagined, or its about something the irks the crap out of me. I’ve never thought of myself as being prolific, but I’ve recorded several dozen songs and I have at least a few dozen more lying around waiting to be trapped in wax. 
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I’m a music geek. There’s so much out there I haven’t heard. So much I don’t know. I’m constantly searching. Constantly making new discoveries. Some new, some old, some right next door.
 
10. What aspect of making music excites and discourages you the most right now?

I love the fiddling about, composing part, and the hanging out, talking shop or just jamming best. I will work for hours on an extended technique or a 3-chord pattern running down a rabbit hole. Love that. I hate the business end. The hardest thing has always been picking up the phone. It’s been slightly easier in the new texting world, but still, I’ve never quite worked the promotional or financial angle well. I’m not the most focused or organized person. Now the Internet constantly promises hope. But we already know how that’s going to end, don’t we? 
 
11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I generally don’t get nervous; though there are times I catch myself overthinking a gig or a solo or something. That usually ends in disaster. Don’t overthink! I may not get nervous, but I am incredibly critical of my performances. I love being onstage -- god I love the mic! -- but I have a tendency towards bloody mental flagellation after a gig. Completely irrational, and not constructive at all, I get this whole black hole of Calcutta thing up in my skull. It can last an hour, or a couple of weeks. Overthinking. Ugh! Oddly enough, it’s seldom about mistakes. I can live with mistakes … sometimes. I had a teacher in college who had the best answer for handling mistakes. Especially in soloing. He said if you hit a wrong note, hit it again, and if you have the balls, hit that note again and again. I’ve long tried to follow his advice. On the bright side when a gig goes well, all that damned old wreckage kind of disappears. 

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

Just about everyday. Sometimes I practice for 10 minutes, sometimes for 4 hours. Back in the early 90’s I used to practice from 2 to 6, even 8 hours everyday. I was good! But eventually I snapped, quit playing altogether. Now I spend most of my practice time composing, having fun, and not running scales. 

13. How do you balance your music with other obligations (mate, children, job?) 

I’m not sure I do! When I was married I was mostly the stay home dad, and in between taking care of house and family I worked on music. I make most of my living either playing or DJing. It’s a pathetic living, sure, but I’ve been lucky enough to simplify my life, and survive the simplification. Music is so intertwined into my daily life, its just another thing I do besides brushing my teeth, paying bills and pumping gas into the car. At least, that’s true this week. Ask me again in a month.

14. What is the saddest song you ever heard?

This is a hard question! The egghead in me instantly goes to Barber’s Adagio or Gorecki’s Third symphony, 2nd movement or one of Shostakovich’s later string quartets. So … June Tabor -- if she wants to break your heart, she can, and will, on a dime. The 80’s band Felt has a cut on an early album called ‘The Stagnant Pool’. I don’t know why it happens, but that song and its 8 plus minutes of abject heartbreaking sorrow devastates me every time. Funkadelic’s ‘Maggot Brain’ has the most raw, emotional guitar solo ever recorded -- long live Eddie Hazel. ‘Dolores Dolores’ by Hilario Camacho. Hendrix at Woodstock, and his instrumental ‘Villanova Junction’. ‘The Peacocks’ by Jimmy Rowles and Stan Getz is beyond gorgeous. Other songs will come to mind tomorrow.
 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

I’m busy and hopefully it’ll stay that way. I’m in a few different bands, in a few different genres. I play in the neo-jazz group, Delilah Pearl & the Mantarays -- jazz diva and all! Our first EP came out in February. It’s available at the Vashon Music Store. We’ll be at Vito’s in Seattle on June 18th and at The Red Bike on July 3rd. I also produce, sing, compose or whatever is needed in the electronic group Propellers of the Moon. Our first EP was released last month and can be found on the usual sites – Reverbnation, Bandcamp, iTunes etc. Also, every Sunday night at Snapdragon, the Callipygous Trio play – there’s actually about a half dozen musicians who wander in and out. We play mostly original material. Primitive jazzy jams, cool bossa heavy soul, never twelve bar crap. And of course there are the DJ gigs -- most First Fridays at Snapdragon, and on the last Friday of the month I spin vinyl as one half of m2domus for Club O at the O Space. Plus, there’s always a bunch of parties and weddings in between. 

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

The level of musicianship on this island astounds me. And I’m not even talking about the big names living and playing here. I’m talking about the your local graphic designer, or your waiter or waitress or the guy who works in the plumbing isle, or the folks who serve you coffee in the morning or your house cleaner – its amazing. So many great musicians! And they’re just as good, if not better, than some of the more established names out there. There’s also a good deal of cross-pollination between the different styles and players here -- that’s when music gets exciting. Bumping one genre up against another. I find great support between the musicians on Vashon, there’s a lot of kinship on the island. But of course we are musicians, so there are tiny rivalries and sniping, talking smack between beers or gigs. Ha! Did I just say that out loud!?! The difference here on Vashon -- there isn’t any knife play involved. It’s more snarky fun than nasty -- and always entertaining. 
 
17. What are your short and long term music career goals and how would you define success?

Success? Hmmm. It took me a while to get over the whole record industry thing. I am, after all, from LA. Getting signed represented some kind of marker of success. But it sure the hell ain’t! Success to me is that 45 years after learning how to finger an A minor chord I’m still here. I’ve played a couple of thousand gigs on a couple of continents and I still have new ideas. Good ideas. I get to play and record with great musicians on a regular basis. And whatever that avant-samba-folk-jazz-atonal-primativism thing is, it’s alive and breathing and exciting to hear. Short and long term goals? The goal has always been to be a better. Continue to invent, to write odd, beautifully dissonant music, to have the opportunity to play and travel and record. If all I get out of a career is playing in a cafe or a bar with great players in front of a couple of dozen people, maybe on Vashon or in Austin or Chapel Hill or Paris … so be it, and a slap happy high five all around -- it could be a helluva lot worse! 
 
18. What are your ideas on how to improve the music scene on Vashon?

It’s a pretty good scene already. One of the great things about Vashon is the abundance of performing spaces. But most of them either sound kinda meh, or for the audience, the sight lines are sorta meh. I’d like to see a couple of small performance spaces, 40 or 50 seaters, that have good sight lines and good sound and serves up some good grub and drink. And in a completely different vein, I’d like to see more house concerts on the island. It’s kind of the perfect way to hear live music.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

Another tough question -- my grandmother paid for my guitar lessons, though I don’t think she expected me to be doing this for decades. I have to say that my old friend James Smith, who headed the classical guitar department at USC, definitely stands out. The first time we met he called my guitar playing ‘savage and barbaric’. And he loved it. Every year he would invite me down to play for his students, but I was always too intimidated to do so. He even introduced me to a few world class, well known guitarists, boldly suggesting that they should know my music. I never studied with him, (he refused to teach me!), but he gave me an encouragement I had never known. The last time I played in LA before moving up here he gave me the ultimate musical compliment in front of my band members. He died about 5 years ago. And lastly -- no surprise here -- my ex-wife Laura was always incredibly, oddly supportive. She put up with a ton o’crap. Ask her. She’s got stories. And a few are funny.
 
20. Any last words/thoughts?

Go see live local music! You’ll enjoy yourself, and you’ll meet some cool people. 

Bill Brown is pretty well known here on Vashon Island.  He’s been performing professionally for 46 years and here on Vashon since 1975. Most folks know him for his band “Bill Brown & The Kingbees”.  Folks love his spirit on stage and his ability to connect with the audience.  He also has a knack for attracting top notch players! Bill Brown’s next performance is Saturday, July 18th in the Beer Garden at the 2015 Vashon Island Strawberry Festival.  Don’t miss it!
 
1. What were your musical beginnings? (e.g. when and why did you start playing)

When I was 7 years old, Dad bought me a cornet.  My neighbor that was two years older than me played one.

 
2. Is your family musical? (e.g. fondest musical memories)

My mother was a piano player.  She played oldies from sheet music.  We had an upright piano.

3. What was the first tune you learned?

Some fugue!  Ha!

 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

Rock and Blues/R&B - old style, fun dance music.

 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Delbert McClinton.  Others: Paul Butterfield, John Mayhall, Sonny Terry, Brownie McGhee, Taj Mahal, Slim Harpo and BB King (RIP).

 
6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

Harmonica & vocals - Lee Oskars 10 hole diatonic.  I've played Selmer trumpets/trombone/Treble Clef Baritone.

 
7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

Virgin Gorda on my 30th birthday with a Reggae band.  Played The Backstage in Ballard (a favorite) and Doc Maynards, as well as Larry's Greenfront.  Played the Puyallup Fair and at Seahawk Games!

 
8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

Love and heartbreak songs...it's been awhile.

 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?  

I love all music.  I'm always listening to get new ideas.

 
10. What aspect of making music excites and discourages you the most right now?

Performing to large venues excites me.  What discourages me?  Members of my band dying and getting injured.

 
11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

Not usually.  If I do, I sometimes chant.

 
12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

Used to rehearse once a month, but haven't for awhile.

 
13. How do you balance your music with other obligations (mate, children, job?)

That has NEVER been easy.

 
14. What is the saddest song you ever heard?

"Last Night I Lost The Best Friend I Ever Had"

 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

Looking forward to summer concerts and outdoor parties!

 
16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

I would say all in all, the music community is supportive - probably more than I have been.

17. What are your short and long term music career goals and how would you define success?

Short term: To play more in Seattle and Portand.  Long term: To play in Europe and Madison Square Garden.

 
18. What are your ideas on how to improve the music scene on Vashon?

It's great the way it is now.

 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My mother, Dudley Hill, Dave Conant - all deceased.

 
20. Any last words/thoughts?

Live every day like it's your last.  Love your friends like it's your last day on Earth.  Perform every time like it could be your last note!

Chuck Roehm, is a singer-songwriter from Vashon Island in the Pacific Northwest.  Chuck’s upbeat music, described as “Cosmic Folk”, combines an appreciation of nature with a metaphysical view of life.  Chuck's audiences enjoy his warm expressive voice, melodic tunes and image-rich lyrics.  A fan at a recent concert described Chuck's music as an "Invitation to Consciousness".  Chuck has performed with such bands as Vermillion River Boys Band, The Garage Boys and RiverBend.  He’s been playing music for over 30 years now.
 
1. What were your musical beginnings? (e.g. when and why did you start playing)
  
I took tenor banjo lessons when I was about 8 or 9 but the teacher used to smack my hands with a baton if I got something wrong – that lasted about 4 months. I took up 5-string clawhammer banjo in my 30’s and got a few lessons from a friend who was a very good teacher – price was a bottle of wine for each lesson and that had to be drunk during the lessons – we sure had fun – quite a contrast to my first attempt at banjo lessons. When I moved to Vashon 24 years ago Bob Woodman loaned me a guitar and showed me three chords. I started teaching myself from there. Several island friends have taught me so much and I am grateful to them for being patient with me and helping me learn.

2. Is your family musical? (e.g. fondest musical memories)

I have always had a propensity to enjoy music I think from my parents and grandparents. One of my grandfathers had a beautiful tenor voice and I spent a lot of time with him as young boy in his workshop where he would sing as he worked. I used to really enjoy his singing as a soloist in the church choir. My mom and dad used to sing a lot to me as well when I was young. 

3. What was the first tune you learned?

The first one on the banjo was an old time tune called Groundhog.
 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

I had a person at one of my solo gigs tell me I should call my music “Cosmic Folk”.  I liked the name so it stuck – “Cosmic Folk”.
 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

It is difficult to choose just one band or musician that I love. The ones I believe have had a major influence are Moody Blues, Beatles, Credence Clearwater, John Denver, Jim Kweskin, Doc Watson, John Fogerty, Beethoven, Mozart, Bach, Smetana.

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

Main instruments are the guitar and banjo. James Goodall of Goodall Guitars made my guitar and I value it as a lifetime guitar. Mark Platen of Wildwood banjos made my banjo and besides being a great instrument, the inlay was done by islander Kevin Almeida when he worked there. I also enjoy some playing on the mountain dulcimer, autoharp, harmonica, tenor guitar.
 
7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues) 

The most unusual place I recorded was a studio overlooking Kealakekua Bay on Hawaii. Beautiful spot and great studio.  I’ve done house concerts in Chicago, Laguna Beach and Eugene. The venues have been numerous places on the island, on Hawaii, on the ferries, many harbors and marinas in B.C. Gulf Islands and the San Juans. My favorite used to be Bob Woodman’s Saturday night garage jams and I would say that the Roasterie is a current favorite on Saturday mornings.

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I would say the process has developed over time. I usually get an idea sparked by something someone says, or from a book or a concept. The songs can come fast or take a while to write. I have learned they are never completely finished in the first writing. They seem to turn out better the more time and effort I put into crafting the song. I am working on several now but don’t feel any rush to finish them.
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I really enjoy listening to other songwriter-performers. I think it’s because I am interested in their techniques and authenticity of their “style”.
 
10. What aspect of making music excites and discourages you the most right now?

I enjoy sharing the thoughts and feelings behind my music with folks. The biggest discouragement is to have to divide my time right now with work and other responsibilities so time devoted to music is not as much as I would like it to be.
 
11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I don’t feel nervous as I look forward to performing for others, although I’d like to recall words and chords more easily in a performance situation.  I guess the best advice I could give to beginners is to get out there and play with others as a background player.  Try to join in on jams where you can lead a song when you feel ready.
 
12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I would love to practice and rehearse more but right now my time is pretty limited. A typical rehearsal with our band is to run through a song once or twice and then move on to the others.
 
13. How do you balance your music with other obligations (mate, children, job?) 

Family and work come first, and since I co-own a business it means I travel and work a lot. I am very fortunate that I live with someone who supports me and helps me stay balanced.
 
14. What is the saddest song you ever heard? 

It is one that I wrote that I can’t play all the way through without choking up. It is about an old dog who wonders what happened and what he did wrong to be tied up and left alone now that his boy has grown up and moved away.  
 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc.)

I am working on a new CD that I am excited about. It will be called Onward and Upward and is focused on my songs with themes of cosmic awareness and personal growth. It will certainly be in the spirit of “Cosmic Folk”. 

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

I feel grateful to be part of the music scene on Vashon. There are so many talented folks who are very generous with their time ands skills.
 
17. What are your short and long term music career goals and how would you define success?  

I’d like to keep developing my musical skill throughout this lifetime.  I feel successful when others tell me they appreciate or enjoy my songs.    
 
18. What are your ideas on how to improve the music scene on Vashon?

A venue that has an open mic, a place where the many folks who do not normally get out and perform could feel comfortable playing.  It could also be a place to encourage young musicians to play with the older ones who could help and teach them.
 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.) 
                    
I feel fortunate to have quite a few friends, and my wife Nancy, who have helped me in developing my musical interests and skills.  

20. Any last words/thoughts?

Onward and Upward!

Sam Van Fleet is new on the Vashon musician scene - you can catch him performing with The Van Redeker Band, along with his wife Sara Van Fleet and Daryl Redeker.  Sam's been a musician for three years now and feels pretty passionate about it.  You can catch him and the band at the Red Bike on First Friday, October 2nd!

 
1. What were your musical beginnings? (e.g. when and why did you start playing)

 3 years ago I decided to fulfill a lifelong dream and start playing music – at the age of 53!
 
2. Is your family musical? (e.g. fondest musical memories)

Not really – no music lessons as a kid, no other musicians in the family, no real music culture in my community. I did have an older sister who brought the great rock ’n roll music of the 50s & 60s into our house. I sat there listening to every note – Chuck Berry, Elvis Presley, The Beatles, Bob Dylan, you name it.
 
3. What was the first tune you learned?

“Whole Wide World” by Wreckless Eric. Only two chords!
 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

 Rock ’n Roll, Blues-rock, Folk-rock.
 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Bob Dylan was undoubtedly my first major influence as a kid. You couldn’t help but feel his genius. If you want to play the kind of music I want to play, you’ve got to absorb the lessons of Bob Dylan. Currently, I think that The Jon Spencer Blues Explosion doesn’t get nearly the credit they deserve for influencing hugely popular bands like The Black Keys and artists like Jack White. I saw Jon Spencer and his band at the Crocodile this winter. Off-the-charts great. Vital and a little bit scary, as I think rock ’n roll should be.
 
6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I play guitar, a little bit of bass and a teeny little bit of keyboard. I’m a Fender man for sure – own both a Telecaster and a Stratocaster, but I recently bought a vintage Gibson guitar that I adore. Very different sound from my Fender instruments. I also own a workhorse semi hollow body Ibanez electric guitar. I also play a rosewood Taylor acoustic guitar.  I suppose my favorite guitar story is the day I bought my first guitar – a used Squire Stratocaster for $200. Candy apple red. Love at first sight. Hard to describe what it was like to plug in and play my very first guitar!
 
7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

Busking next to Karen Biondo’s pizza cart!
 
8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I’m very much a beginning songwriter. I have yet to perform any of my songs publicly. That’s not a big deal because I think the process of thinking about what I want to say musically, and how to structure a song, makes me better at something I’m constantly doing – arranging and performing the wealth of material from the so-called Great American Songbook.
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

As interested as ever. When I started the project of making myself into a musician – especially starting so late in life –  I realized I needed to expedite the process as much as possible. In the last few years I’ve seen literally 100’s of shows, from San Francisco to Portland to Seattle, and of course many many shows right here on our island. I’m very serious about regularly checking out what other musicians do – both famous musicians and not so famous ones. How they succeed and sometimes how they fail. It’s been a key to my growth as an artist and certainly it’s helped me to more quickly absorb playing technique and stagecraft.
 
10. What aspect of making music excites and discourages you the most right now?

I’m most excited by collaborating with other musicians. When things are grooving it’s like there is an invisible entity in the room – the music we are creating together. It’s an amazing feeling. Makes all the hard work worth it. Most discouraging aspect of what I’m doing? Making a big mistake in front of an audience. Ouch.
 
11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I get very nervous. I’ve done less than 20 live gigs to date. I do bilateral breathing starting a couple hours before show. It’s a yoga breathing technique that I learned once. Helps to balance and calm the mind. It’s necessary, because otherwise I would have a hard time functioning, or at least doing as well as I want to. Advice to beginners?…There are going to be ups and downs in your learning process. It’s unavoidable and it is necessary in order to grow. You’re okay. Good for you for sticking your neck out. It will all be worth it if you persist. I’m living proof of that. And another bit of advice – play the kind of music you want to play, play with the kind of people you want to play with, do it on your terms as much you can, whether that means playing for enjoyment in the privacy of your own home or doing full-blown gigs with other musicians. It doesn’t matter as long as you’re honoring your inner artist. That sounds cliché, but I’m serious about this – the aspect of honoring yourself as a musician is key. It will inform your whole life. It will help the music inside you to flourish.
 
12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I play every day – sometimes practicing specific techniques and sometimes working on a specific song. And I sing every day since I sing a lot in my band, plus I have a voice lesson every week.  The Van Redeker Band rehearses 2 to 4 times a week. We work very hard. Depending on the next gig, rehearsals involve either tightening a current set– sometimes playing with focus and passion as if we were doing a live show. But we are also currently working on an entire 2nd set of new music in anticipation of the October Red Bike gig. We try to balance staying tight with current songs and creating new musical territory. Grow grow grow. Expand the pallet. Keep finding new ways to express ourselves musically.  A special comment to older students: I have to be realistic about the amount of time and bandwidth I have to learn and practice. I’m not going to sit and play scales 2 hours a day. That’s a nice fantasy but I realize I’m just not going to do that. But at the end of the week, with all the different areas of study I’m involved in, I have put in many many hours of music learning–practicing, playing, rehearsing, jamming, noodling, singing, writing, listening. It’s worked for me.
  
13. How do you balance your music with other obligations (mate, children, job?)

When I’m not working at my job or doing house chores or whatever, I’m thinking about music or playing music. It’s pretty much what I think about all the time. And, I’m lucky enough to be in a band with my wife! So we get lots of quality time together in an out of rehearsal. If I had kids I would imagine I would have to get them into our band!
 
14. What is the saddest song you ever heard?

“These Arms of Mine” by Otis Redding.
 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

Prepping for the Red Bike show, as well as looking towards cutting an album this fall. We have a studio lined up in Seattle. That should be awesome. Top-secret project? Okay, here goes… I grew up on the East Coast, and during the 1970s the punk and new wave scene was exploding out of New York City, led by electrifying, cutting-edge artists like Patti Smith, Lou Reed and the Ramones. I totally want to form my own punk inspired rock band. Shreddy, unhinged kind of stuff. It’s entirely likely that I’ll make a fool of myself, but hey, that’s rock ’n roll.
 
16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

Fabulous. Nurturing. Inclusive. Generous. Super-talented. I am incredibly lucky to begin my musical journey in this community. THANK YOU to everyone who has taken me under their wing these last few years. It’s made all the difference.
 
17. What are your short and long term music career goals and how would you define success?

My own philosophical approach to music is that the short-term is the long-term. Start today. Find good teachers and mentors. Stay focused. Play the music that inspires you. Play with people who inspire you. Because it’s going to take time to reach any level of proficiency. I define success as the feeling I get when I know the music is grooving and flowing . The feeling of being “in the pocket” tells me I’m exactly where I need to be and that I have put in the necessary work. It’s a heck of a feeling. Unbridled applause from an audience, I must admit, is also pretty cool.
 
18. What are your ideas on how to improve the music scene on Vashon?

Vashon already has such a beautifully functioning music scene for a small town. I see young musicians getting a chance to play publicly with older musicians, people like me are getting invited to jams, good teachers are in abundance, and there are opportunities to play live if you have the initiative and courage. Like I said, we’re pretty darn lucky to have the music scene we do. One idea? I know that The Strawberry Festival is in many ways a music festival, but I would love to see a full-blown "Vashon Music Festival". We certainly have the talent, the setting and the cultural cache to pull off an amazing, purely music festival here in the island. Easy for me to say!
 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My guitar teacher and bandmate Daryl Redeker. He’s the best. A skilled and intuitive educator. If it wasn’t for Daryl I wouldn’t be having the success I’m currently enjoying, plain and simple. Also, my voice teacher Maggie Laird is top notch. She’s helped me to improve my singing very quickly. I have to say that Vashon Events has made so much possible for me, and for many other musicians on the island –to have opportunities to play, to connect with other musicians and to hear so much great music. I very much doubt I would have made the progress I have without your support. It’s an embarrassment of riches –the resources on our little island –for aspiring musicians.  And I owe so much to my wife Sara… She is my soulmate and now she’s my bandmate. How cool is that?
 
20. Any last words/thoughts?

Long Live Rock ’n Roll!

Name: IKE HARMON

Band(s): IKE HARMON / THE IKE HARMON BAND

How long a musician: 44 YEARS

Next/Upcoming performanc: OCT 16, 2015 - RED BICYCLE

I EVIDENTLY WAS BORN A SINGER-SONGWRITER. I HAVE NO OTHER WAY TO ACCOUNT FOR THE MUSIC THAT HAS PLAYED NON-STOP IN MY SOUL SINCE THE DAY I WAS BORN. I LOVE MELODY AND I LOVE LANGUAGE. I LOVE TO SING. IT IS WHAT I DO BEST. I WANT TO WRITE, RECORD, AND PERFORM AS MANY TIMES AS I CAN FOR THE REST OF MY LIFE. BIGGEST INFLUENCES: BROADWAY MUSICALS, PUCCINI, THE BEATLES, ROY ORBISON, SIMON AND GARFUNKEL, ELTON JOHN, CAT STEVENS, BRUCE COCKBURN, ETTA JAMES, TONY BENNETT, TOM PETTY, BOB DYLAN, THE AMERICAN SONGBOOK. BORN IN CALIFORNIA, GREW UP IN BELLEVUE. TAUGHT SCHOOL AND WAS AN EDUCATION CONSULTANT TO THE STATES OF IOWA AND OREGON. I WAS ALMOST KILLED IN AN AUTO ACCIDENT AUGUST 2014 AND SINCE THAT MOMENT I'VE MADE MUSIC THE CORE OF MY EXISTENCE AND MY FUTURE.
 
1. What were your musical beginnings? (e.g. when and why did you start playing)
 
I STARTING SINGING WHEN I WAS 4 OR 5 YEARS OLD. TOOK PIANO AND TAP LESSONS STARTING AT AGE 7. BEGAN GUITAR LESSONS AT AGE 12.

2. Is your family musical? (e.g. fondest musical memories)
 
THERE WERE A LOT OF MUSIC LISTENERS BUT NO REAL SERIOUS MUSOS IN MY FAMILY - ON EITHER SIDE - WAS THE FREAK OF NATURE IN MY FAMILY.

3. What was the first tune you learned?
 
THE THEME SONG TO THE TV SERIES DAVY CROCKET (I PRONOUNCED IT "CROCHET"!). FIRST REAL SONG I LEARNED WAS BY LISTENING TO ANDY WILLIAMS SING "MOON RIVER" ON HIS TV SHOW. I HEARD HIS VOICE ONLY AS I HAD TO GO TO BED - AND STAY THERE - BEFORE HIS PROGRAM STARTED.

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)
 
I DESCRIBE MY ORIGINAL MUSIC AS CORDILLERAN TRIBAL ROCK AS MOST OF MY LIFE HAS BEEN LIVED IN THE SHADOWS OF THE SIERRA AND CASCADE MOUNTAINS AND THAT MAJESTIC LANDSCAPE HAS INFLUENCED ME MORE THAN ANY OTHER THING. I DON'T WRITE "POP" SONGS, BUT TRIBAL SONGS THAT RELATE THE EVENTS AND FEELINGS THAT TAKE PLACE WITHIN TIGHT-KNIT PASSIONATE COMMUNITIES LIVING IN CONJUNCTION MOTHER EARTH.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?
 
THE BEATLES WERE THE BIGGEST INFLUENCE - BUT THE SONGWRITER AND PERFORMER I MOST ADMIRE IS TOM PETTY.

EVERY SERIOUS SINGER SHOULD LISTEN TO ETTA JAMES - OVER AND OVER AND OVER!

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)
 
I PLAY GUITAR AND PIANO, BUT MY MAIN INSTRUMENT IS MY VOICE. I AM FORTUNATE TO HAVE A MARTIN B-1, A RICKENBACKER LIVERPOOL 350 THAT I REFINISHED IN BLACK AND CUSTOMIZED, AND A FENDER GE SMITH TELE IN LIPSTICK RED WITH A GOLD CUSTOM SCRATCH PLATE.

I WENT TO EVERY MUSIC STORE WITHIN TWO HOURS OF PORTLAND, OREGON TO PLAY EVERY MARTIN ACOUSTIC THERE WAS BEFORE SELECTING THE B-1 WHICH NATURALLY RESONATES TO THE MUSICAL NOTE "E".

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)
 
AS A PIANO TUNER, I PLAYED ELTON JOHN'S "BURN DOWN THE MISSION" ON A 9-FOOT CONCERT STEINWAY IN THE KINGDOM (I TUNED IT FOR AN EAGLES CONCERT). ONE OF THE ROADIES GAVE ME A THUMBS-UP (NO EAGLES IN SIGHT 'TIL SOUND CHECK).

AS A SINGER, I'VE HOME-RECORDED IN AN EMPTY 50-FOOT GRAIN SILO. THE MOST HISTORIC STUDIO I'VE RECORDED IN WAS KEARNEY BARTON'S RENOWNED AUDIO RECORDING STUDIO ON 5TH AVENUE UNDER THE MONORAIL. HE IS THE ORIGINATOR OF THE "NORTHWEST SOUND" AND SOME BELIEVE THAT JIMI HENDRIX MIGHT'VE RECORDED AN EARLY DEMO THERE.

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)
 
WRITING A SONG HAS TAKEN ME AS LITTLE AS 20 MINUTES AND AS MUCH AS 33 YEARS. I PRESENTLY PERFORM AN ORIGINAL SONG CALLED "THEN THERE'S YOU" WITH A CATCH-PHRASE: "IF YOU DON'T LIKE MY GATES, THEN, BABY, YOU DON'T HAVE TO SWING 'EM". THAT WAS SOMETHING MY GRANDFATHER, IKE HARMON, SAID TO ME IN 1978 AND IT WASN'T UNTIL 2011 THAT I FINALLY FIGURED OUT HOW TO WRITE A SONG AROUND IT - 33 YEARS!.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?
 
I HAVE ALWAYS SOUGHT OUT NEW MUSIC AND STILL DO AND ALWAYS WILL. THE VARIETY IS ENDLESS WHAT WITH NEW RHYTHMS, MELODIES, FEELS, SONG AND LYRIC CONSTRUCTIONS, ARRANGEMENTS, AND PRODUCTION VALUES. I AM FOREVER INTRIGUED AND INSPIRED. DISCUSSING SONGWRITING WITH SUCH GREAT SONGSMITHS AS CARTER CASTLE AND GREGG CURRY HAS BEEN A WONDERFUL EDUCATION.

10. What aspect of making music excites and discourages you the most right now?
 
EVERY ASPECT OF MUSIC EXCITES ME, BUT THE RECORDING STUDIO IS MY FAVORITE PLACE TO BE. NOTHING ABOUT MUSIC DISCOURAGES ME EXCEPTING WHEN THE PURSUIT OF FAME AND MONEY CORRUPTS THE PURSUIT OF TRUTH AND BEAUTY AND PASSION.

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)
 
I DON'T GET TOO NERVOUS BEFORE A PERFORMANCE. I DON'T WORRY ABOUT MAKING MISTAKES, EITHER, THOUGH I DON'T ENJOY PLAYING "CLAMS". I JUST GET IN THE ZONE AND SING AS DEEPLY AND EXPRESSIVELY AS I'M CAPABLE OF DOING.

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)
 
RIGHT NOW, THE IKE HARMON BAND IS REHEARSING 3 TIMES A WEEK IN PREPARATION FOR OCT 16TH'S BIKE GIG - EACH ONE LAST AROUND 2-1/2 HOURS. WE PLAY EACH SONG UNTIL WE'RE NOT QUITE TIRED OF IT, AND MOVE ON TO ANOTHER. TOWARD THE END, WE'LL DO THE ENTIRE SET BY JUST PLAYING BEGINNINGS AND ENDINGS. 

I PERSONALLY REHEARSE SONGS IN MY HEAD ALL THE TIME (I EVEN DREAM THEM!) AND PLAY EACH DAY ON BOTH GUITAR AND KEYBOARDS.

13. How do you balance your music with other obligations (mate, children, job?)
 
BEING A SINGLE, MATURE (?) MALE, I AM PRESENTLY ENJOYING WRITING, PLAYING AND RECORDING MUSIC ALMOST CONSTANTLY. AFTER HAVING PUT MY MUSIC ON A BACK BURNER FOR DECADES WHILE BEING A FAMILY AND WORKING MAN, MUSIC WILL COME FIRST FROM NOW UNTIL I BREATHE MY FINAL NOTE.

14. What is the saddest song you ever heard?
 
THE SADDEST - AND STRANGELY THE MOST TRANSCENDANT - SONG I'VE EVER HEARD IS ONE THAT I SING A CAPELLA IN PERFORMANCES: "WAVE UP TO THE SHORE". IT'S A TUNE BY BARRY MOORE THAT I FIRST HEARD ON AN ALBUM IN 1980 BY IRISH SINGER CRISTY MOORE. OVER THE YEARS, I'VE ADAPTED THE LYRICS SOMEWHAT, BUT THE SOUL OF THE SONG REMAINS UNCHANGED AND ETERNAL.

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)
 
I'M IN THE MIDDLE OF RECORDING A VINYL LP/CD CALLED "THESE MANSIONS MADE OF SKY" AT VILLAGE SOUND STUDIOS WITH THE TALENTED AND BEAUTIFUL JEFF WOOLLEN. THE PROJECT IS COMPRISED OF 12 ORIGINAL SONGS, ONE OF WHICH IS COMPLETED AND ENTITLED "I USED TO BE A LOVER". THIS SONG WAS PREMIERED THIS PAST AUGUST ON JEFF AND CINDY HOYT'S KVSH RADIO SHOW AND IS CURRENTLY IN ROTATION ON RADIO STATION KVSH 101.9.

ONCE THE PROJECT IS COMPLETED NEXT SPRING/SUMMER, I HOPE TO TOUR IRELAND AND SCOTLAND AND BUILD AN AUDIENCE THERE, AS WELL AS IN THE PAC NORTHWEST.

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)
 
I'VE FOUND VASHON ISLAND MUSICIANS (AS WELL AS OUR VERY FINE RECORDING AND SOUND ENGINEERS) TO BE THE MOST GENEROUS AND INTELLIGENT I'VE EVER ENCOUNTERED. I TRY GO TO ALL THE CONCERTS I CAN ON ISLAND AND LOVE SUPPORTING MY FELLOW MUSOS WHOLEHEARTEDLY. AND I RECEIVE THEIR ENTHUSIASTIC SUPPORT IN RETURN. VASHON IS SIMPLY MAGICAL FOR MUSICIANS!

AND, OF COURSE, VASHON EVENTS HAS BEEN ABSOLUTELY PIVOTAL IN PROVIDING PROFESSIONAL SHOWCASES AND OPPORTUNITIES FOR OUR ISLAND MUSOS. HUGE KUDOS TO PETE AND ALLISON!

17. What are your short and long term music career goals and how would you define success?
 
FIRSTLY, I DEFINE MUSICAL SUCCESS BY HOW DEEPLY AND GENUINELY I CREATE AND PERFORM MY SONGS. IF I'M MOVED AND INSPIRED, THEN THE MUSIC IS WORKING. IT IS, OF COURSE, ESSENTIAL TO MAKE THE SAME KIND OF CONTACT WITH AN AUDIENCE, BUT I'M NOT INTERESTED IN MAKING CONTACT IF I'M NOT STIRRED AND PROFOUNDLY AFFECTED SIMULTANEOUSLY. I AIM WITHOUT COMPROMISE FOR THE HEART AND SOUL OF MY AUDIENCE AND TRUST THAT WHAT COMES ACROSS WILL CONSTITUTE WHAT MOST PEOPLE CALL "ENTERTAINMENT".

MY SHORT TERM GOAL IS TO COMPLETE MY ALBUM. LONG-TERM GOAL IS TO WRITE AND RECORD, DISTRIBUTE AND PERFORM AT LEAST 10 ADDITIONAL ALBUMS. 

FANTASY GOALS: OPEN FOR TOM PETTY AT THE GORGE, RECORD IN ABBEY ROAD STUDIO #2, AND PLAY WEMBLEY STADIUM.

18. What are your ideas on how to improve the music scene on Vashon?
 
MAN, JUST KEEP DOING WHAT YOU'RE DOING! OPEN MICS AND SHOWCASES ARE WONDERFUL OPPORTUNITIES FOR HELPING FOLKS HONE THEIR TUNES AND PERFORMANCES.

WHATEVER CAN BE DONE TO UPGRADE AND IMPROVE LIVE PERFORMANCE SPACES AND SOUND REINFORCEMENT CAPABILITIES WOULD BE MONUMENTAL!

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)
 
ANN AND NANCY WILSON'S (HEART SISTERS) FATHER WAS MY HIGH SCHOOL ENGLISH TEACHER AND WAS THE FIRST PERSON ASIDE FROM MY MOTHER TO ACTIVELY ENCOURAGE MY SONGWRITING.

BUT BY FAR AND AWAY THE MOST CRUCIAL PERSON WAS MY MOTHER, LUCKY, WHO ARRANGED FOR MY PIANO, TAP, AND GUITAR LESSONS, BOUGHT ME MY FIRST ELECTRIC GUITAR (RED!) AND AMP, AND WHO LISTENED TO MY FIRST SONGS WHILE SHE COOKED IN THE KITCHEN. SHE WAS MY FIRST AND GREATEST FAN! I CALL MY LIPSTICK-RED TELECASTER, LUCKY, IN HER HONOR. SHE DIED WHEN I WAS 17 AND LIVES IN EVERY SONG I'VE EVER WRITTEN AND WILL EVER WRITE.

20. Any last words/thoughts?

WE LIVE IN PERILOUS TIMES WHEN THE VERY LIFE OF OUR BEAUTIFUL PLANET IS AT STAKE. I BELIEVE THAT ONLY HEARTFELT, HUMANE AND LOFTY MUSIC CAN SAVE US AND SET US FREE. THE CHANGE OUR PLANET SO DESPERATELY NEEDS IS THE CHANGE THAT MUST COME IN THE DEPTHS OF OUR SOULS. TRUE AND POWERFUL MUSIC IS THE ONLY THING I KNOW THAT CAN REACH THOSE DEPTHS, INDIVIDUALLY AND AMONG MILLIONS!

Contemporary maritime singer/songwriter John van Amerongen has kept one foot in the saltwater since he took his first job on the purse seiner Estella in 1970.

Currently Senior Communications and Sustainability Officer for Trident Seafoods, he worked as Editor in Chief of Alaska Fisherman’s JOURNAL for 22 years.  He has traveled extensively throughout Alaska and has visited virtually every major Alaska fishing port, touring plants, riding on fishing vessels, observing and photographing commercial fishing operations, and interviewing fishermen, processors, fishery managers and politicians.. In 2013 he completed and published Catching a Deckload of Dreams, a 376-page, hardcover biography of Trident Seafoods and its founder Chuck Bundrant.

Prior to taking the helm at the JOURNAL, he earned his living as a professional shipwright, primarily doing finish carpentry on commercial crab vessels. He and his wife Clare also operated a small salmon troller out of LaPush on the Washington coast. 

He taught himself how to play the banjo and guitar so he could sing traditional bluegrass and country songs as well as his own ballads, which celebrate life, love, loss and humor in the Alaska commercial fishing fleet. His fishing ballads include Last Troller’s Waltz; Kid on the Corva May; Ballad of the Arctic Rose; Trip to the Bering Sea; Night Watch; Think of Me, Little Corner Room and Hell on Fish. One of the original performers at the annual Fisher Poets’ Gathering in Astoria, Oregon, his songs are aired regularly on the local Columbia River “Ship Report” broadcast by public radio KMUN. 

Beyond the Fisher Poet’s Gathering, he performs regularly at fishing and seafood industry trade shows and special events. He has appeared numerous times at the Northwest Folklife Festival, the Seattle Maritime Festival and in 2006 was invited along with three other Fisher Poets to be a featured guest performer at the Cowboy Poets’ Gathering in Elko, Nevada.

1. What were your musical beginnings? (e.g. when and why did you start playing)

I enjoyed singing from early on. I’d chime in on TV theme songs (Warner Bros. Westerns), movies, 33-rpm recordings that told stories -- ballads like 16-tons, Cheyanne and Johnny Yuma (the Rebel), Sugarfoot . . . and then there were the Sons of the Pioneers, Marty Robins, etc. These guys packed iron and weren’t sissies, so singing wasn’t like being a girl. Later I sang in “glee club” (curious name) in an all-boys high school and enjoyed the harmonies, especially when we got together with an all-girls school and sang something in French where the girls’ high voices came in like this chorus of angels. We didn’t pack much iron, but it was still enjoyable.  About the same time a pal of mine who played the Hammond B-3 joined a rock band named the Bandits, and I was very envious. We harmonized on various tunes, but I didn’t play guitar or drums or anything, and wasn’t in with the Mercer Island guys, so I wasn’t in the band, so I built up a good bit of frustration, like the girl whose parents wouldn’t let her have a horse. I tried playing the guitar, but it went nowhere since the standard chords were not in my fingers’ future.     

2. Is your family musical? (e.g. fondest musical memories)

My mother always played the piano. She could read sheet music and play Chopin, but mostly she enjoyed playing by ear. She could have commandeered a piano bar anywhere. Later in life I realized her secret to faking it was holding or repeating a note until she figured out how to play the rest of the song. Nobody knew she was stalling, but I could read her smile. She wrote poetry but she didn’t sing, so unfortunately she never put her lyric-writing ability together with her piano playing. My favorite memory is of a Christmas duet we shared about two months before she died. She was 92. By then I’d figured out how to fake playing the guitar. We went through all the Christmas standards and managed to work in “Easter Parade,” too.  That one is always in season.

3. What was the first tune you learned?

I bought a banjo in 1976 and it changed my life. It was tuned to open “G” – which gives you the luxury of a “free chord” with no fingering whatsoever. I started with a pill bottle and eventually toughened the middle finger on my left hand up to the point that I could bar chord some basic progressions in G and capo up to A without much trouble. The first song I recall playing and singing with any hope of a smile was “Hey Good Lookin’” by Hank Williams.   

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?) 

If by “work” you mean my own songs, I’d call them ballads mostly. A significant cluster of them have to do with the commercial fishing industry, so you could say I have a major in occupational ballads. There’s a genre of occupational poetry that covers cowboys, miners, loggers, truck drivers, etc. so you could wedge it into that. I have a truck-driving song (“Truckstop Chili”) and a couple cowboy ballads (“Radio Cowboy” and “Just Ride”). I was fortunate enough to perform at the Cowboy Poets Gathering in Elko one year with a few other commercial “fisher poets” – They invited us as special guests along with some Gauchos from Argentina.  Some other songs I’ve written are event-based historical ballads. Two sad ones are the “Ballad of the Arctic Rose,” where all 15 fishermen aboard were lost, and a 9 -11 song called “Don’t Forget to Say I Love You.” I sang that one at Ground Zero in New York. Two happier ones are “Wheatland County” – a song about antelope hunting in Montana, and “I’m Having this First Waltz with You” -- a duet that my daughter Kate and I sang at her wedding. That was a very happy song, but absolutely everyone in the place was crying. We kinda set ‘em up for that.  

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

My all-time favorite singer is Roy Orbison, he had such a broad vocal range; he was incredibly cool; and he could sell just about any tune. “Sweet Dreams, Baby” and “Blue Bayou” are good examples of that. Other than Hank Williams, I appreciate the songs of John Prine, Randy Newman, Kris Kristofferson and most recently Bill Carter. My favorite female singer is Kimmie Rhodes from Texas. She’s relatively unknown, but check out her “Picture in a Frame” album of duets with Willie Nelson. There’s none better. 

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument) 

I started out playing the banjo, a real cheapo and it’s the only banjo I ever bought because there were so many good banjo players on Vashon that I had to ditch it. I eased into guitar with a custom-made 5-string archtop that Paul Billingsley salvaged from the dump and set up like a banjo for me. He was a killer banjo player and we sang harmony like brothers, but we didn’t need two skinned instruments in the same room. Later I started twisting pegs on a standard guitar – a Yamaha – and discovered open slack-key tuning. (DGDGBD) The deeper bass strings gave me way more rhythm thump than the 5-string, and I could play melodies on the first skinny strings like a dulcimer.  That kept me busy for about 30 years until recently (duh) I twisted the strings again and found a very friendly open D tuning (DADF#AD). It’s kinda swampy, it’s a good fiddle key and I can capo easily up to E. It gives me a whole new range of songs to sing with notes I can’t reach in G or A. Songs like “My Heroes Have Always Been Cowboys” and “Richest Man.” I now play a half-sized Martin called a little Martin. It has a built in Fishman pickup and I play it through a Fishman Mini-Loudbox, which lives up to its name and is a great little acoustic amp with a vocal input, too. I can’t see changing that setup . . . ever.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues) 

I recorded a song in a car at Fisherman’s Terminal with a reporter from KUOW or maybe it was KPLU. It was raining sideways, so there was no chance to do it outside on the dock. It was kinda cramped, but the sound was just fine. I played “Trip to the Bering Sea” and “Ballad of the Arctic Rose,” The niftiest stage I’ve played on is the big one in Elko, Nevada that’s attached to the cowboy museum and bookstore. The atrium has an extremely long wooden cowboy bar where you can put your boot on the rail, have a drink and catch up with the cowboys and girls who thought you were already dead, or should be. It’s loud in the atrium, but the walls to the hall are very well insulated. So, once you walk into the theater, it’s pin-drop quiet except maybe for the fizz of your beer, which you’re welcome to bring to your seat. The sound system is dynamite, and everyone listens intently and responds. My favorite gig is the one I do from the back of a pickup at the Sportsmen’s Club Trout Derby each year.

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song) 

Typically I write for a reason. Sometimes the reason is an upcoming performance at the Fisher Poets’ Gathering in Astoria and there’s pressure to come up with something new. Others, as I said, are event driven. Like 9-11 and the sinking of the Arctic Rose. Those were powerful emotional events and I had to get the songs off my chest. I know generally where my songs are going, but they grow and take shape as I write them. The melody comes first. I roll that around in my head for an hour or a couple of days. Then I just start writing, assuming some character, or voice, and filling in the story, letting the rhythm and the rhymes take me and the characters where they need to go to complete the puzzle and make sense. That’s the creative journey, and it’s always fun. Writing the words, even to a pretty long ballad, doesn’t take me much time. Typically I’m done in a couple of hours and once it starts rolling out--it’s pretty much like chopping a carrot. When I get to the end, it’s done. I wrote a song in August, 2015 for the opening of Trident Seafoods new fish processing plant in Carrollton, Georgia. The theme of the event was “Spirit of Alaska/Pride of the South.” I came up with the theme too. The song captured the spirit of the blended cultures with the story of a girl from Carrollton who goes to work in a fishplant in Alaska and meets a fisherman. They come back to Carrollton at the end of the season and build a cabin; they live there in winters and fish the summers in Alaska. It’s a true story, though it may not actually have happened yet. The song is called “Alaska Cedar/Georgia Pine.” I performed it with a local Carrollton country rock band -- Homegrown Band. They were appropriately Southern and polite and called me “Mr. van Am.” We ran through it once during the sound check and then pretty much kicked ass.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is? 

Funny you should ask that. The older I get, and I’m 66 now, the more I like playing my own stuff or learning songs I always wanted to sing myself. There are still a lot of them I haven’t learned yet. Typically I’ll pick one, listen to it on YouTube for the chord progression and phrasing, download the lyrics and start messing with it.

10. What aspect of making music excites and discourages you the most right now? 

I’d like to do more gigs, performing in public, but not necessarily with a group. Bands require practice, timing, tolerance and a lot of phone calls. I’m much more comfortable going solo now—though duets are fun. You can sing duets with yourself while recording multiple tracks in Garage Band, but it doesn’t work for live performances and singing with another person is better if it’s the right person. 

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners) 

Typically I’ll get nervous or a little snippy setting up. It depends on the audience and venue, time of day, and my attitude. My fingers get more nervous than my lips. It doesn’t hurt to have a drink under your belt and another one handy, but don’t count on booze to get you through a performance. The syrup in a regular Coke, not diet, will coat your throat properly. Your best emotional friends are a good soundman, a clean, balanced monitor, and a tuner you trust. Always start your set with a song, not an instrumental, if anyone’s listening. Choose something you know you can play and sing, and don’t do anything fancy. If the crowd knows the song already it’s a big help. Once you hear yourself playing and singing well, you’ll start having fun. Once you start having fun, you can play around with the tune and the crowd and watch what their up to while you’re performing. If you see them smiling and tapping their toes, and hear them laughing at the appropriate moment, you’re home free.  

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

Now that I’m only working 3days/week, I play for an hour in the late morning or early afternoon on my days off unless I’m working to learn a new song, in which case I’ll play for about 90 minutes, balancing the new one with ones that I already know. Lately I like to plug in the guitar and sing with the mic to work on inflection and selling the story. Other times I’ll just throw my other little acoustic guitar, a half-size Fender acoustic, into the truck and play in the ferry line and riding on the boat. It has a woody mandolin tone and sounds pretty good in the close confines of the truck cab. Mostly I’ll just play then and not sing.

13. How do you balance your music with other obligations (mate, children, job?) 

Very carefully. My wife Clare is my best fan if I don’t get too full of myself and try to shut her out. “Just a second, honey, this woman over here thinks I’m cute…” When I start feeling like Mr. Special, it’s dangerous. Everyone who performs needs to watch out for that. We’re all junkies for attention.

14. What is the saddest song you ever heard?

“Away in a Manger.”  It’s very rare that I can sing “Bless all the dear children in thy tender care and take us to Heaven to live with thee there” without choking up. It’s too sad to think about children really dying.

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc) 

I’m working on a gospel set to sing at a Christian bookstore in Ballard. Classic country gospel like “I Saw the Light” and “Leaning on the Everlasting Arm.” I’m working with a fiddle player on that one. And I’m really enjoying it.

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)  

It’s tough to comment on the entire musical community, especially now. There is a lot of talent on this island, and there’s always some tribal competition. I would like to comment on the community that opened its front porch and garage to me when I first arrived in 1977. It was remarkably hospitable and positive group of folks that would gather to play bluegrass on the porch at Dan & Mindy (Manley) Little’s cabin on the west side, or at Bob’s garage in two incarnations. Among them were Bill Knox, Bob Woodman, Bill Jaeger, Mike Dumovich, Paul Billingsley, Dan Brown, Jean Richstad, Dick Paulsen, Dick Gordon, Wilson Abbot, Barney Munger and a host of others. If you were the new guy, like I was then, you’d stand in the back and do your best to plink along with the greats. You’d go home with your brain swimming in bluegrass and all stoked up. Eventually you’d get up the nerve to sing harmony or take the lead vocally or on strings. As months of this turned to years, we’d break off into various groupings, like my band Truckstop Chili, and things would ebb and flow with the tide as the years and decades passed. But it was that start and that openness of spirit that made all the difference to me. I would never have done diddley if they hadn’t opened the door and offered me a chair.

17. What are your short and long term music career goals and how would you define success?

My goals are to keep writing, playing and singing. If I can keep getting a little better and keep sharing my songs, that’s what I’d call success. I don’t turn down money, but I don’t play for it either. Mostly it gets in the way. I figure you’ll always get your money’s worth if you hire me for nothin’.  My dream gig would be a cameo on Prairie Home Companion. 

18. What are your ideas on how to improve the music scene on Vashon?

I’d turn the Country Store into a saloon and dance hall with live local music & Western dance lessons. We’d have a gospel hour on Sunday morning and musical variety show that afternoon webcast globally through the Voice of Vashon.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.). 

Yes, Bob Woodman and Paul Billingsley. Which one was more influential is very hard to say. They’re both playing with the Angel Band now, and if I could hug them some day, and tell them I love them, I’d trade that cameo on Prairie Home Companion. Bill Knox also qualifies for that, but he’s still alive and lives right down the street. I love you, too, Bill. 

20. Any last words/thoughts?

Could you turn my monitor up just a bit . . . I can’t hear myself?

Since his teenage years, Rick Vanselow has played in a variety of bands in Iowa, Minneapolis, Seattle and on Vashon. He started writing songs when he moved to Seattle in 1990 and still considers that his favorite part of music. He’s currently playing in local band Fendershine with Kim Thal, Eric Frith and Stephen Buffington. 
 
1. What were your musical beginnings? (e.g. when and why did you start playing)

In 5th grade I wanted to play the sousaphone in our school orchestra but I was physically too small and the local music store didn’t have one to rent anyway, so I ended up with a baritone which is like a mini tuba. I pretty much sucked but they still put me in with the 6th grade band because I was the only baritone player in the school. At performances, I’d pretend to play—pushing the buttons but not blowing into the horn. I’m sure no one missed my playing in the cacophony that was 6th grade orchestra. 

It wasn’t until high school that I picked up the guitar. I also tried my hand at drumming in college and still consider myself a frustrated drummer more than a guitar player.
 
2. Is your family musical? (e.g. fondest musical memories)

My great aunt Olive was the only musician I know of in our family. She had a gorgeous National resonator guitar and played Hawaiian music live on the radio in Detroit in the 1930s. Most of the music I was exposed to was via the radio. Growing up near Detroit in the 60s and early 70s, I was fed a non-stop diet of Motown mixed with schlocky AM radio hits—it was the soundtrack of my youth.
 
3. What was the first tune you learned?

Technically, “Greensleeves” on the chord organ. In high school I wanted to learn guitar and a friend told me he could definitely teach me to play the Rezillos’ “Somebody’s Gonna Get There Head Kicked In Tonight” but it proved too difficult to learn. So instead he showed me Skynard’s “Tuesday’s Gone.” I wasn’t happy about the bait and switch. 
 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

Rock & Roll.  There are elements of power pop and some American roots music in my songs, but it all ends up as Rock & Roll—and probably more Roll than Rock. Occasionally some of that schlocky AM radio from my youth seeps in. I always loved artists who straddle genre lines but whose music you can still decipher the various ingredients. 
 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

The Replacements. In my opinion, the stuff Paul Westerberg wrote—and he wrote pretty much all the Replacements’ songs—from around ’81 to ’85 was as good as Rock & Roll gets. He also wrote some gorgeous ballads like “Here Comes A Regular” and “Unsatisfied” which still give me goose bumps when I hear them. I don’t know how much his writing has influenced mine, but I was inspired by him to write songs and then get up the courage to play them live. 

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I play guitar. My go-to electric guitar is one I built with the help of Jason Lollar, before he became the pickup guru we know today. I also have a Strat and a Les Paul Jr. and all are equipped with Lollar pickups—they are truly amazing. I’ve built a couple of acoustic guitars as well and have a Gibson Advanced Jumbo. My love of guitars (and bikes) is well-known among my friends and family. Left to my own devices, I’d have a different guitar (and bike) for every day of the year.
 
7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

In the mid ‘90s my band played a place called Taps ‘n’ Tabs in a strip mall in Kirkland. Enough said. I did get to play the now legendary Off Ramp in its heyday—albeit at midnight, on a Monday, to a crowd of 7 people. 
 
8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I usually start with a chord progression or riff that I like and then hum a melody line over it or do what I refer to as “speaking in tongues”—just singing whatever words come to mind on the fly.  Sometimes a lyrical idea comes from that. Then I work the lyrics with brute force and sheer determination. I have to become borderline obsessed with writing lyrics for a song or they die on the vine. I have a hard drive full of music with no lyrics. I’ve never been so lucky as to “channel” a song or “just get out of the way and let a song come to me” as I’ve heard some songwriters describe it. 
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

There’s so much good music being made today, but there’s also so much from the past that I never got around to hearing. I find myself going back in time either looking for stuff I never heard when it came out or stuff I haven’t listened to in years—often decades. I’ve been listening to a lot of Soul lately—particularly Philly Sound stuff.
 
10. What aspect of making music excites and discourages you the most right now?

Songwriting and recording still excites me. Taking a germ of an idea and working into a full-fledged song with other players borders on magical.  What’s discouraging is trying to schedule several busy bandmates for a rehearsal or gig! 
 
11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

The only time I get nervous is at open mics (haven’t done one in years) and events like the Backbone fundraisers of years past. That’s because you don’t get a sound check, you jump on stage, plug in, play one song and your done in 4 minutes.  On top of that you’re usually playing for a room filled with musicians. Very nerve wracking!
 
12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

Practice?! I play guitar and sing daily but I’m not very disciplined about practicing and improving on my instrument. My music time is usually spent learning or writing songs so I don’t spend as much time as I should working on becoming a better guitar player. Maybe when I’m retired. Our band rehearses once a week—always a highlight of my week to make music with friends!
 
13. How do you balance your music with other obligations (mate, children, job?)

I’m lucky that my job has pretty set hours, and my wife, Tara, has always been very supportive of me pursuing my interests. My son, Abe, writes and produces his own music so I think he gets why I’m out in the studio so many evenings (if he’s not out there first!). 
 
14. What is the saddest song you ever heard?

Vic Chestnutt’s “Flirted With You All My Life” comes to mind. The song itself hints at hope, but the real life tragedy of Vic Chesnutt later taking his own life makes it beyond sad. It’s a gorgeous song in that quirky way he wrote. Gut wrenching given the context. It’s also a song I played a few times with Jack Barbash on piano and, given Jack’s recent passing, it’s a tough listen.
 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

Fendershine is planning on doing some recording in the coming months. We’re going to try a DIY approach to recording, maybe with some outside help mixing and mastering.  Kim Thal, Eric Frith and I all write for the band and we currently have about a CD’s worth of new material we’d like to document. We’re also talking about writing a song as a band rather than our usual MO of Eric, Kim or me bringing a fully-formed song to the band and then fleshing out the instrumentation and vocal parts.  Should be interesting.
 
16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

I love watching the beehive of musical activity on the island. We have musicians of all stripes—professionals, amateurs, aspiring musicians, young musicians, old musicians—and their music  covers a pretty wide range of styles. You can’t help but appreciate quality, variety and abundance of music in a town of 10,000 people. Islanders seem quite willing to take time out of their busy schedules to come out to shows and support the music scene. As the saying goes: you can’t swing a dead cat on Vashon without hitting a few musicians. Apologies to PETA, SPCA and VIPP for that visual.
 
17. What are your short and long term music career goals and how would you define success?

Some people golf, paint or quilt in their leisure time, I play music. I don’t have particularly big aspirations—write, perform occasionally, and enjoy the times I get to play music with others.  I do want to work at music as a craft and get better at songwriting. I’d love to have a “real” artist record something I’ve written but I’m realistic about stuff like that. I’m also a bit lazy and apprehensive to market myself or my music because it’s a rabbit hole of time and energy that I don’t have at this stage of my life.
 
18. What are your ideas on how to improve the music scene on Vashon?

Speaking as a music fan here, I’d love to see something on Vashon modeled after Levon Helm’s Midnight Rambles in Woodstock, NY. A killer Vashon house band with touring artists stopping in to jam between Seattle and Portland. Am I dreaming? Probably. I also really wish there were more shows at Minglement/Vashon Roasterie—what a great venue for intimate acoustic performances!
 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My wife Tara’s support cannot be underestimated and it’s truly appreciated. Anyone who comes and listens when we play, well that’s really great and I never take it for granted.
  
20. Any last words/thoughts?

Definitely appreciate the people who do a lot behind the scenes work to keep live music on Vashon rolling along.  Pete Welch and Allison Shirk with Vashon Events, John Sparks, Laird Gonter, the folks at Share the Stage, O Space, Voice of Vashon, etc. All local musicians benefit from the work of these people/organizations and they are tireless in their—mostly volunteer—work.

Wesley Peterson lives here on Vashon Island and many of you know him as the PSE guy - the one who is out there in the rain and wind working hard to get our power back on for us.  We're lucky to have him out there - it's not an easy job to say the least.  What you may not know about Wesley is that he's been playing drums for about 27 years now.  Wesley has played in several bands: Culture Shock, Snakeboy, The Same, Biggie Shorty, Six Foot Savage, Skagit Valley Mafia, One Foot Down, The Cami Lundeen Band, Glenn Cannon Blues Trio, and lately with the Allison Shirk Band.  

Wesley:  "Music has moved me since I was a little child but I started playing fairly late.  I was 23 when I purchased my first drum kit and I've learned to play by ear within the bands I've been a part of.  Fortunately, I've been blessed to play with great musicians with eclectic music tastes like myself."

You can see Wesley in action at one or both of his upcoming gigs: November 10th at the Triple Door Musiquarium and November 13th at the Red Bike, both shows with The Allison Shirk Band.

1. What were your musical beginnings? (e.g. when and why did you start playing)

I loved drums, I always seemed to be able to keep a beat when air drumming :-)  I goofed around on some friends drums from time to time but didn't actually start playing until 23 years of age.

2. Is your family musical? (e.g. fondest musical memories)

Music runs deep on my father's side of the family including a country western uncle, a classical piano playing great grandparent, a bad ass guitar player for a brother, and my dad has played piano from a very young age.  One of my favorite musical memories would be listening to the Three Dog Night tune "One" coming from the garage while my dad's band was rehearsing…I was 3 years old at the time.  My first concert I can remember was Buddy Miles at the Paramount when I was 5.

3. What was the first tune you learned?

That's a hard one, I learned playing original music.  The first song I think I learned was Born To Be Wild by Steppenwolf. 

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

Most of the projects I've been a part of were edgy progressive or hard rock/funk bands.  But I love all kinds of music

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Led Zeppelin is my favorite band of all time.  Their drummer, John Bonham, inspired my early playing more than anybody.  Some of the bands that I've really dug over the years would be Tool, Dave Mathews, Incubus, and the Red Hot Chili Peppers.

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I play drums…I've had all brands of kits, and DW (Drum Workshop) is my favorite.  I've come to the realization that any kit in the hands of the right drummer sounds good.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

I was lucky to have played a lot of venues when pounding the Seattle scene in the 90s, some of which don't exist anymore…The Offramp, which is now El Corazon, was always a favorite, they had great sound and they treated the bands well.  A couple of other favorites would be the Crocodile, the Backstage and the Swan Cafe…another notable would be the Central Tavern. 
 
8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I never really write songs.  The writing process has always been a collective thing between myself and the other musicians I've played with.  One of the members would have a song idea and structure usually written on the guitar.  Then the rest of us would offer our parts and try to keep with the feel of what the person had in mind.   If there is a chemistry between the musicians the process can happen very quickly and magically.  You will just be jamming and adding your parts to an idea and all of the sudden the hair on the back of your neck stands on end and everyone is looking around at each other with huge grins.  Some of the best songs I've played on didn't take a lot of effort, they just happened.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

Most definitely!  I love all kinds of music.  Of course, I have my favorite genres just like anyone, but there is much to be added to one's musical tool box by expanding your horizons.

10. What aspect of making music excites and discourages you the most right now?

The most exciting thing to me is that music seems to be an area where you can always improve your skills, and the more you live and play the more you have to offer those you play with.  A discouraging thing would just be the logistics necessary to make music happen in this busy world.

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I used to get incredibly nervous early on, I would hold my sticks so tight that I would inadvertently drop one which is not good for a beginner drummer.   I don't really get nervous anymore but I do get butterflies.  And I think this is a healthy normal thing that's in people who want to do their best when they perform.  I've found over the years that the more relaxed you are the better you play…pretty much the same in everything.  If you mess up a little, just pretend it's what you meant to do, chances are no one noticed except you and your band. This is probably obvious, but it helps to be well rehearsed.  The more rehearsals you have the more comfortable you will be.

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

Well, the band rehearsals happen when we can get everyone together, every couple of weeks.  On my own, I will just go out and start playing and see where it leads me, some times it is more focused as when I'm trying to learn a song for a particular gig.  But most of the time I just play what I want, songs that move me, and try to offer my own style within that space.
 
13. How do you balance your music with other obligations (mate, children, job?)

Good question!  My wife and family have always been a big support of my musical endeavors,  which is the most necessary component to being able to live this balance.  As a matter of fact, my wife ought to receive some sort of metal for this.   If music is in you, and it's really something you have to do, you will find a way.

14. What is the saddest song you ever heard?

Tears In Heaven by Eric Clapton.  I don't think this was written to be sad but rather a tribute.  This song was written after the untimely death of his 5 year old son.  My oldest boy was 5 at that time.  And though it's a beautiful song, I could hardly listen without being choked up…still happens today.

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

I've been playing with Allison Shirk, her and the musicians she has put together are great players and humans as well.  And there is always a future project with my brother some where on the horizon…I do get to play with Glenn Cannon and Jeff Eason in a blues trio from every now and then, mostly covers but some originals on the way.

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

The musical community on Vashon is extraordinary.  It seems to be a very supportive environment from what I've experienced.  The amount of great players hiding on this small island is a vast sum.  The island seems to crave and encourage music at the same, that's a good thing.

17. What are your short and long term music career goals and how would you define success?

Musically, I just want to be involved with good people and good players.  I've given up on the thought of being a rock star so if I'm lucky enough to be involved in good recordings and live shows, something I can be proud of and that others enjoy, that's enough for me.

18. What are your ideas on how to improve the music scene on Vashon?

Being as that I love rock music, I would love to see a venue where you could have a rock show.   A place where maybe you could have two or three bands do a show and play without worrying about the volume.   When playing drums, sometimes you just want to dig in and hit hard without worrying about it.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My brother Shawn…By learning to play drums to his unique style of guitar playing I grew into a better player because of it.

20 Any last words/thoughts?

I'm thankful to God for music and it's ability to inspire from deep inside us.  And I feel blessed to have landed in a community where there are so many others who seem to understand the positive affects and joy it brings.

Over the course of the last 20 years on Vashon, Rick Doussett has performed with several bands...including Roadhouse, Peloton, Track 19, Loose Change, Bobrick and Rooster.  Rick's been playing music for 47 years now.

Rick's first gig was at the middle school talent show doing a rendition of “Light My Fire”.  He was 13 at the time. That same summer he had worked in 100+ degree heat to earn enough money to buy his first “real” guitar and amp, a “68” Fender Mustang and Princeton reverb. That developed a pattern that exists to this day (buy, sell, keep, buy some more). With the exception of his Marine Corps years, he's been in bands ever since. There were the times when Rick admits he was an acoustic snob and focused solely on the power to perform on wood and strings. But for the most part he's used the whole spectrum with a plectrum.
 
Rick took his BA from “The Evergreen State College” and focused on Music Composition and Audio Engineering. He had a one man sound company for a few years and did FOH engineering for a number of local and level B touring groups. At around this time Rick found himself working in Top 40 groups in the Olympia area, and man, that was work. Six nights a week, healthy or not. He tried his hand at being a professional recording engineer but hated the hours and the lack of pay. So, music is his passion but relegated to an avocation.       
 
1. What were your musical beginnings? (e.g. when and why did you start playing)

At age nine I was given a little plastic cowboy guitar, along with a pair of six shooters. My dad had a record from Marty Robbins called Gunfighter Ballads and Trail Songs, which I just loved. So, posing with that plastic guitar and singing along with Marty was the start.
 

2. Is your family musical? (e.g. fondest musical memories)

My mother had a turn at playing the accordion and my Dad had a silky baritone voice which he would unconsciously let slip out on rare occasion. There was always something pouring out of the console style record player. Dean Martin, Andy Williams, Patty Page, Chet Atkins, Boots Randolph, and many many more. My older sister (4 years older) when she became a teen, was way into Mo Town, the Beatles and Beachboys so I was always around music.
 

3. What was the first tune you learned?

My first REAL song was "Paint it Black" by the Stones. I figured out the melody line on the high E string and thought that was cool and so did my friends. 

 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

My original music runs the gambit of styles. Fingerstyle acoustic, Singer Songwriter, Rock, Fusion, and quasi-jazz. This lack of focus on a particular style may have been somewhat detrimental to my popularity. The main thing for me is that music must be FUN. 

 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Flat out love Steely Dan, people should be hearing "Snarky Puppy". As for influences, it started with James Taylor, CSN, Jim Croce, Jimi Hendrix, John Fogarty, Eric Clapton and Cat Stevens. 

 
6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

Guitars of all types and styles. Acoustic steel string, Nylon string, Electric solid body's, Bass, Ukulele and yes I do have a banjo. My guitars are tools of color and light. I use whatever suits the mood to elicit the desired emotion. I feel that I can pull the largest variety of tones from a super Strat. The current favorite is an Ernie Ball Private Family Reserve John Patruchi model. It has magnetic and piezo pickups with independent outputs and the smoothest tremolo I've ever used. My favorite acoustic guitar is an early Breedlove Koa Focus, made by Kim Breedlove. 

 
7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

The Star Trek convention in Seattle stands out, as does the parking lot of Island Lumber in November. As an Audio Engineer I set up my band sound system in the Washington State Senate floor when the installed system failed. My favorite venue was the old Capital theater in Olympia, great acoustics. I've performed all over Western Washington in all kinds of bands and every venue type. 

 
8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I’ve been writing original music since I was 14 years old, but I would certainly not call myself prolific. As a general observation, I tend to write when there is a reason to. By that I mean, if I am in a group with an original music focus, or I’m working on an album (if we still call it that) or writing for someone else. The process is a series of choices, what genre, Key, what  tempo, instrumental or vocal, etc. Most times it’s a theme to start with, then a title might come into focus and that suggests a story line or narrative. Example: I was watching NCIS when it first came out and saw “Abbey” with a spider tattoo which inspired the line “Eight legs on the back of my neck, note the tingling fingers” and that morphed into a song title, FEAR. I have a tendency to write somewhat complex pieces, or so I’ve been told. I think that may be because I’m trying to avoid the “typical” song forms and changes. However the last song I wrote (6 months ago) I intentionally made it simple so that the melody line could follow more familiar cadences. I don’t play it anymore! To sum up, I can and do write on demand but quite often I’m groove oriented and those are the ones that last.
  
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I'm always looking for music that sparks the imagination in an obtuse fashion. Playing on extended harmony and ironic lyrics, usually with virtuosic performances. 

 
10. What aspect of making music excites and discourages you the most right now?

There are a few things that excite me to make music. One is seeing the audience having Fun. Another is the elusive high when the band is in full flight and no one is thinking, but the vibe is electric. It is also fleeting. Almost everything pertaining to the business end is troubling. 

 
11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I get excited and sometimes I will rush the tempos. When I get nervous is when I don't have the material down cold. The best advice I've gotten is to play out as often as you can. And remember that the audience is subconsciously pulling for you, they want to have a good time.

 
12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

Practice is what I do alone and is generally made up of improvised music, scales, chord progressions and whatever I'm currently studying.  Rehearsal is what I do with others and focuses on arrangements and dynamics. Rooster rehearsals are always fun, but we focus more when the next gig is imminent. There's no telling what will come out of us and we seem to have a penchant for mashups. 

 
13. How do you balance your music with other obligations (mate, children, job?)

Balance is not how I would characterize my current existence. I work an average of 9 to 10 hours a day with a three hour commute. Rooster practices on Wednesdays when we all can make it. Also, I play for two to four hours on the weekends when I'm not gigging, which is not as often as I'd like. 

 
14. What is the saddest song you ever heard?

Honey by Bobby Goldsboro
 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

We (Rooster) have two part time Bass players who's work schedules are making it difficult to put together enough material to carry a night. Always looking for gigs. I'm also the guitar player in Loose Change.  My wife (Leann) is after me to record an acoustic instrumental album. She likes that vibe when she's working in her fiber studio. 

 
16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

Twenty years ago we were looking to move from Olympia to the Seattle area. When we spent a few days on Vashon I became aware of the open Music community and that was a huge motivator. When my schedule allows I get out to support the local music and my friends. I know they do the same. 

 
17. What are your short and long term music career goals and how would you define success?
  
My main goal is to keep playing, keep learning and above all, have fun.

 
18. What are your ideas on how to improve the music scene on Vashon?
  
More venues. We bought a house in the Burton highlands last year that has a huge aged and rustic Green house. We're slowly bringing it back from ruin and envision it as a summer space for music to take place. I also have aspirations of hosting a master workshop at my studio. 

 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.) 
  
My mother Beverly gave me the gift of music and encouraged me with a few lessons in the formative years. My music composition professor, Terry Setter, who was also my Audio Engineering sponsor, was extremely supportive and encouraged experimentation. 

 
20. Any last words/thoughts?
  
There are some truly special people on this island who are remarkably giving of themselves and their talents. We are fortunate to be a part of this community.

Many of you know Richard Lipke from his undeniable presence in two Island bands – Subconscious Population and The FieldHands.  When Richard moved to Vashon in 1982, he decided to go see the Halloween show where Ron Hook’s Subconscious Population was performing.  Richard immediately knew this was the band he wanted to be in.  It may have taken him six years, but eventually Richard did indeed join ranks with Sub-Pop in 1988.  Along with Ron Hook, Steve Brix, Indigo Hook and others, they went on to perform at many Island venues and festivals, including The Islander, The Alibi, The Blue Heron, Bishop’s/Red Bike, RezFest, Strawberry Festival…and the list goes on and on.  The first Halloween show Richard played with Sub-Pop was in 1989 – these shows are as legendary as they come here on Vashon…it was THE place to be on Halloween.

Richard is also in the band The FieldHands, along with Jon Whalen, Dorsey Davis and Emory Meidema-Boyajian.  Their indie-rock Americana sound is powerful, melodic and fender-rich.  Their 2013 CD entitled Little Secret is available on Bandcamp.  We here at Vashon Events are quite fond of this band and their CD!

1. What were your musical beginnings? (e.g. when and why did you start playing) 

A plastic rubber band guitar and a toy drum when I was 3 or 4 years old. I liked to do visual art as well, so I would be drawing at the kitchen table when I was a kid and just loved listening to the radio. Early music like Duane Eddy and the Ventures turned me on. We had music appreciation in grade school and that's where I first heard Eric Satie, Debussey, Milhaud, Verace.  They were a huge influence on my sense of melody and mood.

2. Is your family musical? (e.g. fondest musical memories)

My great grandfather as a child with his parents would ride in their vardo around Eastern Europe and sing in the King's courts for food or camping priviliges. I have a fond memory of sitting on the kitchen floor of my uncle's house with while my mom sang “Sentimental Journey”. I was probably three years old.

3. What was the first tune you learned?

New Car Boogie. I don't know who wrote it. (Mel Bay)? I was 12 or 13 when my best friend down the street got a bass for Christmas. He came over and we sat down and learned this very simple blues boogie. We were hooked. We could actually play something together and it worked!

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

Country Blues funky Jazz stylings ala guitar.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you? 

The Beatles, Jeff Beck, J.J. Cale, Richard Thompson, Eric Clapton, Claude Debussey, Eric Satie. There are many more but these rank at the top.

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument) 

Guitar – primarily Fender Strats and Teles are what I'm drawn to. However I wouldn't turn down a Gibson SG.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

PBS television a 3 act play called “The Reception”. They rented us brown tuxes and we were the band in the wedding reception hall. We'd have to play 13 seconds of this piece 19 seconds of that. Pretty funny but we were paid well. This is one of many “Spinal Tap” moments I've experienced playing in bands. The Blue Heron was always a favorite venue.

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song). 

I do chord transitions that eventually become whole songs. Verse, bridge chorus etc, I've been getting into some New Orleans groovy blues things as of late. Some funk jazz . I haven't really tried lyrics much yet.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

When I listen to the radio I switch around to stations until I find something decent and stay there for a while. If something that interests me musically comes on the radio, I have a notebook to jot it down. I'm looking for sounds that resonate emotionally to me generally with a groove but not necessarily.

10. What aspect of making music excites and discourages you the most right now? 

Playing in a group excites me most and not getting to play in a group discourages me. Also it's exciting when playing live, the moments when the music is effortless and buoyant and then it launches to blow the roof off. Whee!

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

Only a little and it goes away shortly. Most shortly when one can hear themselves and the tone of my instrument is where I like it. My advice to beginners is practice like crazy and do your best effort when performing but remember that it's just rock and roll.

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

2-3 hours a day everyday unless I'm out of town, and once a week with Subconscious Population from 7 – 11:30 . And I practice with the FieldHands when it's possible. Playing scales, chord changes, different genres and rhythms when practicing alone.

13. How do you balance your music with other obligations (mate, children, job?)

My wife and I are both artists. We have a studio for each of us so we have a place to create. We both work but I'm mostly retired except for a project here and there. Music rules after my commitment to my wife's happiness.

14. What is the saddest song you ever heard?

Maybe “Lay Down Your Weary Tune” - the Byrds version or “I Want to Die Easy” by Stephen Foster. Or “That Lonesome Road” by Lonnie Johnson.

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc). 

Gathering material for a Subconscious Population cd. It will be some live studio music. I almost have enough material of my own compositions for a CD. Playing, playing, practice, practice, practice. I love it.

16. How would you describe the musical community on Vashon? (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

I find other musicians to be very supportive here. I do attend other shows on occasion.

17. What are your short and long term music career goals and how would you define success? 

To be able to play what I hear in my head and feel in my heart.

18. What are your ideas on how to improve the music scene on Vashon?

Turn the pet store into a music hall.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My mother always supported my musical pursuit and my wife completely supports my musical passion.

20. Any last words/thoughts?

Don't wait to pursue your dream.

Many of you know John Schubert from his band that performs here on the Island, The High and Lonesome Band.  The High and Lonesome Band is a group of friends who've played together nearly 30 years.   They've been together so long that some original band members have even been replaced by their offspring. With roots firmly planted in American Ethnic music, High and Lonesome brings an intricate, tasty brew of bluegrass, blues, and Bakersfield-style country music.  Islanders will recognize John Schubert on guitar and vocals, with Tab Tabscott on dobro and pedal steel.  Will McSeveney will play the banjo, Pete Martin on fiddle, mandolin, and vocals, Terry Enyeart on bass and vocals, and Jim Bluhm on a variety of instruments.  

High and Lonesome are scheduled to perform at the Red Bike Bistro & Sushi on Friday, January 8th, 2016.  Try to make it out to see them if you can!

1.  What were your musical beginnings?  (e.g. when and why did you start playing).

My musical beginnings started in Reno, Nevada in 1962, when I got my first Sears guitar at the age 14. My Mother worked at the Nevada Club as a cashier, and she knew this legendary pioneer of the jazz guitar, by the name of Carl Kress who was working in the Club’s lounge band. I was very interested in Rock and roll guitar, so she found out that he taught jazz guitar at one of the music stores in Reno in his spare time. So I started taking lessons from him at age 14.  I got bored and dropped out after about 6 lessons, which was a big mistake.  In 1964, our family to Carson City, Nevada, where I finished my last two years of high school. In 1965 I formed a rock band in my junior year called Four More. We got pretty good real fast and started booking ourselves for school dances and private parties, The Civic Auditorium and The National Guard Armory. We were quite successful and played our own graduation party and Virginia City’s class of ’66 graduation party. I graduated in 1966, when off to college at University of Nevada in the fall of 1966, and was drafted in 1967 and went to Vietnam from 1968-1969.  I got out of the Army in June of 1970.

2.   Is your family musical? (e.g. fondest musical memories)

My Dad was born in Hawaii and he played the harmonica, while his 9 brothers (my Uncles) all played ukulele…so family get-togethers were all very musical.

3.    What was the first tune you learned?

The first songs that I learned were old Rock and Roll doowop vocal songs like In The Still of The Night, I only have Eyes for You, Come and Go with Me, Why Do Fools fall in Love and then Ricky Nelson, Everly Brothers, Elvis and Beach Boy songs were all my favorites.  Later, it was Beatles, Kinks, The Who, The Hollies, Buffalo Springfield, The Byrds, Dave Clark Five, Yardbirds, Rolling Stones, Crosby Stills and Nash, Poco, The Band, Bob Dylan, Donovan and all the great ’60’s bands.

4.    What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

I was turned on to Country and Bluegrass muisic by The Buffalo Springfield, The Byrds and Poco. But after the Nitty Gritty Dirt Band did the 3 album Circle Be Unbroken album in 1971, I became hooked on Bluegrass.  Through artists like Gram Parsons and Emmy Lou Harris, I became hooked on old Country music like Hank Williams, Hank Snow, The Louvin Brothers, Lefty Frizzell, Buck Owens, Merle Haggard, George Jones, Johnny Cash, Willie and Waylon.  I would describe my favorite music as Bakersfield Honky Tonk Country music and hard-driving traditional and modern Bluegrass music.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Anything by Merle Haggard, Buck Owens, George Jones, Bill Monroe, Jimmy Martin, The Stanley Brothers, Flatt and Scruggs, The Osborne Brothers, Reno and Smiley, Bob Wills and The Texas Playboys.
 

6.  What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I stay on guitar as my main instrument.  My favorite guitar is in this picture - it’s my 1952 Martin D28.  Others in my collection are my 1943 Martin Sunburst D18, my 2003, Brazilian Rozewood Clarence White 1935 reissue Martin D28, my 2014 Collings German Spruce top/Rosewood D3 and my 1971 American Dream guitar, number 002 (this is the guitar company Bob Taylor bought out in 1973 and started Taylor Guitars so it’s an extremely rare pre-Taylor Taylor guitar.) I also have a 2000 Fender Custom shop 1952 butterscotch blond Fender Telecaster which i play through my original 1956 Fender Deluxe amp (that I’ve had for 50 years since my high school rock band)

7.  What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

We used to play this rowdy bar in Troy, Idaho where the crowd used to throw full cans of beer at the band, kind of like out of the Blues Brothers rowdy bar scene.

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I’m never happy with my own songs, so I usually never play them.  I feel that there is so much great music out there that nobody has ever heard of, why not learn those songs instead.  I love old (pre 1970’s) Country music.  If I hear something I really like, I’ll learn it.  I have a few thousand songs that I’ve learned.

9.  As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I have a huge CD collection and listen to the old swing, jazz, country and bluegrass CD’s every day.  I’m always searching for new or old songs to learn.  I stay abreast of all the great new Bluegrasss bands out there and buy their albums.


10.   What aspect of making music excites and discourages you the most right now?

My present band High and Lonesome has played for so long and jammed for so long (30-40 years together) at parties and festivals and taverns that I love the way we can just walk out on stage without a set list and no clue as to what we are going to play and then pull it off and play four sets of songs seamlessly and walk off the stage satisfied at the end of the night. I just like playing,  I’m always happy when I’m playing – no audience is needed for us to have fun.

11.  Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I rarely get nervous any more.  My advice for beginners is to get your ego out of the music.  Get your timing and vocal harmonies right.  Good timing is what separates the wanna-bees from the pros.  Always aim for hitting that groove.  Do it for the love of the music, not for expecting to be worshipped by your audience.

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I’m too busy with my construction business to practice anymore.  But I would love to take a whole month off and just lock myself up and practice with instructional videos from some of my favorite guitar players and bands.
 

13.   How do you balance your music with other obligations (mate, children, job?)

I try to play with my band at least once a month

14.   What is the saddest song you ever heard?

Down In The Willow Garden ( a murder ballad)
 

15.   What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

I’m putting my old band Lonesome Ridge back together to perform at the Darrington Bluegrass Festival this July.  We were together for 10 years and have been split up for 10 years, but we did a reunion show there in 2009.


16.   How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

I think Vashon has a great musical community.  I would like to show up for more parties and get-togethers on the Island, but I’m usually too burned out from working. Over the years I’ve played some gigs on the island with local Islanders, but not as many as with my off-Island Bluegrass family.

17.   What are your short and long term music career goals and how would you define success?

Well, I’ve been working full time and playing music part time for over 50 years now and my band is still getting gigs at least once a month, so I guess I’m successful.  I’d like to play more music when I retire.  I’m turning 68 in February and after 40 years of fulltime construction work, I’m tired.  I’d like to retire and still play gigs once a week.

18.   What are your ideas on how to improve the music scene on Vashon?

Ideas on improving the music scene on Vashon?  I think some Vashon musicians have some pretty big egos compared to how good they really are. They need to get their egos out of the music. There are some characters on this island who act like they are Island legends and they actually aren’t even good enough to be playing in public….plus they are never are interested in showing up and supporting any other bands but their own.  I’ve always found that annoying in the 30 years I’ve lived here.  In the international bluegrass community we have a thing called bluegrass etiquette.  When a circle of 4 or 5 really good players are in a really tight hot jam and you want to join in and aren’t necessarily good enough, it is ok to form another circle outside the hot jam circle and play softly along, not interfering with the groove of the good jam.  It’s just good manners to wait to be asked to join the hot jam.  It’s not good to just step in and start playing without being asked. Separate the beginners from the seasoned players and start “slow jams” with players that are all on about the same level.  That way the beginners don’t drag the good players down to a level where they lose the groove and just quit the jam.  I’ve seen some cluster-fucks on the island where there are 10 people on stage and the timing is bouncing around like a ping pong ball.  I know that nobody wants to hurt anybody’s feelings by telling them that their timing sucks and they are playing the wrong chords, so maybe starting an Island etiquette rule where these jam parties break up into a number of different circles according to the players level of experience might work better.  It works with the bluegrass community and we all get along and are still all friends with each other.

19.   Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My 40 year friend and upright bass player in my band, Al Hutteball, who always encourages me and says,”John, I still love playing music with you after all these years”, after every gig we do.

20.   Any last words/thoughts?

I love the bluegrass National community of friends.  I try to get back to the International Bluegrass Associations annual ‘World of Bluegrass” get-together in Raleigh, North Carolina every September/October of every year.  I’ve made hundreds of friends from going to all these bluegrass festivals for the last 40 years.  It’s all about the music and having fun.

You’ve probably seen Rick Dahms at The Coop or out and about performing at Snapdragon or The Red Bike – doing a duo gig with his good buddy Gregg Curry or with the full band – Gregg Curry & Ragged Glory. 

Rick likes to hang with musicians, so we’re thinking that’s why he picked up a guitar in the first place.  Rick points out this:  Kind of like if you saw me with a bunch of gorillas, you might think I was a gorilla… but I wouldn’t really be a gorilla. Not that I wouldn’t want to be. A gorilla.
 
You’ll catch Rick doing acoustic sets at Snapdragon with Curry and friends every other Thursday. The rock and roll band is on a break but will be back, shortly.

Rick is a professional photographer, he’s been living on Vashon since 2000, out in Dockton with a wife, dogs, cats, goats, horses…. the whole catastrophe.
 
1.    What were your musical beginnings? (e.g. when and why did you start playing)
 
I had an interest in music but it was mostly to meet girls. I bought a $16 guitar at Woolworths when I was 12 and couldn’t make heads or tails out of the thing. A couple of months later, we moved into an old farmhouse and in the room that was to be my brother’s and mine, on the floor in the closet, was the sheet music to Snoopy and the Red Baron by the Royal Guardsmen. That got me started.
 
 
2. What was the first tune you learned?

I worked on Snoopy and the Red Baron all winter. Pretty soon, I mostly had the room to myself.

 
3. Is your family musical? (e.g. fondest musical memories)

 My mother, with 5 kids, married a man with 4 kids and we all moved in together. There were 5 of us in high school at the same time and we ran wild. In order to keep us home and out of trouble, some weekend nights became beer nights and my parents would buy a case and we would all sit around and sing. My mom was a trained baritone, my stepfather played piano, my stepbrother played guitar (very well) my brother and I could bang along – and everybody sang. It was glorious.

 
 4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others? 

Mostly drinking music but quite a bit of dancing music, too. Some make out music.
 
 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?
 
I try not to miss a Poultry in Motion show. Bill Brown and the King Bees are great, One More Mile, Loose Change, Allison Shirk, The Rumble Strips, any band with Loren Sinner… My major influences have been local players; Matt Strait, Chris Anderson, Loren Sinner, Steve Amsden, Luke McQuillan, Dave Lang, Jerry Garcia, Cap't Doug Pine and certainly Gregg Curry who keeps bringing in great songs to work on. There’s no shortage of excellent bands or inspiring players on the island.
 
 
 6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)
 
A couple of years ago, I got interested in the mechanics of the acoustic guitar and after a mildly obsessive amount of research, found a teaching luthier (Rick Davis) in Seattle. Using his workshop and guidance, I built my acoustic. That’s my main guitar.  I’ve blazed through a lot of electric guitars. If I don’t like ‘em, I don’t keep ‘em. I still have a Hagstrom Futurama (1964) that I love but isn’t very practical and I’m playing a Gibson SG (that I love and is very practical) on gigs. I’m always on the lookout for that magic axe but for now the SG covers a lot of territory.
 

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)
 
When I was in high school, I played an orgy. Not really as cool as it sounds… but how could it be? It was an interesting exercise for a rhythm player.
 
 
8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)
 
My songs are mostly about friends and dogs and that’s who I play them for. I don’t work very hard at it and I don’t play them very often. I do a lot of instrumental stuff just for fun. The dogs think I’m very deep.
 
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?
 
 I’m always trying to learn – everything from licks to stagecraft. The more I play the more I can see of what others are doing that’s smarter, more interesting, cleaner, classic…. I learned more from watching Rick Doussett for 45 minutes than 3 months of online lessons.
 

10. What aspect of making music excites and discourages you the most right now?
 
I play in a rock and roll band with a songwriter, Gregg Curry, and a couple of exceptional musicians, Bernardo Almeida (bass) and Emory Miedema-Boyajian (drums). Curry brings in a song and kind of pours it into the middle of the room. Shaping that song, sculpting it, pushing and tugging on it to make it chug or give it a musical theme that matches his lyric or rhythm line…. There’s a real creative joy there.
  
 
11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)
 
I’m a nervous wreck through the first three songs. I love to play but those first three are tough. The only advice I have is don’t think about your mistakes. You’re a rocket and once that fuse is lit, there’s no going back. There’s only forward.
 
 
12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)
 
I practice every chance I get. I’ve got a travel guitar in my truck and if I’m in the ferry line, I’m practicing. When I was first getting started (after not playing for 25 years), Ron Hook gave me the best advice about practice. He said, “Any time you sit down to rest or watch a ball game on tv or a movie – always hold your guitar.”  You can strum it or practice something or just hold it but make it a part of your life. That’s served me well.
  
 
13. How do you balance your music with other obligations (mate, children, job?)
 
I’m pretty lucky in that I love my wife, my work and playing guitar. That’s really all I have. So, it’s a juggling act with those three balls. I just try to keep them all moving.

14. What is the saddest song you ever heard?
 
In my defense, I was enjoying the onslaught of puberty. I was ten when “Honey” by Bobby Goldsboro” hit number one in the top 40. I had my very own 9 volt transistor radio and I carried it everywhere. I was outside, listening to “Honey” next to our basement door when Michael Frazier came around the corner and saw me sobbing like a little girl whose brother had put her Barbie in her Easy Bake oven and left it for her to find.  He made my life hell for several months. Probably about as long as it took my sister to get over the Barbie.  Again, I was ten.
 
 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)
 
Curry is a compulsive songwriter so we’re always trying to move new songs to the launch pad. I’ve been doing some recording on the Ike Harmon project, which is pretty cool. I’m taking piano lessons from Matthew Chaney….. we’ll see how that goes. And I’m playing, every chance I get. 
 
 
16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)
 
It’s an incredibly active, open, supportive group of people. And there are a lot of them. For a player, or a wannabe player, it’s music heaven.
 
 
17. What are your short and long term music career goals and how would you define success?
 
Short term is any amount of improvement and getting through the next gig. Long term, I’d like to tour the world as a rock star. That’s my retirement plan.

 
18. What are your ideas on how to improve the music scene on Vashon?
 
I don’t know. It’s pretty great the way it is. It’s certainly been very good to me.
 
 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.) 
 
After I’d been practicing for a couple of years, on my own, I was on the ferry practicing on my little travel guitar and Pete Welch came over and asked if I was in a band. I said “no” and he said if I ever was, please let him know. That little compliment really meant a lot. I’d been practicing for the joy of playing and hadn’t really been keeping track of my improvement. This was a great little push for me to go out and find people to play with.
 
There’s Chris Anderson who graciously hosts the open jams at the coop and, in that capacity, introduced me to a lot of the great players on the island. I learn something every time I play with Chris.
 
And there’s Gregg Curry who’s been constantly supportive as I’ve stumbled my way to becoming a lead player. If I hadn’t lucked into his band, I wouldn’t have made the progress that I have. An incredibly generous and patient human being.
  
 
20. Any last words/thoughts?
 
I played guitar (poorly) through college and put it away. When I hit 50, I decided to pick it up again and really learn it. And it’s been great. You’re never too old. You might think you’re too old. But you’re not.  And, of course, floss every day.

You’ll find Kat performing as a solo artist most of the time, in a duo along with Kate MacLeod from time to time and with the border music trio, “Middle March” on occasion.  Kat’s been playing music for pretty much 31 years, more or less.

Kat's next performance will be with the Free Range Folk Choir and is coming up on Saturday, April 2nd at 7pm at The Vashon High School Theater. 

This concert will feature several of Kat Eggleston's most beloved songs in honor of her father, performed with full choral accompaniment by the Free Range Folk Choir. It will be an evening of storytelling and song, from intimate solos to rich choral harmonies of the world ~ folk music from the heart of our human experience. An audience sing-along will round out this evening of joyful music and fun for the whole family!

Suggested donation is $5-10. No one will be turned away for lack of funds ~ All are welcome.

Kat Eggleston is an artist of great range who has elated and inspired audiences all over the world with her strong, clear voice, her masterful fingerstyle guitar technique, her research and interpretation of traditional music, and her powerful original songs. She has collaborated onstage and in recordings with a variety of musicians over the years, including David Bromberg, Tom Dundee, Irish music supergroups Bohola and the David Munnelly band, and long-time music partner Kate MacLeod, to name a few. Also an actor, Kat has appeared onstage at Chicago’s Briar Street Theatre, the Steppenwolf Garage Space, Chicago Children’s Theatre, and the historic Victory Gardens Theatre in the acclaimed “Snow Queen,” along with its composer Michael Smith. Kat has many recordings, solo and in collaboration, including her award-winning solo album “Speak,” sparsely recorded with only guitar and voice.

“She kicks so much ass she has to buy new shoes. I know it sounds silly and sexist to say that she plays guitar like a man, so I won’t. She plays guitar like an army.” - Jonathan Byrd

1. What were your musical beginnings? (e.g. when and why did you start playing)

I grew up singing. I got started playing music professionally when I discovered how profoundly I hated auditioning for acting jobs… Kept on auditioning for a little while but found that being able to work entirely by and for myself was pretty appealing.

2. Is your family musical? (e.g. fondest musical memories)

Not dad, not at all, but the rest of us, always. Mom taught me how to hear tricky intervals on camping trips when I was little, riding in the back of the VW Microbus.

3. What was the first tune you learned?

Oh good lord, I have no idea. I learned to sing “the Skye Boat Song” when I was about four, that’s probably it.

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

I’m a folksinger. It’s not fashionable to use that word, but I don’t care. I’m a songwriter who also loves to research and interpret traditional music, that’s how I would define it.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

TOO many to choose from, but I’ll pick Michael P. Smith from Chicago. He’s been a favorite writer for years – I don’t care what genre you pick, he’s written something deathless in it – and I got to work with him in Chicago in two theatrical productions, all music, that he’d written. Once, the actors of one of those shows were all talking backstage about what our dream gig would be and I said “THIS is. Gorgeous play, beautiful music, beautiful, classic Chicago theatre, written by my favorite songwriter – who also happens to be in the show with us. Heaven.”

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I’d rather play guitar than anything else - I used to play piano and hammered dulcimer – the guitar I play was made especially for me by Terry Docherty in England, and I’m madly in love with it.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

I think the strangest place I’ve ever played was with Kate MacLeod, we were up on a bluff in Utah at sunset playing fiddle tunes for a bunch of people who were soaking in hot tubs. Yeah, that’s the one…

Favorite venues, I’ll just pick one: my favorite concert venue is “Uncle Calvin’s Coffeehouse” in Dallas. 

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

There’s nothing predictable about this, I almost always write whatever occurs to me at the time, except for the cycle of songs I keep working on that are taken from my father’s stories of his early life in the dustbowl. One of those recently was finished after three years of working on it. Another one came to me in a dream a few months ago and the miracle is that I remembered it when I woke up. I never know. That’s the last one I’ve completed. I’m in the middle of a few right now, worked for a long time on one of them this morning.  The imagery is usually the easiest part. Putting those images in a coherent story line with a melody that properly matches the story… That seems harder.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

For a few years I haven’t listened to much unless it lands on my head, so to speak. That seems to be changing now, it goes in cycles. I think this last cycle had more to do with the stress and worry of taking care of my aging father than with playing music. What a great question…

10. What aspect of making music excites and discourages you the most right now?

I’m most excited about getting out and playing again, after taking a step back from it for a few years for family reasons. Discouraged by the prospect of travel. I used to love it, but I find that my time at home is more precious as time goes by.

11. Do you get nervous before a performance and how do you handle it?(e.g. making mistakes, advice you would give to beginners)

Oh yeah, sometimes, it’s usually a good sign that things will go well. I have more of an edge that way, sometimes more present as a result. It does add energy, for sure. I tell that to others if they get nervous. It’s not something you need to get over, it’s normal, so use it. Oh, and mistakes don’t matter, they’re normal too. I try to remind myself of those things too.

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

If I’m working on guitar arrangements of fiddle tunes, I’ll start with warm-ups and go from there, using the metronome a lot once the arrangement if in place. If I’m involved in a project I’ll put untold hours into it. Other than that though, it can be hard to predict, some days I don’t play at all, some days I play for hours.

13. How do you balance your music with other obligations (mate, children, job?)

Music is my main job, anything else I do for work still gets worked around it. Family… I’ve been at this for a lot of years now and the only thing I can say briefly is that it’s always changing. For several years music took a back seat to the job of caregiving, now I have no idea what the next chapter will bring. 

14. What is the saddest song you ever heard?

Richard Thompson, “How Will I Ever Be Simple Again?”

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

Working to put together a play around the songs I’ve written about dad’s childhood in the dustbowl. I’m working with a couple of truly remarkable people on that project. That’s the focus right now. I’ll say more about that as it comes together… We have a target date in June of 2016 for the first reading. Also continuing work for an eventual guitar recording, that’s ongoing. 

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

The musical community on Vashon is terrific, I love it. Inspiring too, and very supportive.

17. What are your short and long term music career goals and how would you define success?

The goal is to keep working. Success is being able to do that. So if I can support myself with music and am doing the best work I can do, I’m successful.

18. What are your ideas on how to improve the music scene on Vashon?

We have so many remarkable artists of all kinds on this island, you can’t go to the market without tripping over a dozen creative giants... In communities like that, there’s a tendency to undervalue the work of the artists. It’s not uncommon at all, it happens everywhere, but I’d love to address that tendency in an open forum somehow. I think it can be made much, much better if there’s a broader conversation about it, involving performers, bookers, venues, everybody. I may at least start a blog post about it on my own website, that would be a start.  

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My father was a professional visual artist and my mother was a teacher who had been a professional singer in her youth, I can’t say enough good about them, they were supportive and loving and, by the way, also hilarious. No wonder my brother and I were doomed to a life of music…

20. Any last words/thoughts?

More music!! Time to go practice!

Most of the time, you'll find Phil Royal working a 12 hour shift at Virginia Mason in Seattle, but every so often if you're lucky, you'll catch him out finger-picking on his guitar at a local venue.  Phil has performed all over the place on Vashon - Snapdragon, the Farmer's Market, the Red Bike, Strawberry Festival...the list goes on.  

He sent us a bio back in 2010 that read:

Because Phil Royal was, at age eleven, small of stature and of only average rhetorical wit, he started strumming the guitar in a bid to be noticed by the girls. Forty one years later he is still trying to impress his wife. Although he really has no durable insight into the true nature of life or who we genuinely are to each other, he claims to have caught rare glimpses on occasions where music was involved. He is known to despair that all of these melodic and lyrical efforts are but a glorious and frivolous waste of time but, then, moments of transcendent ecstasy are otherwise hard to come by. He is thus wedded to fingerstyle six string until time stiffens his fingers and robs his mind.

Funny guy...but make no mistake about it, he knows what he's doing on that guitar of his.  These days, he's been performing in a duo called DrSputnik - with his fingerstyle guitar and his nephew Sam McKinstry's magic on banjo, fiddle, guitar and upright bass.  Sam teaches music to deaf children in Portland, Oregon. Philip doesn’t understand how Sam can play like he does. Together they lay out some of the old tunes and walk the walk.

1. What were your musical beginnings? (e.g. when and why did you start playing)

If you don’t count a brief and miserable run of elementary school piano lessons, my musical beginnings were around eleven or twelve years old as part of the guitar corps in boy scout/girl scout sing alongs. We all had cheap nylon stringed instruments.  We strummed.

 
2. Is your family musical? (e.g. fondest musical memories)

My mom sings shamelessly. Alto in the church choir. My brother is a rock and roll drummer. Despite what they say about drummers, he also sings in the church choir. My dad, an incorrigible flirt from rural eastern North Carolina, will occasionally break into an impromptu acapella “Love is a Purty Thing”, sending our kids into stiches.

 
3. What was the first tune you learned?

Puff the Magic Dragon.

 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

Several years ago, because of frequent oil changes in our family’s fleet of cars and the inevitable and recurrent fingernail breakage, and the foolishness surrounding super-glue and prosthetics, I finally put on some brass picks and spent the requisite year clumsily getting to know them.  I love playing fingerstyle guitar. Adding picks was like discovering Sriracha sauce for scrambled eggs. This kind of music frequently has blind blues musicians somewhere in its beginnings. So, to answer the question, I guess you’d call this music “fingerstyle blues”.

 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Almost all of my recent teachers were, remarkably, themselves, taught by Rev. Gary Davis, a blind, gospel singing, street musician.  He got discovered, got a house in an NYC suburb and began teaching. David Bromberg, Woody Mann, Rick Ruskin and, indirectly, Jorma Kaukonen, all studied with the Reverend and have all, subsequently, through great good fortune, been my teachers.

 
6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

Roy McAlister is a guitar builder in Gig Harbor. I play a myrtlewood Lucas model that he built in 2009. I am hoping that I can commission him to build me a rosewood guitar someday.

 
7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

 There was a mobile recording trailer pulled up behind an old wood frame house in rural north Alabama. That’s where I spent two days making my first and only disc.

 
8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

Not having written many songs I can still say that I have to catch the story in the act, write while the event is still quite present so I can gaze around at all the details. So far it has always been lyrics first. The event can totally be imaginary, but my most recent tune comes from the ongoing south Asian and Middle Eastern troubles.

 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

More, more, more !!…one of the only ways to  slay modern loneliness.

 
10. What aspect of making music excites and discourages you the most right now?

I am densely musically illiterate, theoretically speaking. With the encouragement of my nephew, Sam, I am slowly learning to put 2+2 together to grasp the circle of fifths. Is it too late to make peace with the fundamentals?

 
11.   Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

Yes, I get nervous. That’s part of performing’s appeal, isn’t it; the adrenaline, the heightened sensations?  Usually I open with some bomb-proof old familiar tune to get through lift-off while things settle down.

 
12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

More than I floss.  Sometimes I can’t sleep, so then I play. Sometimes it’s raining, so then I play. Sometimes it’s a two boat schedule, so then I play. Sometimes I drink too much to make it to the bar, so then I play. Sometimes I’m paralyzed by all of the things I wish that I’d done for my children, so then I play. Sometimes I’m felled by the shear wonder of it all, so then I play.

 
13. How do you balance your music with other obligations (mate, children, job?)

Playing music comes last.

 
14. What is the saddest song you ever heard?

Do you want to know the truth? It is a song called “Candle in the Window” that I wrote for my daughter when she was living homeless and addicted on the streets of Seattle over Christmastime a few years ago. She loved hearing it. It makes her Aunties cry when I play it. Things are really no better these days. I don’t sing it much anymore.

 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

I’m selling a couple of guitars. I really only need one.  My nephew Sam is my greatest inspiration and musical partner these days. Together we are bad-ass.  He’s a genius on several instruments. He likes my songs, the only ones that I can play.  We’re learning to play them together.

 
16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

Long ago, on Sunday mornings, I used to go to Frank’s garage and play with Frank and Greg and Charles and Larry. God, that was great! We called it “Church.” After a couple of years Frank moved away and “Church of Great Rain” came of that. Later and after a while Chris started having us over to the coop. Woodstove Dave and whisky on Thursday nights. Chris was all about E-minor tunes. That’s grown into something I no longer recognize. The musical community on Vashon, seems we’re all searching for the sound, sometimes in good company, sometimes alone.

 
17. What are your short and long term music career goals and how would you define success?

Music is NOT my career!  Success is when I get to play for an audience and not suck!

 
18. What are your ideas on how to improve the music scene on Vashon?

More venues. More nights for players.

 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

Rick says, “you can be a performer.” Jorma says, “grow your repertoire”. Geri is still waiting to be impressed.

 
20. Any last words/thoughts?

Setting up a clean rhythm makes up for a whole lot of ignorance.

Doug Pine spent a lot of his recent years as a Tugboat Captain on the Atlantic Ocean.  Doug picked up his first guitar in 1968 and hasn't put it down yet.  It's actually kind of ackward at the dinner table, but he finds a way to make it work...  Now he enjoys hanging out on Vashon Island, where he lives with his wife Kathy.  Through the years, he's been in several bands - an instrumental surf music band called The Riptides (California), rock and roll bands called The Sharks (Maui) and Petrified Wood (Tacoma), a duo with his son Drew called D2, a country rock band called The Allison Shirk Band and some fun projects called Tim Couldn't Make It and Tim Wasn't Invited. 

On First Friday in December 2016 (12/02/16), Doug will be performing with Loren Sinner at the Heron's Nest Gallery in town. Stop by and say hello!
 

1. What were your musical beginnings? (e.g. when and why did you start playing)

I think I was 8 when heard Leo Kottke play Vaseline Machine Gun and I wanted to make that kind of noise. My grandfather had a lap guitar in an open tuning and I figured out part of it. I’ve been playing music ever since.

2. Is your family musical? (e.g. fondest musical memories)

My maternal grandmother was an organist and singer. My Mom played piano    sometimes. My dad sings in choir. Other than that we didn’t have a lot of music going in the house. I listened to AM then FM radio in my room mostly. It was the Devil’s music so I had to be sneaky.
 

3. What was the first tune you learned?

“Froggy Went a’ Courtin’”. I took a few lessons when I was in 6th grade and that was the song my teacher picked to teach me first. I wouldn’t sing it though. I thought it was stupid.
 

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

At first it was acoustic kinda folksy stuff. When I got my first electric guitar I was all about rock ’n roll. Then blues. Then some southern rock. Then whatever I could play to get a gig. Nowadays it’s a blend of everything as it’s evolved over time. 
 

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

The Tedeschi Trucks Band is one that must be heard. Derek Trucks is one of the greatest slide guitar players ever and with his wife Susan Tedeschi they lead a 12 piece band that is beyond excellent.
 

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

My main acoustic guitar is a dreadnaught that I built myself in 2003. I thought maybe I’d become a luthier so I built this one while studying with luthier Charles Fox in Portland. It sounds good and plays like butter. I decided not to become a luthier when I just about cut off one of my fingers on a table saw. I’d rather be a player than a nine-fingered luthier. My second acoustic is a Martin HD-28V. I use it mostly in open or alternate tunings. I have a resonator guitar I use in open A or G for slide. On the electric side of things I play a Strat 90% of the time and I have a Gibson SG set up for slide in Open E tuning. I have a travel guitar that’s made of carbon fiber. One piece molded guitar. Bulletproof. it’s made by Composite Acoustics, the model is the Cargo guitar. 3/4 scale with a nice pickup built in. For a travel guitar it sounds amazingly good.
 

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

Playing in 25 foot seas on a tugboat in the middle of a hurricane on the Atlantic Ocean is unusual. What’s worse is breaking a string and having to re-    string my guitar in 25 foot seas in the middle of a hurricane on the Atlantic Ocean. That sucked. Continuing in the nautical theme I used to sing a little a cappella ditty while 125 feet underwater in a passenger submarine on Maui. “What’s that fish on the reef with the bright shiny teeth? That’s a Moray”. A Moray. Get it?

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I’ve written 5 songs since I began playing music. I don’t have enough experience to have a process. They’re all pretty good, currently two of them are on my live set list. Writing does not come easy for me. I envy people like Gregg Curry who can write ten songs a week. 
 

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I love listening to new music. I’m fascinated by how people put songs together because it is so difficult for me to write. I love to listen to the notes players choose to play. 
 

10. What aspect of making music excites and discourages you the most right now?

Having the time to play now is exciting. I’m not sailing anymore and so I’m home. I used to be gone half the year and so I couldn’t commit to anything. Now I can and I’m doing some fun things with people here on Vashon. I don’t feel discouraged by anything at the moment. 

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I get nervous if I’m asked to do a solo show. So I usually don’t, but I should. Other than that I don’t have stage fright. 

Advice to beginners: 

1. You’re never more than a half step from the right note. Use that half step to your advantage and you’ll find there are no wrong notes.

2. Put yourself into musical situations where you think you’re the worst player in the room. 

3. Find opportunities for silence. Exploit those opportunities.

4. Leave your ego at home.
 

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I’m extremely lazy when it comes to disciplined practice but I try to play every day. I have some warm-up exercises I do sometimes. Then I work on songs I'm supposed to be working on and eventually wander off into noodling. Sometimes I buy lessons from TrueFire dot com and I learn stuff. But I've never made it through an entire lesson. Music theory makes my head explode. I try, I really do, but I don't understand it. I do everything by ear and feel.

13. How do you balance your music with other obligations (mate, children, job?)

Juggling. Just like with everything else.
 

14. What is the saddest song you ever heard?

John Hiatt’s “Tip of My Tongue” 

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

Playing out with my pal Rick Dahms as “Tim Couldn’t Make It” and with Rick and Michael Marcus and Wesley Peterson as "Tim Wasn't Invited".  I play out with Allison Shirk from time to time. I’ve also got one or two pots of secret sauce on the stove. We’ll see what develops. 

I started playing slide about a year ago and I’m having fun with that. it’s changed the way I play without the slide. That surprised me. I’m singing more as well, and it’s fun. I used to not want to sing much. For decades I sang only two songs live. Then a while back I added a bunch of songs to sing because Rick was singing everything and I wanted to share the load. My voice is getting better, I guess it's because I'm singing more. 

I’ve been in the recording studio a few times in the last year, with Allison Shirk and with Ike Harmon. I love working in the studio and hope to do more.
 

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

When I made the conscious effort to break in, the doors opened. This community of musicians is unlike any I’ve experienced in the past with regard to its warmth and camaraderie. I think it’s due in large part to the fact that we’re almost all of an age where we’ve been through all the shit already and we just want to play. 

I try to make it out as much as possible to see others play here on the Island. Every time I play out I see familiar musician faces in the audience. Often times there’s so much music going on we all play somewhere then go listen somewhere else. There are lots of opportunities to sit in with others. That’s not common elsewhere.

I love the thematic showcases that both Vashon Events and Debra Heesch put on. The level of resident musical talent on this island is phenomenal and when you get a bunch of those musicians on the bill it makes for some unforgettable evenings. 
 

17. What are your short and long term music career goals and how would you define success?

Short term I want to continue to find opportunities to play out and record. Long term I want to keep playing as long as my hands cooperate. Success for me is being able to stay awake late enough to go out and play or listen to live music.

18. What are your ideas on how to improve the music scene on Vashon?

I’m pretty new to the Vashon scene. Ask me again in a couple of years.
 

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

A moment after my son Drew was born I told him that I hoped we’d be able to play music together. We did, from the time he was about 3 years old. We recorded an EP in 2003 that I’ll always cherish especially because we don’t get a chance to play together these days. 

I didn’t get much family support for my music while growing up. So once when I was on the road in California I was thrilled when my parents came to see my band. My Dad walked up to me after the show. He gave me a hug and told me he was sorry he had yelled at me to “turn that noise down!” and he understood finally what all that noise was about. Now he comes out to see me whenever he can. 
 

20. Any last words/thoughts?

They're not my words: Blues guitarist Leadbelly said, “Doctor, if I put this here guitar down now, I ain’t never gonna wake up.” And he was right.

Cheers,

Doug

Allison and I first learned of JD Hobson back in August of last year, when our friend Silver told us that he had just moved here to Vashon with his family.  JD had been on our radar already, but we didn’t know he was an Islander.  Not long after, we met with JD for dinner at the Hardware Store and quickly got to know the man.  We had heard his music, so we knew how solid this guy was – within a week we had him booked at both The Red Bike and Snapdragon.  His first gig at the Red Bike was December of last year and they rocked the place like nobody’s business…the dance floor was full and everyone loved them.  

JD Hobson has been performing for 15 years, both with his band mates and as a solo artist.  He’s got two CD’s that we know of – one is with the band and the other solo…and they are both pretty fantastic.

Look for JD’s upcoming music schedule on his Facebook page – you’ll find him locally right here on Vashon Island at The Red Bike on May 5th (2017) with his full band and solo at Snapdragon on February 25th (2017).  And if you’d like to catch him at a gig off-Island, you’ll find him at various venues like The Infusion Bar & Grill in Snoqualmie, Scotch & Vine Riverbend in Kent, The Triple Door Musicquarium, H20 in Anacortes and more!  You can also hear his music on KVSH Voice of Vashon.

20 Questions:
1. What were your musical beginnings? (e.g. when and why did you start playing)

I started playing rock music during the 90’s non-professionally. I transitioned later on to more of a Blues sound that I had soaked up from my dad when I was young. I was a teenager in Seattle during the grunge era and went to my fair share of all-ages shows at clubs like the OK Hotel, where a lot of famous bands played before they got big.  When I got into my mid-twenties, I began to broaden in term of my musical tastes and heard some of my heroes, like Mark Lanegan, start playing root/folk/Americana/Blues. I had always heard my dad play this kind of music on the stereo growing up. It just clicked for me. I also went to Centrum’s Country Blues workshop in Port Townsend and I was able to take classes from some of the living Blues greats (like Honey Boy Edwards who has since passed on). That experience changed my life and I found that the music just came out naturally. I’ve been performing now for the last fifteen years as both a solo artist and with a band. 

2. Is your family musical? (e.g. fondest musical memories): 

My mom’s dad sang in a Barbershop quartet and had a great vibrato to his voice. My mom teaches music classes. My dad is a music enthusiast.

3. What was the first tune you learned?

The first song I learned to sing was Mother Love Bone’s Stargazer in 1992. Before that, I didn’t know I could sing.

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

Americana, Blues, Outlaw Country. 

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

I really like Scott H. Biram, a.k.a. The Dirty Old One Man Band. He’s an Austin guy. He’s a solo artist that plays roots in a way that can get a whole room dancing. He plays a stomp box along with guitar, and I got the idea to play a stomp box from him. 

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument) 

I play guitar, also, when I play solo, I play a “Porchboard Bass” stompbox with my foot. My main acoustic guitar is a Gibson Songwriter Deluxe cutaway. I also play a Johnson resonator guitar and a Gretsch archtop guitar.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

I played a gig in Ballard at the Lock and Keel Tavern on St. Patrick’s Day and the place caught on fire while I was on stage. A meat smoker caught the storage room on fire. I made sure to save all of my equipment, which in hindsight was a bit of a questionable decision. I ended up continuing the show out on the sidewalk while everyone waited for the firefighters to put it out.

8. What is your process for writing songs? (what are your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I’ve been working on my next album and I’ve been doing some writing down at the beach. I walk out with a notebook and just sit and write out some lyrics. A trick I’ve learned is recording ideas on my phone as I play around with the guitar and then go back later and listen.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?  

I get more interested in going back and digging into traditional roots. The more influences, the better. 

10. What aspect of making music excites and discourages you the most right now?

It’s exciting to get music out to people and turn them on to an old style they may not have heard. 

11. Do you get nervous before a performance and how do you handle it?  (e.g. making mistakes, advice you would give to beginners).

I don’t get too nervous anymore before performances, it’s more like extra energy that I channel into my pre-show routine. If you’re new and haven’t performed much before, send as much of that anxious energy as you can into practicing. Think about what you want to say about your songs on stage ahead of time.

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I don’t have a set rehearsal schedule. I mostly practice when I’m working on new material. 

13. How do you balance your music with other obligations (mate, children, job?) 

I do the best I can to prioritize music.  

14. What is the saddest song you ever heard?

Death Don’t have no Mercy by Reverend Gary Davis.  

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

I’m working on my new album and writing some new stuff.

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

The music community was such a pleasant surprise to me when we moved here a little over a year ago. It seems like everyone on the island owns a guitar and has a positive attitude about music and sharing it with each other. This island has more than its fair share of music events for the size of the community. I’ve enjoyed sitting around the campfire sharing songs with other musicians and playing various venues on the island. People are supportive of music and the arts in general here in so many different ways.

17. What are your short and long term music career goals and how would you define success?

Short term is recording my next album and getting some radio play with it. Long term is to produce albums on a regular basis and doing some mini-tours. Bucket list is a European tour with my family, this is a dream we’ve had for a couple years now.

18. What are your ideas on how to improve the music scene on Vashon?

I really like what I’ve experienced here so far. I really think people have the right idea and are coming at it from the right angle, which is what really matters.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My wife, Kristy. I appreciate her so much I wrote her a song.

20. Any last words/thoughts?

I would like to give a personal thank you to the community for being so welcoming and supportive. I really feel at home here.

Born in New York City in 1950, then growing up in White Meadow Lake, New Jersey, Bob Krinsky has a lifetime passion for songwriting under his belt. He has performed his songs in coffeehouses, clubs and festival stages from the Big Apple, New Jersey and the Catskills Mountains, to West Coast venues such as the Oregon Country Fair, Seattle Folk Life Festival, Seattle Freemont Fair, Okanogan Family Fair, Vashon Island Earthfair, and other roots places.  Anybody that knows Bob knows that he has two true passions in his life...his family first and foremost, with his music not far behind. It shows. It's contagious. 

Bob Krinsky has been in several bands through the years, some of which are Rogues Gallery; Volunteer Reggae Band; Buff Jerkin; Radio Daddyo; Adventures in Modern Music; RickyLeeBob; The Works....too many to list.  Bob's been a musician for over 49 years and plans on doing the same for many years to come.  You can see Bob in the newly formed band Gypsy Wolf at a venue near you soon!

20 Questions: 

1. What were your musical beginnings? (e.g. when and why did you start playing)

In 1963 (age 13) I was inspired to start playing by Dr. Harry Feinberg, father of Danny Fields a famous prime-mover in the music industry. (See “Danny Says” a feature film biography of Danny Fields release September 30, 2016). Danny turned me on to the Doors, Tim Buckley and others in whose careers he was instrumental.  It’s a long story but that is the start of it. 

2. Is your family musical? (e.g. fondest musical memories)

Yes, my father sang solo in synagogue in his early years. We grew up harmonizing songs.

3. What was the first tune you learned?

Venezuela by Burl Ives.

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

Original eclectic modern folk-rock. 

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Tim Buckley, Rolling Stones.

 
6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

Guitar, Bass, some keyboards for writing. Dr. Feinberg saved my life when I was five years old by injecting adrenaline into my chest when I died from a bee sting. I always wondered what happened to Harry’s Gretsch Guitar. Danny Fields sent it to me some years ago. It was a magic moment and of great spiritual comfort to me. I treasure that guitar.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

The High Times Wee Festival in Red Bluff CA was pretty strange.  My song “Worser Things” got me invited to play at the festival. 

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

It takes from 5 minutes to 30 years for me to write a song. My three CDs are examples of how wide my subject matter can be.

 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

Only recently have I become aware of how out of touch I am with modern musical trends. For this reason as well working with Wes Brenner in producing and playing on his new first  album, I am now more interested in what music is happening.

  
10. What aspect of making music excites and discourages you the most right now?

Voting on TV for talent is discouraging. Not to diminish the god given talent some are blessed with but I fear a Bob Dylan would not have been discovered in today’s world.

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

Yes, I get nervous but not so much as to scare me off. I just surrender to the environment and plunge into the song.  

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I practice as much as I can but never enough. 

13. How do you balance your music with other obligations (mate, children, job?)

I am fortunate to have a family that loves music and encourages me to play. They are always happy to see me doing something I love the most.
 

14. What is the saddest song you ever heard?

Maybe 1913 Massacre by Woody Guthrie, which I just performed at the "Will Sing For Vashon" Benefit Show on December 23rd at the Red Bike.

 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

Finishing The Family Album by Wes Brenner and starting work on my 4th CD.

 
16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

Unbelievably huge and talented. The better the musician the more generous I find. It is usually amateurs who want to step on the jam and play over others or want to exclude less proficient players from participating. Some musicians love my music and follow it. Others not. 

17. What are your short and long term music career goals and how would you define success?

Of course I would like to reach more people with music but other demands and my own cowardice have prevented me from going all out to promote myself. It is just not in me and I lack the confidence to toot my own horn and promote myself. I have a loyal group of folks who love my music and I find satisfaction in that. I would like to be a better musician to write better songs. I have not given up the idea of continuing on to more success. 

 
18. What are your ideas on how to improve the music scene on Vashon?

No person or company could do a better job than you two. 

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

There are many but my family and friends like Zoe Gould and Lee Robinson stand out. Also, lately, Dominick Wolchck and Wes Brenner have really validated my music and have encouraged me to get out there. 

20. Any last words/thoughts?

Music sets you free. If you love freedom then grab an instrument and play your heart out. Remember Woody Guthrie’s guitar had written on it: “This Machine Kills Fascists".

Ken Widmeyer is co-founder of the band Rooster with Rick Doussett (2012-present, Vashon), and also co-founded WTB, a now defunct Seattle blues band that gigged regularly throughout the Puget Sound blues club circuit (2009-2012), and previously a studio-only band I started playing with back in 1988. We played and recorded together for more than 25 years, though only did a handful of public performances. When I showed up for the first time, the bass player turned out to be the very same guy I had played with in a garage band in my high school days in Tacoma. A small world indeed. Ken considers himself more a passionate "hobbyist" and "weekend warrior" when it comes to music. He's a designer by trade.
 
Rooster just played a very fun gig at The Red Bike, their favorite Vashon venue. Rooster has played Strawberry Festival main stages every Summer since 2013, so they always look forward to it. Ken has also been a "Coop guy" for years, so Chris Anderson always invites him to the annual Bob Dylan/Steve Amsden Birthday jam at The Coop in late May so Ken can cover the Hammond organ parts on Dylan tunes.

1. What were your musical beginnings? (e.g. when and why did you start playing)

I started taking violin lessons in the 4th grade which thankfully ended in 8th grade when I had to make a choice between school orchestra or art classes. Art won hands down and later that year I was chosen to be the art director of the school yearbook, my first official graphics job. That Summer, my Mom bought me a dual manual Elka Panther combo organ. Very cool! She told my Dad she hoped the organ would keep me occupied and out of juvenile hall (which it did), but I also think she wanted her piano to herself again. Within a month I joined my very first garage rock band. "Hey, Ken's got a combo organ that sounds just like The Doors!" I obviously couldn't play like Ray Manzarek ... but I had the organ and amp which is all you really needed to be in a band at that age.
 
2. Is your family musical? (e.g. fondest musical memories)

My Mom is an accomplished pianist with a piano parked front and center in the living room. Mom always played piano for grade school PTA meetings and was the substitute church organist. She played piano often, and I would mimic what she was playing an octave up on her piano ... which must have driven her crazy. My Dad used to play violin and she would accompany him on the piano on the rare times he brought it out, which is why I took up violin. I was always fascinated with the piano keyboard though and watched my Mom intently. Eventually I started sounding out things I had heard by ear. My younger sister took piano lessons. I remember her playing from an Elton John songbook, but she was playing the vocal melody line. I sat down at the piano and said Elton is actually playing this on the record. She said "How do you do that? I hate you!" My older brother, though not a musician, had great taste in music ... and a nice stereo ... introducing me to a wide range of rock and blues music that would have taken me years to discover on my own. I was a Doors, Traffic, Cream, Blind Faith, Hendrix, BB King, Otis Redding, Savoy Brown, Rolling Stones, and Allman Brothers fan early on because of him.
 
3. What was the first tune you learned?

Probably "Twinkle, Twinkle" on the violin .... just like everyone else.
 
4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

An ecletic mix of Blues Rock, Funk, Jazz Fusion, R&B, Pop, and Soul.
 
5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

I suppose my earliest piano influences were Leon Russell & Chris Stainton (Joe Cocker); Ian Stewart, Nicky Hopkins, Ian McLagan (Rolling Stones); Stevie Wonder; Donald Fagen (Steely Dan); Chick Corea (RTF) and later Joe Zawinul (Miles Davis, Weather Report); Herbie Hancock; Peter Gabriel; Jerry Harrison & Bernie Worrell (Talking Heads); and Marc Hollis (Talk Talk). Early organ influences were Ray Manzarek (Doors); Steve Winwood (Traffic); Duke Jethro (BB King); Gregg Allman (ABB); Goldie McJohn (Steppenwolf); John Paul Jones (Led Zeppelin); Gregg Rollie (Santana); Stephen Stills (CSNY) and later Benmont Tench, Jimmy Smith, Jack McDuff, and Reese Wynans (SRV). More recently Nigel Hall on Hammond B-3 and keys for the Warren Haynes Band who I had the opportunity to spend a few hours talking with backstage at The Showbox and after the show on their tour bus, along with Warren and rest of the band. Quite a memorable night for me! Also Kofi Burbridge with the Tedeschi Trucks Band and of course, Grace Potter.
 
6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I would say I am first and foremost a Hammond B-3 tonewheel organ player. Shortly after getting my Italian combo organ in the late 1960s, the venerable Hammond organ started appearing more and more in the music I was interested in. The key element in the unique sound of a Hammond organ is the Leslie Speaker – an absolutely wondrous piece of wood furniture full of spinning horns, rotating deflectors, belts, pulleys, whirring electric motors, loudspeakers, and tube driven amplifier. I HAD to have one! I bought my first Leslie and hooked it up to my combo organ. It sounded surprisingly Hammond-like. I was in heaven. My 2nd and 3rd year of college, we had "house bands" so I always roomed with other musicians. I ended up selling everything in the late-1970s, being keyboard-less until I bought a Fender Rhodes electric piano (another love of mine) in the mid-1980s. I started joining bands again in the 1990s, owning countless synths with barely passable Hammond organ patches. 

I bought my first vintage Hammond, a "Baby B" M-3 spinet with Leslie 122 in the mid-90s and then my current full-size 1958 Hammond B-3 in 2000. Finally the real thing! I play my vintage Hammond 8-10 hours a week schedule permitting, but weighing in at 425 lbs plus the 150 lb Leslie cabinet, it never moves from my home studio. Over the years I've become an amateur organ tech just to keep my 60 year old vintage equipment running properly. Thanks to recent advances in digital music technology, contemporary "clonewheel" organs do sound much closer to the real thing. So my portable instrument now is a new dual manual Hammond SK2 which not only does a convincing job of duplicating a full size vintage Hammond and Leslie, but also has realistic sampled Rhodes & Wurlitzer electric pianos, clavinets, synths and strings. In a band-mix, it works and it only weighs 35 lbs. I built a custom folding wood stand out of table legs for my SK2 that makes it look and feel more like a real B-3. I still haul a Leslie Speaker to 3 hour gigs. The Leslie is a 2-piece contraption on wheels I assembled out of vintage Leslie parts that I can actually still lift into my truck by myself. Sometimes you've just got to have the real thing and "move some air".
 
7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

At age 15, I sneaked into our church organ loft with my friends after school, cranked up the Hammond C-2 and played "In-A-Gadda-Da-Vida" at full volume to the delight of me and my friends. The choir director was not at all amused. I explained the song was "In the Garden of Eden," but she didn't buy it. We all got kicked out and the church organ was always locked after that episode ... I, of course, tried again many times when I thought she wasn't within hearing distance. 
 
8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I focus on organ improvisation when playing on my own. I play solely by ear and with chord charts. Currently I'm writing new keyboard parts for several Rooster originals, songs that Rick Doussett has written. I've always liked guitar-driven bands, even if they don't feature a keyboard player, so I've always had to make up keyboard parts that never existed. Hammond organ and piano keyboards fill in the mid-range and help create a "wall of sound" in a band mix. Learning how to fit in into a band mix is so important, so what you don't play and leaving space becomes paramount, too. Now that Rooster is focusing a little more on funk, I'm adding more vintage synth and clavinet sounds into the mix. New territory for me and very fun.
 
9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I'm always discovering new influences in both retro and contemporary music. It never stops. Thank goodness for YouTube and iTunes.
 
10. What aspect of making music excites and discourages you the most right now?

The more you know, the more you realize you realize how little you know. It can be a frustrating but ultimately a rewarding personal journey.
 
11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

Nervous only if I feel I haven't prepared enough, which I try to avoid by prepping in advance. We always seem to rise to a higher, more inspired level for a gig. Always keep playing even if you mess up. Someone might think you're just playing "outside" to use a jazz term. For aspiring musicians, I recommend just get out there and do it. Go to jams. I participate in various jams on the island. One in particular that I attend feels like an "Old West shootout" where it's total improv and you're unsure where it's all going next. Living on the edge without fear makes you a better musician. It's a nice change from the rigors of band rehearsal where you're trying to perfect the tunes you're working on, playing sections over and over again. If you've got stage fright, simply record everything you do while you're practicing so you get used to being "on air" and you're always on the the spot.  
 
12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

3 hour Rooster rehearsal sessions weekly, plus countless hours of weekend "homework" on my own on new band material or tunes that still need polishing. 
 
13. How do you balance your music with other obligations (mate, children, job?)

It's an ongoing issue ... "you know you played organ for 5 hours and you said you would mow the field today." Luckily, I have a very supportive and patient partner in Morgan Brig.
 
14. What is the saddest song you ever heard?

"Adagio in Gm" by Tomasco Albinoni comes to mind immediately. Erik Satie's "Once Upon a Time in Paris," maybe more haunting than sad. And Chopin's "Nocturnes." Just my early classical roots showing.
 
15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

Rooster, Rooster, Rooster! New originals plus always introducing new covers that I think might fit the band and that we can do our own take on. 
 
16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)
 
Lived half-time on the island and the other half in Seattle from 1998 until I moved here full-time in 2005. Nobody seemed to be playing electric blues that I had met on the island so I always went off-island to play. It took until I was invited to The Coop in 2012 to find the music scene I was interested in. Walked in and thought I'd recognize people from the ferry or Thriftway. Didn't know a soul. 6 hours later I was in a Vashon band. 

The Vashon arts and music community is so diverse with so much local talent. Very supportive of each other no matter what the genre. 

17. What are your short and long term music career goals and how would you define success?

Get tighter as a band. Take more chances when soloing. Remembering to practice my Phrygian & Mixolydian modes in various key signatures, which is critical to successful soloing. Get better at leaving space for others, i.e. not playing at all sometimes. Better song dynamics. Write some old school funk tunes. Meet and play with other musicians that challenge me further and get me slightly outside of my comfort zone.
 
18. What are your ideas on how to improve the music scene on Vashon?

Just trying to do my part as a local musician and always be excited about playing. Vashon Events, Strawberry Festival, The Red Bike, Snapdragon, The Coop, and the new VCA. It's already so amazing. 
 
19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

Obviously dear ol' Mom. And Morgan for putting up with me and listening to hour after hour of sometimes very repetitive organ comping. 

When I came home from The Coop that first night in 2012 I said to Morgan "hey, I think I just found my guitar player." Turns out Rick Doussett went home and told is wife he'd just found his keyboard player. Rooster was born that night.
 
20. Any last words/thoughts?

Keep up the good work everyone!

Vashon Island-grown Jamie Riley, 28, is a songwriter, performer and multi-instrumentalist. Jamie grew up here on Vashon Island and now lives and teaches in Seattle.  He's been a musician for about 16 years now and has performed with several bands such as The Allison Shirk Band, Loose Change, Todd Zimberg & Maggie Laird, Wax Orchards, Olympus and Megan McConnell.  Jamie also performs solo - you may have seen him at his Snapdragon show last November.

Riley's music is a mix of genres including rock, folk, reggae and blues, taking listeners through a range of song landscapes in expression of a heartfelt connection to the Pacific Northwest. A singer and lyricist, Jamie records the guitar, bass, piano and anything else required of his compositions, while leaving drum performance to established local drummers like Jesse Whitford. Riley performs his music mostly on Vashon Island and in the Seattle area.

 
1. What were your musical beginnings? (e.g. when and why did you start playing) 

I took interest in electric bass at age 12. I had been listening to albums and making my own mixtapes for a few years and I became inspired by what I heard.

2. Is your family musical? (e.g. fondest musical memories) 

My mom plays piano as a hobby, my dad played drums a bit as a kid and my brother plays guitar. And my uncle is a musician, and when he visits we have jam sessions that are a lot of fun.

3. What was the first tune you learned? I wish I could remember, my initial introduction was teaching myself to play numerous Red Hot Chili Peppers, 311 and Incubus songs, and there are too many to name.

4. What genre of music do you consider your work to be? (e.g.how would you describe your music to others?) 

Something like, in no particular order, rock, reggae, folk, blues and more. I’m grateful for how music takes me through different landscapes and approaches to songwriting.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you? 

Deep Purple. They are who I think of after The Beatles, each member is so essential and delivers the best out of their instruments.

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument) 

For guitar I mainly play a Fender Stratocaster, but I also favor Gibson special guitars with P-90 pickups. I also use Yamaha acoustics, Warwick and Fender basses, various brands of Ukuleles, and usually LP percussion for auxiliary percussion. The piano I’ve been using is a baby grand.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues) 

The most unusual gig I played was probably with Todd and Maggie Zimberg and Loni Richardson in what seemed like a big garage in Capitol Hill. People were spray painting the walls right next to the band just having a good time.

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song) 

An exciting thing about music for me is that songs come together in what seems like an endless amount of ways. It could start with words or a beat or any instrument part. It’s rewarding to both consider and just let loose the message, the melody, the story and everything that goes into a song.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is? 

I’m always seeking out music I haven’t heard before. I don’t seek out new releases in particular, just as I don’t seek out old releases for the sake that they’re old, but my collection is always expanding as is my love and gratitude for music.

10. What aspect of making music excites and discourages you the most right now? 

I’m most excited about the music itself I would say, and wherever that may lead me, but I’m most thrilled by music, both songwriting and performing. Getting the right setup for practice, rehearsal and recording takes time and money, and that can be frustrating, but I wouldn’t say I’m discouraged about making music, I
feel that I just have to keep my head up.

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners) 

A little nervousness is a good thing and shows you are passionate about what you do. I’m better now than I was when I first started performing. I like to rehearse daily. Working on my craft is something I’m always doing and I want to share what I’ve created.

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals) 

I usually spend 2 to 4 hours a day practicing, writing and recording. Breathing exercises and vocal warm
ups and then I usually practice some songs I’ve got on my mind or dive into working on a recording.

13. How do you balance your music with other obligations (mate, children, job?) 

I work on music in the morning and when I’m home alone. I give music lessons for a living so it’s music all the time for me, which adds fuel to the flame for my musical aspirations.

14. What is the saddest song you ever heard? 

Fire and Rain by James Taylor.

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc) 

Right now I’m finishing up some new recordings to promote while planning some gigs for spring and summer in Seattle and on Vashon.  I’ve been promoting my music on my facebook page via youtube and Soundcloud.

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play) 

There are so many great musicians on the island, and people are very jolly. I’m proud to be from a place where so many folks actively participate in the music scene, it’s inspiring.

17. What are your short and long term music career goals and how would you define success? 

Short term goals right now are to put together my pedalboard for guitar effects, to record with a new Blackstar 1x8 1 Watt tube amp and to release the new songs I have. Long term, I hope to make a living with my music. I define success as a musician as getting involved with people and representing a positive message, whether to a friend or a sizable audience.

18. What are your ideas on how to improve the music scene on Vashon?

More reggae music.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.) 

I’ve always had good support in my musical aspirations, from family to music mentors, which is something to be thankful for.

20. Any last words/thoughts? 

Vashon Island is a swell place to have grown up. Cheers.

The Short Biography of Christopher John Anderson, aka Johann Amadeus Machetski….

San Fernando Valley to Santa Barbara to Basin City to Kennewick to Walla Walla to Vashon…in less than sixty years.

Bad student to drafted minion to good student to teacher, tiler, guitar holder.

Many of you may know Chris from The Coop, a sweet little jam spot on the Island that's off the grid, but only by design. It's a place for community, where our amazing local (and some off-island) musicians gather to entertain their friends and family. Chris is also a member of Poultry In Motion, a really fun band to go see live and kick up your heels to.  You'll catch them in the Beer Garden, closing out our big Strawberry Festival on Sunday, July 23rd this year.  Don't miss it, it's a hoot!

1. What were your musical beginnings? (e.g. when and why did you start playing)

Big band and bag pipes blasted into my consciousness every Sunday morning at 6am…gift from my semi communist left leaning father….

For me: Rock 1959 Chuck Berry—Folk 1964 Bob Dylan—Soul Music 1966 The Temptations—Blues 1970 BB King—Country 1978 Hank Williams—2015 Cajun Dave Lang……

2. Is your family musical? (e.g. fondest musical memories) 

There were comedians, writers, radicals, dancers, poets, cartoonists, soap box left wingers, union organizers, multicultural drinking sessions, book groups, intellectual boors, great books discussions,typewriter tapping, murder novel writing…music was around….but I was the first and still the only musician in the lot.

3. What was the first tune you learned?

The only song that comes to mind probably because I play it every day to practice finger picking is “Don’t Think Twice It’s Alright”. I have been playing it since probably late sixties…one day I think I will actually learn the damn song…is it turning on my light or calling out my name first?

4. What genre of music do you consider your work to be? (e.g.how would you describe your music to others?)

If I take all the music I have gone through in my time…I think I lean toward a version of country rock….I like lyrical writing too. I also like to try and create dance music….so danceable lyrical country rock? I also like to keep it simple and find a groove of some kind. People who know me know I shudder when asked to go  beyond three  chords.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Delbert McClinton…..he combines blues, country, rock, soul….all of it into...  Just an amazing voice, great writer and arranger…he puts on a great show.  It shows - he is there to party with people.  Dylan/Young for getting me to write/harmonica/ guitar sing.  Chuck Berry for the rhythm. EC for guitar playing and so many others

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument) 

I play a 1971 Martin d28 that I have mistreated since 1971. I have left it out, behind, in the car, in the back of my truck but... It threatened to leave me a few times, like when I brought that fancy Taylor home…but I still have it…I REALLY like a well made guitar that can take the abuse of a lazy musician. Also a 1997 red stratocaster …a few changes in pickups over the years but basically the same guy …and a newer j 200 blue/black gibson I am beating the hell out of by playing cajun music with it……

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

A ‘Talent Show’ in Vietnam where I was talked into participating by the company sergeant …a chance to show off my immense guitar talent …and sing in front of people for the first time. In my incredible wisdom I chose to do Draft Dodger Rag by Phil Ochs….why …quien sabe… the story of that night can wait for some other time but…I lived to answer question eight.

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I usually work off a phrase that just pops up….often while listening to music…I keep all of these in folders and revisit them periodically. Some get out and become a ‘song’ of sorts…usually I play simple melody just to get the phrasing the way I want….and some of these ‘song’s become songs that I keep playing …. after a while…I kind of know which I want to sing and which go back to the morgue for a while…but I do revisit all of them….I always want to be writing a few songs…….great fun

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

My interest has never changed…I have to listen to old new whatever music…in genres I like. I like learning older songs to introduce in jam sessions…a  Neil Young….always a  Dylan…maybe Spinal Tap…Fred Eaglesmith.…Playing other people’s music helps me write my own…teaches me timing etc

10. What aspect of making music excites and discourages you the most right now? 

The best part of being a musician is interacting with other musicians….playing alone is not really an option for me…duo, trio, band, jam session…when musicians get a groove working together….nothing better for me. 

Discouragement comes when you look at the shrinking number of legitimate venues for live music performance….there are so many talented young, middle aged, oldimer musicians and few places for them to play for an audience…this is why The Coop exists….hoping to see other Coops around the island…house concerts that look more like a Texas dance hall night….the idea of sitting in rows watching music is not my kind of entertainment….

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners) 

First I would say I don’t get nervous anymore. When you are booed off the stage by drunk bored enlisted men in a large tent in Vietnam..nothing really can top that. There is anticipation….but also the fun of annoying people for a while. I also believe in large bands so I can slide into the song I can’t remember with someone’s help. Alone? That would be difficult for me. 

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I play most days. I rehearse Poultry songs for 5 to 10 minutes a month (to keep up with the band)…I also rehearse cajun music to minimize the Lang chew outs….(doesn’t work at all)….right now I am preparing for a solo (sort of) show of my music so I play 20-22 originals every day. I also am returning to the harmonica for this show and am using that with my songs. I also play/learn a set of new covers for jam sessions…that’s fun…occasionally….I practice with an online program which helps me realize that however far I think I have come…I have a long way to go

13. How do you balance your music with other obligations (mate, children, job?)

I let most things slide so I can play music. At least I use that as an excuse for not doing too much maintenance on the place (no price to pay there)…I also don’t really have a job anymore except for the sporadic substitute job …

14. What is the saddest song you ever heard? 

Every cajun song is sad. All of them. But I would nominate “I’m So Lonesome I could Cry” as the saddest ever written…..the silence of a falling star lights up a purple sky…or any song played at a trump event….

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc) 

Finished my CD…sent it to my mother…. Keeping the rest in cardboard box on a shelf near the old sheets…to find some day and wonder what was I thinking? Keep The Coop going…just like that place and the people who hang around it….Heavy rehearsal schedule with Lady Gator and the Swamp Guise AND Poultry in Motion….write/record new songs…create youtube channel…fight the evil coming at us from Washington DC…keep open mic/jam going most Thursdays…prepare a solo (sort of) show for June.

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

Fantastic place…can’t imagine any place better….maybe as good…but not better. With all the ups and downs I have had there never was a better place to come home to. Really. I especially like the ferry announcements…they will actually teach you how to don a lifejacket and be happy to do it…….

17. What are your short and long term music career goals and how would you define success? 

Stay in the band. Long and short term goal. Also headline at the Ryman Auditorium….

18. What are your ideas on how to improve the music scene on Vashon?

Rumble strips would be a start. Musicians who struggle with time can ride their bikes up and down the street.actually…it might not help ….more live music venues ….. the small kind…not tiny but not performance hall type either…in between

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.) 

My parents…bought me a 1960’s Martin 0018….it is really important to start out on something worth playing….after that I would say the folksingers of the 60’s….and early rock and roll….and…….

20. Any last words/thoughts?   

All the above....thanks for asking

Steve Itterly is a Colorado-based singer-songwriter who draws from a deep well of American musical traditions to create distinctively personal music that is timeless without being overly nostalgic.

Hailing from New York, Steve ventured to Boston after college where he studied country blues and ragtime guitar with local greats Paul Rishell and Racky Thomas. It wasn’t until he moved to Colorado where he honed his skills and began writing songs of his own, pulling from genres such as country blues, early jazz, western swing, folk, and ragtime.

Steve’s musical journey began in his early teens when his father and brother introduced him to Eric Clapton, Bob Dylan, Robert Johnson, and Blind Willie Johnson to name a few. There was something mystical in the raw passion of the guitar and vocals that moved him deeply. Steve spent hours with his ear pressed against the stereo speakers trying to learn each note.

Steve’s musical style is true to form with his passionate vocals, finger-style prowess, and ripping slide guitar. He has shared a bill with greats such as Bonnie Raitt, Taj Mahal, Keb Mo, Steve Winwood, Jack Broadbent, Anders Osborne, and Benjamin Booker.

Steve has been a musician for 20 years or so, performing solo and in a couple of bands too - Slidin Delta and The Steve Itterly Band.

Next/upcoming performances:

April 20th, 2018: "If You's a Viper" - A Night of Viper Jazz and Blues @ Honeymoon Mead & Cider in Bellingham

November 10th, 2018: Vashon Farmer's Market

December 8th, 2018: Snapdragon, Vashon.

1. What were your musical beginnings? (e.g. when and why did you start playing)

My father used to sing Rolling Stones, Beatles, and Bob Dylan songs to me and my siblings when we were young.  He has a nice voice and it planted a seed.  In my middle school years I was introduced to Led Zeppelin by my brother, and I immediately became attracted to the acoustic finger-picked songs.  I shut myself in for a week or so at one point and figured out Bron-Yr-Aur note for note.    

2. Is your family musical? (e.g. fondest musical memories)

Same answer as 1.        

3. What was the first tune you learned?

Bron-Yr-Aur by Led Zeppelin

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

I'd say Folk / Blues.  I'm a weary of over-associating with the Blues genre, because I feel that my music only touches to early folk origins of the blues.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Bob Dylan number 1, but millions are already tapped into him.  Also number 1, Louis Armstrong, everyone knows him but only the enthusiast listen to his original recordings with the Hot Fives.  He was a brilliant light in the world.   Number 2, Mississippi John Hurt.. That man's gentle light approach on the guitar is very accessible to the beginner and translates well to a more folky asthetic.  As far as folks out today... I really love Gillian Welch, David Rawlings, Gregory Alan Isakov, Corey Harris, Guy Davis, and many many more.

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

I play a 1930 National Triolian Steel Guitar.  It has the original resonator cone in it and has a brighter tone than most of it's contemporaries.  It is the reason why I still play early blues music.  I absolutely love this guitar and feel that if it were lost it would be the end of an era for me.  I also play a little birch-wood Galiano guitar from the 20s.  These guitars were made by the Italian luthiers that built the original Oscar Schmidt Stella guitars that most of early old time players played and recorded with.  I feel that this guitar was meant for me like no other.  It is really helping me find my truest voice and I'm very grateful to have it.

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

I once tried to perform Ali Farka Toure's: Cinquante Six at a wedding for some friends:  https://www.youtube.com/watch?v=3DQMYqLrc7k  This is the most poly-rhythmic tune that I've ever attempted.  The authentic purity of his culture is deep this tune, and it simply cannot be replicated :)

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

Writing songs for me is often a cathartic process.  I often try too hard to express what I sense is building deep inside of me to no avail.  Eventually a song just happens to me after I've driven myself mad enough and dropped it entirely.  In order to trigger the process, I usually spend a lot of time alone just writing the stream of my consciencness, learning new tunes, relating with people, and being in nature.  This usually will brew into something over time :)

9.  As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

Absolutely.  More.  It helps so much to move the patterns that your mind churns in.  Visual stimulation helps a lot to (seeing other performances)

10. What aspect of making music excites and discourages you the most right now?

Creating music for me seems to be more of a spiritual practice than anything.  With that comes a lot of frustrations and breakthroughs.  I'm most excited by the fact that it's always progressing and will never get old.  I'm most frustrated by the fact that I feel lonely with it a lot of times, and that it doesn't always seem to be a lighthearted and joyful experience for me like it does for many other musicians.

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I used to get really nervous.  Now it is more just like a build up of potential energy before I perform.  I do find that I get more nervous then any other time when I play at open mics.  I think it's because you are playing for other musicians in that context and you only get 2 songs.  My advice to beginners would be to just be nervous as all hell.  If you try to not be nervous you will make things much worse.  Nervous energy has a lot of potential to turn into brilliance.  Once you play the first song or two, you will relax and all will be good!

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I used to play constantly and compulsively.  Once I had a kid all that all changed ha!  Now I don't really practice anything at all.  I just spend my time learning new songs of other musicians and writing new songs.  I try to perform out more because that ultimately makes you rely on your innate improvisational abilities.

13. How do you balance your music with other obligations (mate, children, job?)

I don't know to be honest.  I just weave it in.

14. What is the saddest song you ever heard?

Good question...

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

I've recently moved to the region from Colorado, so my approach has been to perform out A LOT and get to know the area.  I spent the entire winter doing this which was good for my sanity, but I'm a little burnt out at the moment and I'm happily slowing down.  I'm looking to spend more time outside playing and writing songs with the approaching good weather.

16. How would you describe the musical community on Vashon?  (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

I only just feel that I'm landing on Vashon and I've been here since June so I haven't tapped into the music scene much yet.  I hope to have a better answer for this soon.  JD Hobson and I have connected and checked out each other's performances.  I feel that we are operating in parallel universes :)

17. What are your short and long term music career goals and how would you define success?

Short term... create more material and and keep making connections in the region and down the coast.  I'd like to be playing more festivals, and quality stages.  Long term probably the same thing.  Success to me would be feeling content with it all.

18. What are your ideas on how to improve the music scene on Vashon?

My observation so far is that Vashon is an aging scene.  I think there needs to be bluegrass, old-time, and songwriter circles that are very welcoming to young musicians to keep traditions alive.  There should also be a vibrant weekly or bi-weekly open mic spot.  (correct me if all this already exists and I just don't know about it yet!) I think the VCA is cool, but it's almost too big for this place and we need more small venues and a solid house concert circuit to support the island's performers.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My wife really supports my dreams.  She is a saint in this regard and I'm very grateful to her.

20. Any last words/thoughts?

Pete, you are a good man for being a champion of all things musical thank you!

Sarah Christine is a visionary songwriter & soulful siren with a deep desire to facilitate connection and healing on the planet through music. Her warm, soothing voice captivates her audience while her high vibrational lyrics beckon the listener inward to stimulate awakening and empowerment. Drawing inspiration from Soul, Reggae, R&B and Gospel, Sarah Christine weaves her enchanting vocals with the calming sounds of acoustic guitar and world infused rhythms to create an original, fresh and uplifting musical experiences that ignite the senses and penetrates the soul.

Nestled in the peace and tranquility of the Pacific Northwest, Sarah Christine has called Vashon Island, WA home for the past 20 years. She is a wife, mother of three, avid gardner, vegan and activist who has also worked as a labor support doula welcoming over 50 babies into the world with song. Her love of travel and music has lead her all along the West Coast, as well as to Hawaii, Jamaica, China and most recently Bali where she teamed up with Michael Franti at his retreat center Soulshine. Exploring the world with music at the forefront is dream coming true.

Sarah Christine has been blessed to share the stage with some of her favorite artists such as Michael Franti, Mike Love, Prezident Brown, Clinton Fearon, Saritah, Publish The Quest, Warrior King, Shimshai and more. She has been featured at numerous festivals and venues including: Northwest Folklife Festival, Conscious Culture Festival, True Nature Yoga Fest, Northwest Roots Festival, Wealthy Goddess Live, Jazzbones, Nectar Lounge, Columbia City Theater, Breitenbush Retreat Center and Triple Door Main Stage.

For the past several years she has held a regular gig performing at the Seattle-Tacoma International Airport where she gets to bring light and love into an otherwise stale environment. While Sarahnading there, she has caught the attention of the legendary Stevie Wonder as well as the Reverend Jesse Jackson.

2016 marked the release of her first full length music video BY THE SEA, which was filmed entirely on Vashon Island by Jacob Bain, Colin Brynn & Jon Glassman. Followed up by her latest single WE ARE ONE which is an anthem of unity consciousness & love. Sarah Christine is donating 100% of all the proceeds from WE ARE ONE to a non-profit organization called the Unstoppable Foundation that is working to create sustainable solutions to the poverty epidemic in Kenya, Liberia & Uganda. Through education, clean water, healthcare, nutrition and income training, this foundation is helping to change lives everyday.

In March 2015 Sarah Christine released her second album WHATEVER IT TAKES which is an intimate collection of solo acoustic originals recorded at her home at RainMoonSun Sanctuary by Jacob Bain.

In January 2013 Sarah Christine released her debut album FREE FROM FEAR which was the launching point for her to begin truly living her purpose. The album features some of Seattle’s top musicians such as Clinton Fearon, Jacob Bain, Jeff Demelle, Davee C Carpenter, Jason Staczek, and Brian Stingshark which infuse the record with a fresh, soulful and intoxicating sound that pairs perfectly with the singers rich honey voice and thought provoking lyrics.

Sarah's been a musician all her life and has been in several bands, such as The Sarah Christine Collective, Pure Water, Big Island Groove, The Crucialites and The Adrian Xavier Band.

Sarah's mom told her that she came out singing which feels pretty accurate to her.

Sarah is currently working on the completion of her third album and she is taking a brief hiatus from performing until it's finished.

Photo credit: Marla Smith

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Twenty Questions:

1. What were your musical beginnings? (e.g. when and why did you start playing)

I became deeply involved in the music program in High School. I started to find my voice in the concert choir, jazz choir and all of the musical theater performances. Around that time I also began taking voice lessons which helped me discover my love for all kinds of vocal music including opera, classical, R&B and jazz. Music became a solace for me in my teen years. I detested school and didn't fit in with the traditional paradigm at all so I survived that part of my life by having an outlet in the arts. Being able to express myself through music gave me a feeling of purpose and connection at a very difficult time.

2. Is your family musical? (e.g. fondest musical memories)

Yes, both of my parents are musical. My mom played tenor saxophone in the church band growing up. My dad plays classical guitar and has a lovely singing voice. He gave me my first guitar at age 16, which he restrung for me because I was set on playing left-handed. My grandmother had an old upright piano at her house that I would sit at for hours every time we visited. That same piano now sits in my living room.

3. What was the first tune you learned?

The first song I taught myself on guitar was 'Redemption Song' by Bob Marley.

4. What genre of music do you consider your work to be? (e.g. how would you describe your music to others?)

I call my music Conscious Soul. It's an uplifting blend of folk, soul, reggae and funk that is lyrically driven with heartfelt messages of empowerment and connection.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

Female: India Arie, Male: Stevie Wonder

6. What instrument(s) do you play? (e.g. tell us about your instruments, brand loyalty, choice of instrument, story about favorite instrument)

My main instrument is my voice but I've taught myself guitar and piano so I could accompany myself and write songs. As for brand loyalty...well as a left handed guitar player it is sadly very slim pickings at the music store. I'm talking MAYBE one or two in stock, but I was fortunate to find a lefty acoustic Martin that I absolutely love!

7. What's the most unusual place you've ever played a show or made a recording? (where have you performed, favorite venues)

My favorite venue that I've performed at in Seattle is The Triple Door. Most unusual place I've performed is definitely at the Sea-Tac Airport. I have a regular gig there where I Sarahnade the passengers post security. It's like busking but with a sound system. During one of my gigs I was approached by the legendary Stevie Wonder who said he had heard me from across the terminal and asked his two assistants to walk him over so he could meet me! I was completely star struck but he was so sweet and gave me a huge hug, complimented my voice and songwriting then told me to keep up the great work. Truly one of the most amazing experiences I've ever had!

8. What is your process for writing songs? (what your are songs about, specific themes, imagery, how long it takes, last time you wrote a song)

I don't have one specific process for writing songs. I feel like they usually come and find me when I'm out in nature, on long walks or in our hot tub under the stars. Sometimes they come to me as complete songs and sometimes they just show up as a hook or chorus which may or may not develop into something. I write in my journal every day and often times I'll draw inspiration and lyrics from there and pair them with chord progressions and melodies that I noodle around with on the piano or guitar. The songs I write/channel are often born from reflections about my life journey and cover topics like overcoming challenges, inner strength, personal growth and living life with meaning and purpose.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I'm always interested in seeking out new music to stoke my creative fire. There is an infinite amount of amazing music in the world and I love discovering it. The internet is a wonderful tool for that!

10. What aspect of making music excites and discourages you the most right now?

Right now I'm enjoying being in the recording process and my favorite part is singing multiple part harmonies on top of my melodies. I'm very excited to share what I've been intensely focused on in the studio for the past 16 months. I find the business side of being a musician to be discouraging. The constant self promotion and planning along with the consistent hustle and grind it requires to get seen and heard feels like a major contrast to my natural state of spontaneous, relaxed and in the moment creative flow. *Side note: I'm seeking a booking agent!!*

11. Do you get nervous before a performance and how do you handle it? (e.g. making mistakes, advice you would give to beginners)

I still can get a little nervous, especially when I'm in smaller more intimate situations. Something that helps calm my nerves is to focus my intention on the lyrics and messages that I'm conveying through the song, this makes me feel more connected with an audience and less pressure to be flawless. My advice for beginners would be to remember to breathe and to not take yourself too seriously. Be grateful for the opportunity as each experience will show you something about yourself. Be willing to be imperfect and vulnerable. After all...it's only music. Know that mistakes are great teachers and can give us valuable information for our growth. One of my songs called NEW MISTAKES is a good reminder for me that says "I will not waste this life being too afraid to try. How will I know, how will I grow if I don't make new mistakes?"

12. How often and for how long do you practice/rehearse? (feel free to describe your rehearsals)

I sing and practice yoga asanas that support my voice for at least an hour everyday. Some days I'm better at creating structured sessions with warm-ups, breath work song study and technique exercises, while other days it's just more spontaneous improvisation and vocalizing. I'm definitely more consistent with my practice time when I have a goal to work towards like a gig or recording session. I have to remember what I like to tell my students..."Don't think of practice as a chore, think of it as an opportunity. If music is truly something that you value and want in your life then make it a priority."

13. How do you balance your music with other obligations (mate, children, job?)

I'm still trying to figure that one out, but my family always comes first. When my kids were younger I would get in my practice time by singing and playing guitar for them during bed time. They would also come along to any gigs that were all ages. Now that they are grown it's more about me being disciplined with my time and carving out windows to work even when the creativity isn't flowing.

14. What is the saddest song you ever heard?

Chasing Trains by Jacob Bain & Publish The Quest

15. What are you up to right now, music-wise? (current or upcoming recordings, tours, extravaganzas, experiments, top-secret projects, etc)

I am currently wrapping up recording my third album with producer and engineer Martin Feveryear here on Vashon Island. We'll be having a release celebration in the Spring and I'm making plans to take the new record on tour Nationally as well as Internationally. In the very near future I'll be releasing the first single called COMING ALIVE along with a beautiful music video filmed by Jacob Bain. I've also got a brand new website currently in the works that I'll also be launching this Spring.

16. How would you describe the musical community on Vashon? (are other musicians competitive or generous, do you support other musicians by attending their shows, do other musicians come out to hear you play)

We are so incredibly blessed to have such a wonderful and active music community here on Vashon. It feels like a very supportive environment over all and I'm constantly blown away by the amount of talent and artistry on our small island.

17. What are your short and long term music career goals and how would you define success?

My short term goal is to release my new album while continuing to grow my network and improve my business strategies in order to build a stronger foundation for my career. Long term goal is to travel and tour the world with music as the vehicle. I'm craving to experience the International music scene and opportunities that will immerse me in the culture, language, history, food, songs and dances of a place. Success for me means freedom and the ability to create a sustainable livelihood that involves travel with music at the forefront while also having the financial abundance to continue recording, performing, giving back, spending time with loved ones and holding down a home base and garden on the island.

18. What are your ideas on how to improve the music scene on Vashon?

I think that there is some really great momentum in general but I'd love to experience more World musical acts and dancing opportunities. Also it would be awesome to have an annual outdoor music festival happen again..something like Island Earth Faire.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams? (friends, family, teachers, etc.)

My mom is my biggest fan and has always lovingly encouraged and supported me in everything I've done. Before I got my drivers license, she would drive me to all my lessons, auditions and rehearsals sometimes waiting in the car for hours. When I started getting roles in musicals, she would write my character names in lipstick across the our bathroom mirror to make it feel like my dressing room. She also never missed a single performance growing up and still comes to almost all of gigs.

20. Any last words/thoughts?

I'm grateful that I have the opportunity to pursue my calling as a musician. I hold it very sacred and dear to my heart. It's certainly not an easy path and sometimes It feels like I'm making it up as I go...but it feels authentic and feeds my soul.

Scotty Hayes is a guitar player that currently plays in an Island band called "The Bad Decisions", along with Gregg Curry, Tim Norton and Ben McQuillin. It's rock 'n roll and they like it loud and fast! Keep your eyes out for the next show on Vashon, you'll be glad you did!

1. What were your musical beginnings?

My Dad traded a 1957 Chevy for a Sears guitar and a drum set when I was 7 years old (1974) and had me take lessons on both. I grew up learning how to play along with Alice Cooper, KISS, Beatles and Bay City Rollers records.

2. Is your family musical?

Interestingly enough I recently found my biological father and brother through one of those DNA tests, turns out my biological father plays in a rock band and my brother Raven plays guitar. What's even stranger is that my biological brother has lived on Vashon his whole life and I didn't know it! Here's the strangest part; my biological father also lived on Vashon for a long time after he came back from the Vietnam war and was best pals with Ron Hook! They used to play music together. My biological father (Joe Wheeler) moved off the Island about a year before I moved here (about 25 years ago), he lives in New Mexico now but our Vashon connection is super cool!

3. What was the first tune you learned?

"Hey Jude" by the Beatles. I thought Paul was singing "Hey Dude"

4. What genre of music do you consider your work to be?

Hard rock. I like music to be like caffeine.

5. What band or musician do you flat-out LOVE, think more people should be listening to, or was a major influence to you?

There are many, however my first influence was Ace Frehley from KISS. His guitar style was Chuck Berry meets Jimi Hendrix, only with explosions which was the part that I really liked. As a lead guitar player I am mostly only playing just one string at a time, bending it up or down in a frantic attempt to match an overtone in the current scale while landing on a note that makes sense; playing lead is a bit over-rated. In contrast, fellow Islander Michael Whitmore uses all 10 fingers and plays all 6 strings at the same time. THAT'S super impressive to me. He plays his guitar like other people play the piano. Eddie Van Halen is my all time guitar hero though ~ that guy can extract sounds from his guitar that nobody else can accomplish with the same success.

6. What instrument(s) do you play?

Guitars with 4 fat metal wires and guitars with 6 skinny metal wires.

7. What's the most unusual place you've ever played a show or made a recording?

A few months ago we played a most unusual place indeed. It was a swanky swingers club, they wanted a live rock band with a (cough) "danceable" groove. We didn't know what to expect so we just showed up with our gear and played loud rock and roll. During the show I kept thinking of the AC/DC line, "...there was guitar, oh let there be rock!" and I'd start laughing again.

8. What is your process for writing songs?

I'll hear a series of random noises in a café or in the woods or in a machine shop and I can't get the pattern out of my head, so I'll try to recreate the pitch patterns on my guitar and it almost never works out or sounds like I think it should. But I'll keep tinkering with it (until it's totally ruined) ~ by which time I've completely forgotten what the original idea was anyway and by then there'll be a new pattern of sounds. I'll refine it and present the idea to the band. I'm cool with that.

9. As you create more music, do you find yourself getting more or less interested in seeking out and listening to new music made by other people and why do you think that is?

I'm pretty much stuck in 1970's Van Halen, Judas Priest, KISS type of sounds. Oh, actually there is a newer band of young kids called Greta Van Fleet. The sounds they make, while not unique, remind me of the first Zeppelin record. This is going to be sacrilegious but the singer can hit notes that Robert Plant couldn't quite reach, plus he's got an aggression to him which is raw and very unapologetic. I have a recording of humpback whale songs that is just fascinating, I've been getting into that a little bit lately.

10. What aspect of making music excites and discourages you the most right now?

What excites me is that there are a ton of really good quality guitars on the market these days that are affordable, same for really good quality tube amps. This is a bit of a golden age for guitar players. What also encourages me is I just saw a 10 year old kid play Eruption by Eddie Van Halen on YouTube. If this is our future, I'm happy! I can say what discourages me is that the younger generation thinks that Autotune is a valid option for not being able to sing. What I really love about the music scene these days is that for the most part woman play guitar and they are not thought of as a "female guitar player", they are thought of as a "guitar player". A few years ago I saw a well known (male) guitar shredder talk with Lemmy Killmeister (from Motorhead) about the band Heart. He told Lemmy that Nancy Wilson was a pretty good guitar player for a woman. Lemmy didn't miss a beat and said, "she's a lot better than you!" I was super encouraged to see a grizzled old veteran like Lemmy take that road.

11. Do you get nervous before a performance and how do you handle it?

I used to guzzle an entire bottle of tequila before a show to kill the butterflies, it wasn't uncommon in the scene I was in, but now I like the butterflies.

12. How often and for how long do you practice/rehearse?

I practice by myself everyday and with the band twice a week.

13. How do you balance your music with other obligations?

I practice until Tory my wife scolds me. Just kidding, she's actually really supportive!

14. What is the saddest song you ever heard?

Mr. Bo Jangles. In the song, the dog dies. Dogs should live forever.

15. What are you up to right now, music-wise?

Trying to play a phrase today that I could not play yesterday makes me happy. I always want to improve on what I could do yesterday.

16. How would you describe the musical community on Vashon?

Very supportive, and there are a lot of us! I've not heard a lot of bad-mouthing other musicians, it's super depressing to hear musicians engage in that behavior. It takes courage to expose yourself on a stage especially if you are new to your craft and it doesn't take much to offer a free lesson to someone struggling. We can all offer advice or a lesson and we can all gracefully accept advice and a lesson. For example, my wife Tory sang on stage for her first time last year at Red Bike and she said not only was she encouraged to do so by established musicians but received helpful feedback and advice after her performance, as opposed to the cold shoulder she might have received elsewhere. I was really proud of our Island musicians for sharing encouragement and helpful tips.

17. What are your short and long term music career goals and how would you define success?

Success is when someone stops me and says something like, "I like your playing", or, "You don't suck".

18. What are your ideas on how to improve the music scene on Vashon?

I have no idea, I think the music scene is pretty good. The music library set up by Pete and Allison is a really cool idea, I hope people utilize it more and practice a lot.

19. Was there anyone in particular who stands out in your life for supporting your music/dreams

Tory my wife. She's my muse, plus she bought an EVH guitar and a Marshall half stack for my birthday!

20. Any last words/thoughts?

Don't take yourself too seriously, there's always someone better and with more hair.