Linda Dachtyl - Hammond B3
Linda Dachtyl- Hammond B3 organ Hammond Suzuki Artist
Linda is a performer, composer, and formally adjunct music instructor at Kenyon College and Ohio Wesleyan University. Her playing experience includes jazz, blues, rock, and classical music genres.
She holds a Bachelor of Music in Jazz Performance from Capital University and a Master of Arts in Percussion Pedagogy from The Ohio State University.
Linda’s LDB3 and Friends 2006 Chicken Coup Records release,”Blue Bop” has received very favorable local and national reviews and also charted for 6 weeks on jazzweek.com in the summer of 2006.
Linda’s second release on Chicken Coup Records, “For Hep Cats” was released nationally on January 8, 2008 and achieved a chart position of No. 45 on the jazzweek.com Top 100.
In addition to her B3 quartet, she is also the leader of the “QED” jazz piano trio that works frequently in the central Ohio area.
Linda will also take calls for B3, piano, keyboard, and drumset work in jazz, blues, and rock genres on a substitute basis.Some other artists and organizations she has performed concerts or club dates with include:
Blue Lou Marini, Trudy Pitts, Gloria Coleman, Jim Alfredson and Organissimo, Gene Walker, Sean Carney, Teeny Tucker, Willie Pooch, Soul Satyr, The Johnny Mack Big Band, The Harry James Orchestra, The Benny Goodman Big Band, Honk, Wail, and Moan, Vaughn Wiester’s Famous Jazz Orchestra, The Rick Brunetto Big Band, Opera Columbus Orchestra, Central Ohio Symphony Orchestra, Columbus Light Opera, Wells Hills Orchestra and Pro Musica
Informal sit in sessions on B3 or piano with: Tony Monaco, Bobby Floyd, Lincoln Berry, the late Gene Ludwig, and the late Hank Marr.
"I KEEP BRAGGIN ALL ABOUT YOU TO ANYONE WHO PLAYS "KEYS:" and YOU ARE THE ONLY CDs except for JIMMY SMITH and McGRIFF in my TRUCK !! CANT GET ENUFF ".. Goldy McJohn, organist of the classic Steppenwolf band
Chip Willis - Vocals and Tenor Sax
words from John
by John Petric
SEPTEMBER 29, 2016
Do Italian musicians feel things differently?
Only one of these questions popped into my head at a very recent Friday Woodlands Tavern happy hour when the monstrously good guitarist Rick Collura and his Blue Cats played like the muddy waters of the Mississip coursed through their veins. I mean, baby, they were up to their necks in blue electric mud, churnin' out deep-pocketed groove like tax exiles in France. Groanin' and moanin' they had me, I confess. Where did their music end and my metabolism begin? It was a delta-Chicago-Vulcan soul-mind meld of the highest order. A rarity these days, what with all the roots doctors of music leaving no inheritors of the genre behind for what reason. #^&%%' millenials.
Nevertheless, I felt like I was in the catfish's stomach by the third song.
They warmed up with an agreeable Eddie Harris soul-jazz number, the signature chords descending like an avalanche of molasses into spumes of Collura's leads front-loaded with sting. Terry Finnerman's classic-sounding '70s Afro-American electric piano riffs speaking in Herbie Hanckock tongues with plenty of rounded blue notes added a fine contrasting dimension, something the two musicians worked to their advantage virtually every song. Jazzy songs, yes, that's 25 percent of the Blue Cat menu. But served in a blue milieu, monsieur, for as Miles Davis told the world, the heart of jazz is kind of blue.
Another warmer-upper: a Santana instrumental from Moonflowers. Collura, like his old band mate Dave Workman, is a Carlos disciple when he isn't riffing dirty Chicago stockyards riffs. He capture's Santana's spirit but just as he rearranges nearly everything a bit he played that night, he solos his own very emotional style, a mixture of nearly perfect melodic execution with a firmly applied fire.
Later in the second set, on a masterful cover of Santana's 'Europa', Collura would go totally emotional. His Italian heritage intensity erupting to the surface? Wherever it came from, he howled with love and lightning. Bending even farther over into his guitar, seemingly involuntarily lifting his right leg nearly up to his picking hand, Collura enveloped the audience in the room in the large palm of his musical hand--and crushed us to death with raw emotion!
Oh, holy Lord of the Six String, did it feel good. Joe Bonamassa, eat your pasta-lovin' heart out.
Between the Santanas, there were loads of straight-up good-time blues shuffles loaded to the belt-loops with libido. The scruffy Blue Cats might not be not be the prettiest band but they sure can play some of the sexiest, tumescent and aphrodisiacal hump music one can handily hear in town. Cool cats on a hot tin roof? Yepper, great to drink to, perfect to hook up to and absolutely sexually correct musically for rollin' and tumblin' in the fine art if not the science of makin' little blue kitties.
Which brings me to their unheralded, easily overlooked and completely deserving rhythm section: the ageless York Proctor on bass and the highly underrated Andy Smith on drums. Yorky cracks me up: nobody and I mean nobody wears a Fender bass like he does. He puts it on, it could be an accordion, or a sandwich sign. Talk about unassuming. And yet he plays an underlying foundation both melodic and architecturally sound, the root notes with the perfect flourish. What more could you ask for from a bass player? The man-lad has taste. One could see him standing through an earthquake, just standing, still thumpin' away even as the dust and rubble clears.
Smith on drums--now there's a guy whose virtues go easily overlooked Because you know, he just sits there...and plays. No flash. No thunder. Just a smidgen behind the guitar in timing the way a real blues band does it (See: Stones, Rolling; grtst Keith Richards, drms Charlie Watts). Great rhythm sections are seen and felt. The Blue Cats got that in York and Smith, unlimited groove-a-bility incorporated.
Which brings me to their totality. Putting these four together, each a veteran of several decades of endless gigging, and they play with the following group of words I played with as they performed: precision, fire and loose.
Or maybe they played with a loose precise fire. Or maybe it was with a precision, feel and fire.
You get the idea. They got that blues zen of loose and tight, technically proficient but never at the price of losing the feel. A wonder of the world, that.
But let's get back to Rick Colurra, shall we?
I can't tell you how many, many times over the years I've seen him play, usually in conjunction with someone else as bandleader, say, the late, great Willie Pooch, and afterward I've berated myself with, why haven't I written more about this guy? He can play.
Then when he started going out under his own name and I watched him go from side-guy to showrunner--I liked how he did it. I liked how he cued the band, I liked how he called the song, I liked how he nodded for his guys to solo. Then he'd step back in and just let some sort of fabulous solo pour out of his Gibson cherry 'purple' guitar, or his Les Paul knock-off, or his coral-pink '53 Strat, and I'd just think, dang he comes outta his cave like a fire-breathing dragon. I know two things about Rick's playing: the man really likes his electricity; and I've never heard him suck.
I get a kick out of watching him. Nobody hunches over his guitar more. Wearing his Andy Capp cap, he practically shrinks to Danny DeVito size he gets so into his solos. I mean, Rick, baby, you hunch over any further and you're gonna be the Hunchback of Notre Dame with a guitar if you don't watch it.
But it's the emotion that sets him apart. When I was outside of Woodlands tying up my bike I could hear Rick's looming Santana-esque sustain, howling like a stuck pig-elephant, distorted by coming out of a building, out onto the street, into my ears and exciting the hell out of me. He puts so damn much mojo on his left-hand you'd think he was second in line behind Robert Johnson selling his soul for half-price down at the midnight crossroads. He's got the touch and he's a touch touched himself.
I do get a kick out of assigning Italian cultural heritage to his art of the guitar. Let's say he plays a Michelangelo sustain and Verdi's unselfconscious directness. Let's say he sculpts solos as well as emotes them. I won't go so far as to tie a monkey to his left leg with a tin cup in its hand, but maybe, just perhaps there is something to his renaissance playing that comes from the sunny peninsula.
More highlights of the night were his bluesed-out version of Bob Dylan's "Tonight I'll Be Staying Here With You," which just gave me chills simply writing the title, it triggering the Cats powerful rendition. The quartet gave it such a fine, lengthy reading I was shaking my head in loving disbelief. All that was missing was Joe Cocker doing his booze-drenched white soul vocals. Finnerman did the honors and took it home, anyway. I can't tell you how terrific their version was. An electric guitarist who gives props to "Nashville Skyline" as one of his all-time favorite albums? Awesome.
By the way, my analysis of the guitarists who've most influenced Collura: he's got that snub-nosed sound in the lower notes of Duane Allman (found myself wishing the Blue Cats would incorporate the Allmans' Les Brers in A Minor, which no doubt they could do); high notes, Carlos Santana; in between, Al Di Meola alternated with Albert King, and Harvey Mandel doing cameos.
Beat that, Guitar Player magazine!
The cats of Collura and the master cat himself have a pedigree of blues and soul and jazz playing of impeccable grit. With opportunities to play bluesy seem to be drying up in town, they manage to get out but a couple times a month, either at Woodlands or Natalie's Coal Fire Pizza.
Wherever he plays, our boy should have a rider in his contract calling for the marquee to say "Tonight Rick Collura, World's Most Emotional Guitarist."
“This is an utterly original mélange of all the music we have enjoyed for around 80 years...it is also compelling as all getout.”
— BLUES MATTERS, UK
“Credit Long Tall Deb and Colin John for forging their own unique sound. It’s refreshing and captivating”
— JIM HYNES, ELMORE MAGAZINE
“This twangy masterpiece is most interesting and has a strong presence, much like the material Quentin Tarantino handpicks for his films. It’s a brilliant song indeed”
— PHILLIP SMITH, PHILLYCHEEZE REVIEW
“...An intoxicating mix of styles that would make Page and Plant jealous...dark mysterious and adventurous.”
— JIM KEREIFF, THE ROCK DOCTOR
By John Petric Posted Jul 18, 2017
The acclaimed blues musician steps out of the closet.
Like gospel, the blues has a deeper mission than most music—namely, to restore the humanity of its African-American players whose dignity was stripped from them by the down-by-law Jim Crow era. So perhaps it stands to reason that the color-blind art form could help a secretly gay man cope even in this postmodern age. “It was my blues card, all right,” says Columbus guitarist and vocalist Sean Carney of his hidden life. “It made my blues more real.”
Carney is a well-known Columbus musician. After first making a name for himself as a sideman for the talented blues singer Teeny Tucker and other performers, Carney struck out on his own, earning acclaim for his skillful guitar playing, gracious personality and encyclopedic musical knowledge. Throughout his steady ascent—which received a major boost in 2006 when he won the prestigious International Blues Competition in Memphis—Carney has kept quiet about his sexual orientation. It wasn’t surprising. It’s about as common to find an openly gay bluesman as it is to find an openly gay power forward.
But Carney is now willing to talk about his lifelong secret. What changed? Shifting societal norms, of course, as highlighted by the U.S. Supreme Court’s landmark ruling in Obergefell v. Hodges, which legalized gay marriage across the country in 2015. But the biggest factor was more personal: Carney met the love of his life, and he’s ready to share the news with the world. “The timing just happened,” Carney tells me over a latte at Stauf’s in Grandview one chilly February evening.
I’ve known Carney a long time, first meeting him in the mid-1990s when I was working behind the counter at the old Mole’s Record Exchange on High Street. Later, I wrote about him during my many years as the music critic for the now-defunct Columbus alt-weekly, The Other Paper, admiring his progression from Tucker’s bandleader to a dynamic front man in his own right. Carney is a congenial, easygoing guy, but he’s also careful, thoughtful and controlled. He’s not one to bare his soul to a writer—or anyone else, for that matter.
Music, however, is another story. It’s the family business, and he loves to talk about it. His father, Harry, a classically trained musician, was the strings director in the Dublin school district. More importantly—and perhaps crucially—he also was a jazz bassist, while his aunt, Michelle Horsefield, was an accomplished jazz singer well-known throughout Central Ohio. As a teenager, Carney learned to play guitar by sitting in with his uncle Dave West’s band, the Joint Rockers, a Saturday night blues ‘n’ boogie combo. Eventually earning a permanent spot in the group, Carney matured musically faster than most thanks to the plethora of mentors surrounding him, teaching him craft and sophistication. In addition to straight Chicago blues, Carney is fluent in several offshoots of black R&B: jump blues, swing, New Orleans groove. “I was surrounded by a lot of older, pretty hip players, and I got a lot of real-world schooling,” Carney says. “Older white guys who were so hip, man, they were so fun.”
While music was his passion, Carney put his sexual identity on the back burner. “Those were rough years inside,” Carney says. “I tried counseling, went on meds, gained a lot of weight. But the music was what really got me through the rough years.”
Carney estimates he’s toured blues-hungry Europe some 30 to 40 times. Winning the 2006 International Blues Competition gave him the confidence, credibility and connections to play for audiences overseas anywhere from two weeks to two months at a time.
After coming home from one of those European tours in February 2016, Carney met Jared Davis, 28, through the gay dating app Grindr. Though Davis is 16 years younger than the 44-year-old Carney, the proverbial sparks flew: a one-night stand turned into inseparability. When Carney hit the road again, the couple talked on the phone every day. Upon Carney’s return to Columbus, they moved in together. “What can I say? I met someone I couldn’t live without,” Carney says. The two married in October 2016, in a small, private ceremony at Carney’s family’s home. “Just a few people, us and our moms,” Carney says. “We cried a lot.”
In a joint interview, I asked Davis about his coming-out story. Was it as difficult as Carney’s? “I got into a fight once. But no, it wasn’t a big deal for me,” he explains. Such, apparently, is the difference between generations.
Jokingly, I turn to Carney and ask, so what’s your problem? To which he loudly blurts, “I’m Catholic!” and we all laugh. Of course, he wasn’t really joking. The fear of a disapproving God is a powerful force for the faithful. Carney says he dealt with the conflict by playing a lot of music with older adults who never asked why he didn’t go home with the girls who approached him when he got off stage. “I think I was pretty convincing,” he says. “I learned how to let the girls down pretty easily.”
He feared exposure, confiding in a very small circle of family and friends. Even that was betrayed when someone used the information against him. Carney has long spearheaded a charity gig called Blues for a Cure, raising nearly $230,000 for a local hospital to fight cancer. Early in the organization’s decade-long existence, a person approached the hospital board—described by Carney as “mostly Republican and conservative”—and told the members that Carney was gay. Carney was mortified, then pleasantly surprised. “Nobody cared,” he says, noting his obvious relief. Still, it would be several years before he felt comfortable enough to let the world know. Love was the inspiration.
“I have never felt the closeness I feel with Jared with anyone else, and amazingly, he feels the same way,” Carney says. “We just naturally fit; we laugh an awful lot. We don’t fight.” There are, of course, differences—the essential varietal mix that keeps a relationship interesting. Carney introduced Davis to the blues, while Davis introduced Carney to ska punk and the Clash. They’ve bridged their age differences naturally.When seen together, their adoration for each other is obvious and unspoken.
Carney’s gentle side has always been a big part of his appeal. Prior to going out on his own as a singing front man for his own bands, he backed a series of black female singers, including Tucker and later, Shaun Booker. In fact the first person he ever came out to was a black woman he’d been working with, Christine Kittrell, a ’50s regional R&B success who made singles with the likes of Little Richard and later spent her final years in Columbus. “She said, ‘Honey, you just be cool,’” drawing out the word in his best imitation of a husky-voiced diva replying in the spirit of “let the good times roll.”
Carney has played to his passions throughout his career—apprenticing with mentors, pursuing the original purveyors of jump blues, touring Europe (and an ill-fated jaunt to India where the promoter asked him for cab fare), releasing his own CDs. Now that he is “out,” will he write of his life experiences?
Again, a long pause of Carney thoughtfulness. “I’ve been thinking about it.” No smile. Courage doesn’t always grin. This is the next big step. We discuss the ins and outs of it: The universal approach could eschew gender pronouns like he and she when writing a love song. What’s more universal than “baby?” Carney: “True. I hadn’t thought of that.”
I suspect he’s struggling to relax his mask of emotional and survival armor. Discretion is the theme of his life. It took a lot for him to post a photo of him and Davis together on Facebook earlier this year, a subtle semi-public signal that led to this article. I didn’t even find out that he and Davis were married until my second interview with Carney.
As a songwriter going deep, this discretion can be an obstacle. Then again, a curse can turn into a blessing.
I am presenting a special night of music with my organ trio band, ORGANIC CHEMISTRY, and my gypsy music project, SPEAKEASY.
I'll be featuring Andy Carlson on fiddle and legend Tony Monaco on B3 organ....AND MORE!
Doug Richeson on bass and Louis tsamous on drums will be joining us.
Expect the unexpected!
Jan 05 8:00pm
Mudflats Bar & Grill
Galena, OH US
Jan 12 9:00pm
Roop Brothers Bar
Delaware, OH US
Feb 02 8:00pm
Natalie's Coal Fired Pizza and Live Music
Worthington, OH US
Feb 08 8:00pm
Granville Recreation Commission
Granville, OH US
Feb 15 9:00pm
Kevin O'Bryan's Irish Pub
Akron, OH US
Feb 16 9:00pm
Roop Brothers Bar
Delaware, OH US
Feb 22 8:00pm
Columbus, OH US
Lenny Paul is back in Columbus…come in for the jam!
The new year is almost here, and there are some exciting things happening...I'll be heading east in January with Mo' Mojo for some zydeco dancing and, keep your ear to the ground, we are going to be featured at some new clubs!
Please check out the schedule and come on back for more updates!"
Lenny Paul is an American traditional blues artist based out of NE Ohio.
In addition to The Lenny Paul Band, you may also see Lenny Paul performing with the Midwest's premier Zydeco/Party Gras band, Mo' Mojo.
A bandleader, in his own right, and a sideman for many years with Mo' Mojo, Jonn Del Toro Richardson, Noah Wotherspoon, Sean Carney, Ray Fuller, and Shaun Booker, to name a few; Lenny delivers the blues with a soulful tone and a smile that says, "leave your troubles at the door, and get up on the dance floor!"
Look for The Lenny Paul Band's latest CD, "Ready Already", featuring, Joe Wayand and Scott Turner. It's on sale on Amazon, Pandora, Spotify, Apple Music, iTunes, CDBaby, as well as being available at the shows!
Please check back for updates!
Lenny is available for Guitar and Bass lessons. Please message to set up an initial meeting.
Thank you! See you at the show!
Lenny Paul got his start at an early age, having grown up in a musical family. His mother would sing opera tunes around the house while his father and brother played the accordion. Family gatherings would often include singing while his uncles played guitar and clarinet. After spending some time with the accordion and saxophone, Lenny got his hands on an electric bass when he was 12. Maintaining a diet of Rock ‘n’ Roll, Motown, R&B, and various other genres, Lenny continued learning his primary instrument, and began working in various bands playing all types of music. However once he heard “the Blues” he knew he had found his place.
Performing more often than not as a sideman in bands, Lenny ventured into the guitar world 10 years ago so that could become the frontman that he is inside. From there he developed The Lenny Paul Band, a project he maintains currently in Northeast Ohio.
Throughout the years, Lenny has been fortunate enough to call many places his home: Ohio, Philadelphia, and Houston. All three places have lead to him connecting to super talented blues musicians, such as: Jonn Del Toro Richardson, Sean Carney, Shaun Booker, Sonny Boy Terry, Diunna Greenleaf, Bob Margolin, RJ Misho, Anson Funderburgh, Rich Del Grosso, and many more.
(His time with Sonny Boy Terry included placing in the semi-finals at the International Blues Challenge in Memphis, in 2010.)
When living in Philadephlia, Lenny joined his first Zydeco band, Zydeco-A-Go-Go, in which he played for 4 years. Moving to Houston, he continued to play blues and Zydeco, including with Raa Raa Carter & the Zydeco All-Stars.
Lenny recorded extensively as a sideman for various blues and R&B albums, and a has Zydeco record with Zydeco-A-Go-Go. His most recently released frontman work features an acoustic CD, “Brotherhood”, with long-time collaborator, John Markovic. This record includes original music written by both Lenny and John. He also has CD with his electric band, “Meet You in Philly”.
Lenny continues to tour extensively both in the U.S., Central America, Asia and Europe. The countries in which he has toured include: Canada, Costa Rica, France, Belgium, Netherlands, Germany, Austria and most recently (Sep. 2017) a 30-day tour of Poland, Czech Republic, and Slovakia.
CD RELEASE PARTY - DADDY LONG LEGGIN’
The Drifter Kings will be at Oliver’s on Lynn Alley in Columbus OH for a night of Roots and Blues music. Performing songs from their new CD Daddy Long Leggin'. Pick up your copy at the show for only $10.00. It is also available at www.cdbaby.com and at www.thedrifterkings.com. .
This blues man got his start playing classical guitar at the age of 11 on a farm in Normandy, France. Five years later when BB Kingʼs “Blues Is King” reached his ears, his focus changed to Blues, from there he became one of the most admired Blues guitarists in France. This extraordinary soloist integrates the Blues of the 40’s & 50’s with contemporary blues to create his own unique sound and style. In his 40+ year career, he has won several awards for best soloist. He’s shared the stage with many recognized Blues artists including Diunna Greenleaf, Sax Gordon, Sean Costello, Alex Schultz, Kid Ramos, Jimmy Morello, Andy J. Forest, Michael “Hawkeye” Herman, Rob Rio, Kenny “Blues Boss” Wayne, Candye Kane, Fernando Jones, Ricky Nye, Sean Carney, Steve Clayton, Shaun Booker. He tours regularly with Lil’ Red & The Rooster, Mike Sanchez, Steve Clayton & The French Blues Explosion. He remains ever true to his favorite guitar masters, T-Bone Walker, Tiny Grimes, & Charlie Christian.
Jennifer “Lil’ Red” Milligan
A veteran of the stage, from Westerville, Ohio, USA, this multi-talented singer/songwriter has touched the hearts of hundreds of thousands internationally on stage, screen and recording. Her magnetic presence, exuberant energy and genuine smile bring a warm authentic charm to the blues scene. With her bed as a stage and hairbrush for microphone, she started singing at the age of 6 accompanied by her motherʼs 45s on her Mickey Mouse turntable. By the age of 11 her bed was replaced by a stage and by 22 she was touring the country as the lead in the National tour of Hair with the acclaimed percussionist from Santana, Michael Benthien. In her professional career she has performed in and or choreographed more productions than years she has lived, sharing the stage with many recognized performing artists including Dennis DeYoung (Styxx), Carl Anderson, Ted Neeley, Carlos Benthien (Santana), Andy J. Forest, Michelle Horsefield, Gary Carney, Steve Clayton, Drew Davies, Ricky Nye, Matthew Skoller, Shane D. Wilson, Robert Smith, Thommy Price (Joan Jett), Eric 13, Shannon Conley (Lez Zeppelin), Nico Wayne Toussiant, Shaun Booker, Long Tall Deb, Sean Carney, Micah Kesselring and Eileen Howard. She’s gratefully accepting the wisdom of two exceptional women in Blues, Diunna Greenleaf & Teeny Tucker and has coached in Jazz with the amazing Michelle Horsefield and Luigi (Master of Jazz Dance Technique). With every note she wishes to thank Ella, Etta, & Dinah with every word Shakespeare & Tom Waits and with every rhythm T-Bone & Luigi.
Though only 18, Matt has had the privilege to share the stage with Grammy Award winning blues legends Buddy Guy and Sugar Blue, The California Guitar Trio, and local international blues artist Sean Carney and Micah Kesselring. He plays Classic Rock and Folk music, along with Country Root and Slide Blues. Matt compliments his finger style guitar playing with soulful vocals that belie his age. He enjoys playing local venues of all sizes and interacting with the crowd. Matt has also performed at larger venues such as The Historic Lyric Theater (Lexington, KY) and The Wheeler Theater (Port Townsend, WA), as well as The Acoustic Blues Festival (Port Townsend, WA) and The Creekside Blues and Jazz Festival in Gahanna. Matt plays a mix of classics from every genre to keep crowds of all ages entertained.
Dylan started playing guitar at the age of ten. Music quickly consumed his life as he explored genres from classical to jazz to rock and blues. Dylan has performed at venues throughout the Columbus, Ohio area as well as at venues in California, Florida, Minnesota, Mississippi, New York, South Carolina, Virginia and Tennessee. In addition to being a regular at various blues jams and house bands, his highlight performances include:
Oliver's (Columbus, OH)
Creekside Blues & Jazz Festival (Columbus, OH)
Columbus Jazz & Rib Festival (Columbus, OH)
Natalie's Coal Fired Pizza (Columbus, OH)
Eldorado's (Columbus, OH)
The Haunt (Ithaca, NY)
The Dock (Ithaca, NY)
Soulshine Pizza (Nashville, TN)
BB Kings (Memphis, TN)
Ground Zero Blues Club (Clarksdale, MS)
The Way I Do is my debut EP. This album features three of my favorite songs by other artists. Rory Gallagher, Albert Collins, and Dr. John. The Way I Do is a Koski/Loos original. I have been fortunate to have three amazing musicians to work with. Jerry Loos on Bass, Brandon Pettiford on Drums, and Andrew Willard on Keyboards.
Diagnosed with autism at the age of four, this determined young man taught himself to play the acoustic, electric and bass guitars at the age of 14. But it was his introduction to the blues sound that provided the musical construct from which he developed his own style. Zayne was also part of a four-piece youth blues band which represented the Columbus Blues Alliance at the 2016 International Blues Challenge’s Youth Showcase held in Memphis, TN. His amazing abilities as a guitarist has taken him to San Antonio, TX, Harrisburg, PA, Rockville, MD and all over Ohio. Zayne also received the 2017 Community Star Award from the Franklin County Board of DD.
Blue Spectrum made the acquaintance of Amelia through the blues community as fellow performers in open jam sessions. Along with Zayne, she was also a member of the youth blues band that played in Memphis. Amelia graduated from Grandview Heights High School and is currently a student at The Ohio State University.
During performances, Zayne would introduce his singing uncle and it wasn’t long before everyone started referring to this smooth crooner as “Uncle Al”. He later joined Blue Spectrum as the bassist and added the missing vocal element to the Blue Spectrum sound. Alan also acts and sings in community theater productions which including the Hilliard Arts Council’s musical production of “Ain’t Misbehavin'”.
A constructive comment made about a Facebook video of Zayne winning his high school talent show, opened the door for the addition of Clarence as drummer and mentor. His many years of playing experience made him instrumental in laying the foundation to the Blue Spectrum sound. Clarence helped transport Blue Spectrum out of the garage and into the world.
"SEAN CARNEY IS THE REAL DEAL...ECHOES OF T BONE WALKER AND PEE WEE CRAYTON PERMEATE HIS TASTY GUITAR SOLOS, WHILE HIS SONGWRITING AND SINGING REVEAL AN ARTIST OF DEPTH AND CLASS. HE HAS PLAYED OUR FESTIVAL TWICE IN THE PAST 5 YEARS, TO EXCEPTIONAL CROWD RESPONSE. HIGHLY RECOMMENDED."
The Don Norman Blues Band is a dynamic group that will have you dancing, singing, laughing and shouting for more. These guys play blues from Chicago to the Delta, from the West Coast to Memphis, and everywhere in between.
The band started playing Chicago style rhythm & blues in 1998 in Athens, Ohio and soon became a local favorites playing almost every club in town on a regular basis. Since 2006 the band has begun to become regulars on the Columbus scene playing festivals and clubs all over town.
They are fronted by Matt McCarthy on guitar an vocals. Shortly after beginning to play Matt served a cherished apprenticeship under Cleveland Fats. Matt is a passionate performer with true love for the music he is committed to supporting... the blues! His influences include; Jimmy Reed, Albert King, B.B King, Muddy Waters, Magic Slim, RL Burnside, and Robert Lockwood.
Reagan Anderson plays drums and is also an original member from the Athens days. Reagan is a laid back in-the-pocket drummer that keeps the beat up tempo and hard driving.
Toby Shamblin plays bass and is influenced by Tyrone Davis, Stax and Matt Freeman. He drives the bus and glues it all together.
The newest member is Bruce Soble on saxophone. For those of you who don't know Bruce he is an outstanding sax player... This honky can really blow the horn! Bruce is also a real funny guy so watch out...
Mike Gilliland plays the mississippi saxophone and also sings. Mike is an outstanding harmonica player sought after by may bands. Mike claims, Little Water, Big Water, Sonny Boy Williamson, and William Clarke as his influences.
Long Tall Deb and Colin John continue their genre-bending and refreshingly original sound with their new full-length album, DRAGONFLY.
Following up on the themes of their 2015 EP, Streets of Mumbai, DRAGONFLY incorporates a bedrock of blues and soul sensibilities with rock and roll, surf, spaghetti western, noir jazz, pop, Americana and world roots inluences gleaned from their travels throughout America, Europe, India and Nepal.
With the exception of "Lungs", The songs are all original compositions, featuring Long Tall Deb’s signature soulful vocals and her multiple-threat partner Colin John on duet vocals, backing vocals, all acoustic guitars, electric guitars, baritone guitar, baby sitar, lap steel, and the occasional bass and piano track.
Together with a cracking band of top musicians and guests including Michael Hill, Jeff Jensen, Mick Kolassa, James Cunningham, Bill Rufino, Chris Stephenson and Claudia Hernandez; the core band of Nate Holman, organ; Cliff Starbuck and Melvin Powe, bass; Jimmy Castoe and Jo El on drums, brought together with producer Michael Landolt (Coldplay, O.A.R) at the helm,they have crafted a forward-thinking record.
Together they have performed across Asia, Europe and North America and continue to license their songs in TV and film. Past credits include TNT's "Good Behavior" Season 1 pilot and indie film "Contrast".
Mr. Downchild is a singer, guitarist and harmonica player who has been a fixture on the U.S. blues scene for more than two and half decades. Born Stephen Brazier in South London in 1950, he learned to sing and dance from his mother, a singer and dancer, and his great aunt, an opera singer. When he was 5, he sang Frankie Lymon’s “Why do Fools Fall in Love?” at one contest and won £5. He now calls it his first paying gig.
His father was friends with various U.S. service men who were stationed around London. They brought and shared their records with Steve’s father which provided him with his introduction to rock and roll and ultimately, the blues. “You couldn’t get those records in England back then,” he said “But the Americans had them, and I loved Chuck Berry, Little Richard and Jerry Lee Lewis!”
When he was 11 years old, Steve began acting in various musicals and
plays in London. He appeared as Oliver opposite of Davey Jones’ Artful Dodger (yes from The Monkeys) as well as on several TV shows and in some movies. When he was 15 his acting career suddenly became less important. “I saw Sonny Boy Williamson playing with the Yardbirds on Ready, Steady, Go!,” he recalled, “and it was the coolest thing I had ever seen. I was totally knocked out by that guy.” Steve went out and bought a harmonica and learned how to play it.
Trutone is a modern music quintet featuring seasoned veteran musicians from all over Ohio. Keyboardist Bo Dixon is from Columbus having played with Stone City Band. Bo brings a finely tuned ear keeping Trutone true to the music. Guitarist Tony Watson has been playing in and around Columbus for many years with Priscilla Woodson and Hosea Hooks. His unique guitar sound is a perfect blend to the Trutone sound. Drummer Fred Dulaney is a multi-talented musician. Fred has regular appearances with John Henry. His drumming combined with his experience on bass guitar gives Trutone it’s soul. Bassist Duane Gaskins is from Canton. Ohio. Duane has played extensively throughout Ohio with Nikki Scott and the Inner City Blues Band. His Canton roots has given him a solid background with a keen ear for style and musical taste. Trumpeter Bob Bowers began his musical journey in Minnesota playing trumpet in 4th grade. Bob has played in many jazz, blues and soul bands since the 1968. Duane and Bob met each other in Canton, Ohio in 1976 playing in SaFire. Bob led the Blues-in-Schools program for 10 years at Kent State University. Special Guest Vocalist Cherie Mannino joins Trutone for the band’s inaugural appearance at Oliver’s. Cherie is a native of New Orleans, LA. He musical journey has taken her to Los Angeles and London, England where she performed to adoring audiences.
International performing & recording artists, Harold Stewart & The Blues Hounds, are based out of Columbus OH & consistently offer crowds high-intensity, upbeat, funky Blues music with a wide range of flavors.
The Blues Hounds have headlined many international events & opened for various pro-musicians overseas, as well as recording 2 CDs in Japan.
The band has an undeniablly special vibe & groove, known as:
"The Blue Sounds of the Blues Hounds!"