Texas Music Journal » Blues

Bugs Henderson Dies

Sam Moore — Sun, 11 Mar 2012 17:07:41 +0000

(Editor’s Note: The following story comes from the Fort Worth Star Telegram)

FORT WORTH — Bugs Henderson was about as linked into the Dallas-Fort Worth music scene as you could get.

The guitarist, who grew up in Tyler and formed his first band when he was 16, was a fixture at Fort Worth clubs such as The Cellar and J&J’s Blues Bar and Arlington’s Fatso’s.

But Mr. Henderson, who died Thursday of cancer at age 68, played with big names as well — B.B. King, Eric Clapton, Ted Nugent. His guitar prowess made him a star in Europe, but he was happy to live the modest life in Texas, where he could spend time with his family and have control over his music.

“A lot of my fans think I don’t want to make it or I’m perfectly content and don’t want any more,” Mr. Henderson told the Star-Telegram in 1994. “It’s partially true — I’m not waiting for the phone to ring or worrying if I’m going to be on MTV. I’m not obsessed with it. If you have a job you love, you’re way ahead of the game.”

After Mr. Henderson received a cancer diagnosis last year, area musicians banded together in support. He was supposed to play a Dec. 9 gig at Fort Worth’s McDavid Studio, but when news of his cancer came out, the show became a benefit for him featuring Dave Millsap, the Stratoblasters, Bill Hamm, Jay Boy Adams, Junior & the Journeymen, Danny Sanchez and Buddy Whittington. Another benefit was just this past Sunday at Dallas’ Palladium Ballroom.

Millsap, a Fort Worth-based singer-guitarist, said he first encountered Mr. Henderson in the 1970s when he and a friend went to see Delbert McClinton in Dallas. Mr. Henderson was sitting in, and Millsap and his friend were astounded.

“A couple of years ago, he asked me to play on one of his records,” Millsap said. “At the end of the session, he was paying me, and he was saying … ‘I wish I could pay you more, this isn’t much.’ I said, ‘Are you kidding me? If you told me 30 years ago that I’d be standing here receiving money for playing on your record, I would’ve told you you were dreaming, man.’”

Mr. Henderson was born in Palm Springs, Calif., on Oct. 20, 1943, and grew up in Tyler. According to his website, when he was a teenager, he would sneak out of the house to watch bands play in Tyler joints. He formed his own band, the Sensores, when he was 16. He later joined a friend, Ronnie Weiss, in Mouse and the Traps.

Mr. Henderson’s real name was Buddy, but he earned the nickname Bugs while playing in the band, and it stuck. Mr. Henderson moved to Dallas-Fort Worth in the 1970s, eventually forming his own band, the Shuffle Kings.

Mr. Henderson had a reputation for helping out younger musicians. Danny Ross, owner of the southwest Fort Worth club Keys Lounge and a blues musician himself, remembers seeing Mr. Henderson with one of his bands, Fancy Space & the Rockin’ Rhythm Daddies, when Ross was in college at Stephen F. Austin State University in Nacogdoches.

“I was just learning to play,” Ross said. “I went up and asked him, ‘Do you care if I sit in?’ ‘No, come on!’ And people don’t do that. Even if you’re good, a lot of bands don’t want you doing that. But he let me set up my piano by him and just jam.”

Ross said that when Mr. Henderson played the Keys Lounge last year, Ross reminded him of the incident, and Mr. Henderson said he remembered it.

Millsap remembered that at a benefit a few years ago, he and James Pennebaker were playing guitar, and Mr. Henderson came onstage, stretched out his arms and played both their guitars — while they were playing them.

“He was a bluesman to the core,” Millsap said. “That’s why Freddie King and Eric Clapton loved him so much. But Bugs took it a little further out of the box. Bugs was a showman. He was a hell of a guitar player, but he could put on a show, too”

Several videos of Mr. Henderson playing live, as well as recordings of Mouse and the Traps, are available on YouTube. Videos are also available on Mr. Henderson’s website, www.bugshenderson.com

Read more here: http://www.star-telegram.com/2012/03/10/3800606/bugs-henderson-local-blues-guitar.html#storylink=cpy

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Gator and Mudcat Going into the Music Room

Sam Moore — Fri, 04 Mar 2011 20:55:21 +0000

What do you get when you put an alligator and a catfish in room that seats 45? Great music, of course!

Gator and Mudcat, also known as Wayne Folse and Michael Reames, will perform in Waxahachie next Saturday, March 12, In the Music Room.

The duo, who combine their North Texas and South Louisiana styles into a brand of music they call “Blue Rock,” have just released a new album. “Back in the Game” is available on iTunes and online, at http://www.tunecore.com/music/gatorandmudcat. It contains a great blend bold new and old style blues, as well as a Reggae-style song called “Mother Earth,” their tribute to saving the world’s natural resources.

“In the Music Room” is a listening room, the brainchild of fellow longtime musician Randy Tredway. He converted a section of his home into a retro, Beatles-loving, instrument-displaying living museum of music. In addition to live performances, Tredway produces an internet program. Both the live and recorded formats are designed to promote the efforts of singer-songwriters. Many Texas songwriters count Tredway among their closest friends.

For more information on the venue, visit www.inthemusicroom.com. And for details on Reames and Folse, go to http://gatorandmudcat.com.

Guitarists Find Sanctuary in McKinney

John South — Sun, 31 Oct 2010 23:23:35 +0000

Retail stores open every day; many never catch your eye. However, a store opened this past weekend in McKinney, Texas which sets a new bar for servicing guitarists and musicians. It’s called The Guitar Sanctuary, with Quinten Hope, Caron Hope, Maylee Thomas and George Fuller (Geo) as founders. What’s interesting about this store is that its name has multiple meanings that might not be caught by those who don’t know the principals. Yes, it is definitely a sanctuary for those guitarists who aspire to be the best. Not only does the store carry some of the finest guitars and amps in the business (like PRS and Collings guitars as well as PRS and Mesa Boogie amps), it also offers educational opportunities for students who want to perfect their skill levels on the instrument. This is a store run by musicians who themselves demonstrate the finest in music performance.

But The Guitar Sanctuary as a name highlights much more about these folks. Each has a strong faith which permeates their lives. You see this reflected not only in their music, but also in the way they interact with people on a day-to-day basis. They bring a freshness and life to their music that stems from having that strong base of faith. Musicians who work with the team at The Guitar Sanctuary will find caring and dedicated instructors.

When one walks in the store, one is taken aback by the beauty of the establishment (check out their website for a shot of the breathtaking entrance to the facility). The store evokes two emotions: one of peace and relaxation (like walking into a friend’s living room); the second of the excitement that you may have had walking into your first candy store. It’s hard to imagine how these two emotions can display themselves at the same time, but, in the store, you’ll see what I mean.

I visited the store during the Grand Opening. Okay, actually that is really underplaying the event; it was more of Grand Celebration. The place was packed with people. Now you say, “It was a Grand Opening. A lot of people will show up if you’re giving away a PRS guitar and Mesa Boogie amp.” However, on a day when squalls and tornado warnings (with an actual citing southeast of McKinney) were present most of the afternoon, it is impressive that the event was literally packed to the rafters (see picture). Being great musicians, the team at The Guitar Sanctuary felt the best way to celebrate the opening was with music. The lineup was fantastic. Originally planned to be outdoors, with the terrible weather, imagine the luck to have an immense, empty facility available right next door to The Guitar Sanctuary where the celebration could be held (remember that faith thing I talked about above).

What a celebration of music! The opening set was Quinten Hope and his band (www.quintenhope.com). I have been following Quinten for some time now, and to say that this was the opening set should tell you how high the bar was raised for the day. These guys are the epitome of Texas music. The ease with which they work together as a team makes their music superb.

But, wait… the second set, Maylee Thomas and George Fuller (www.maylee.com), took the stage with their band. Folks, if you have heard Maylee sing with Geo highlighting his mastery of the guitar, you’ll understand what I’m about to say. The performance was so incredible that I was lost in the moment with visions of some great singers of the past. People, it was like watching Janis Joplin in her prime (sans the heroin). I was actually stunned (in a nice way) at Maylee’s performance. She captivated the crowd and took them on a musical journey that none will forget.

Okay, so who could possibly raise the bar even further after the performances of Quinten, Maylee and Geo? Andy Timmons (www.andytimmons.com). Yup, folks, it only got better. The facility that Andy has with the instrument belies the difficulty of the work that he performs. Quoting a friend, “Andy is a monster!” He took the emotion built up from the performances of Quinten, Maylee and Geo and drove the audience even further. Andy played fantastic riffs that built the fabric of a musical story that thrilled even the youngest in that audience. By the time he finished, the audience had experienced one of the finest celebrations of the opening of a retail store.

Stop by the store or visit the website (www.theguitarsanctuary.com). You will find that the folks there are more than musicians and certainly more than store owners. They are people who truly believe that there should be a place of sanctuary for those who want to excel.

The Guitar Sanctuary is located at 6851 Virginia Parkway, Suite 101, McKinney, Texas. They can be reached on the web at www.theguitarsanctuary.com or at 972-540-6420.

Gator and Mudcat Prepare To Take On the World

Sam Moore — Mon, 23 Aug 2010 00:15:11 +0000

These guys are good!

We may have mentioned Gator and Mudcat in the past. Mudcat is Dallas native Michael Reames, and Gator is New Orleans resident Wayne Folse. These two veteran musicians began working together as a team a few years ago. They have created a bunch of good songs, in a genre they call “Blue Rock.” It’s a little bit Texas music, a little bit Louisiana music. They call it “music for the world.” Now they are ready to introduce Blue Rock to the world.

Michael Reames

Their efforts have culminated in a new CD, Back in the Game, due for release on September 4. Texas Music Journal’s John South will review the CD in the coming days.

CD release parties will be held in both Dallas and New Orleans. A national distribution will follow. But for the present, Gator and Mudcat are preparing for live entertainment. And they are starting in a big way.

Wayne Folse

The two veterans – both are in their 50′s – will perform this week for the Louisiana Association of Nonprofit Organizations annual convention, to be held in New Orleans. They will appear on what is possibly the largest permanent stage in the Crescent City: the main theater of Harrah’s Casino. They will be backed by Crossfire.

Michael and Wayne are true professionals. They have played with some of the biggest names in the industry during their individual careers. And both are dedicated to helping out others in their field. And since Hurricane Katrina, they are also dedicated to helping those in need. Proceeds from their first release, Mother Earth, will be dedicated to disaster relief.

We at TMJ wish these guys well. To find out more on their music, visit http://gatorandmudcat.com.

Blues Festival To Benefit Community Radio

Sam Moore — Wed, 06 Jan 2010 03:23:42 +0000

They’ll be singing the Texas music blues in downtown Dallas later this month. And a community radio station will be the beneficiary.

The 11th annual KNON Blues Festival will take place January 30 and 31 at Poor David’s Pub. Hours are 3pm to midnight on Saturday and 4pm to 10pm on Sunday.

Lucky Peterson

Saturday’s headliner is the Lucky and Tamara Peterson Band Revue, featuring Greg Smith. Sunday’s main performer will be Denny Freeman, who has worked with some of the biggest names in the music business.

Stevie Ray Vaughan and Denny Freeman

Proceeds will benefit KNON 89.3 FM Community Radio. KNON is a non-profit, listener-supported radio station, deriving its main source of income from on-air pledge drives and from underwriting or sponsorships by local small businesses. The volunteer disc jockeys play their own music or conduct talk shows during specifically targeted programs.

Tickets are $10 in advance. For more information, visit www.knon.org.

El Paso To Talk Stevie Ray Tonight

Sam Moore — Thu, 03 Dec 2009 17:31:12 +0000

For the past few months, the El Paso Museum of History has hosted a lecture series focusing on Texas music history. Tonight, the final lecture will focus on Texas blues and Stevie Ray Vaughan.

The goal of the series is to offer something special for the museum’s membership, and to attract potential new members. Admission is $4 for members and $8 for non-members. However, a museum membership purchased tonight will allow for free admission to tonight’s lecture.
The El Paso Museum of History exists for the educational benefit of the community and visitors. It promotes the understanding and significance of the rich multicultural and multinational history of the border region known as the Pass of the North.
Anyone interested in attending tonight should RSVP to 351-3588.

Mudcat Prepares to Go Global

Sam Moore — Wed, 26 Aug 2009 18:58:15 +0000

One thing the Internet can do is to make people instant worldwide celebrities. Texas music veteran Michael “the Mudcat” Reames gets his chance for global notoriety, beginning Thursday night.

Reames will appear with his good friends Wayne, Chad and Matt as “Gator, Mudcat and All Dat” Thursday at 7:30pm on the Lesley Taylor Hare Show. In Dallas, it can bee seen on Digital Channel 34.1. More importantly, it can be seen on the Internet at http://www.acess34.tv/.

The program is part of one of the biggest developments in communication: the internet television station. While it is not yet competing with commercial television, it is a step in that direction. And it opens the spectrum of visibility to unheard of proportions for musicians and their works.

TMJ had the opportunity to attend the taping of the show yesterday afternoon. Between interviews with a mobile bartender and a man who specializes in salt-free snacks, Reames and the boys entertained with a couple of their Southern blues tunes. They also played some instrumental in and out of commercial breaks. Altogether, they earned about eight minutes of air play, plenty of time for the world to catch their act.

Reames said he is very pleased to have the opportunity to perform for this new, more mobile audience. He said times have really changed from the days when he played with his band in the ’70s in Dallas’ Deep Ellum music district.

“It was really different,” he said. “But we had a great time. And we appreciated the opportunity to promote our CD’s, as well.”

The Jeff Strahan Band at Dan Electro’s Guitar Bar in Houston

baspinwall — Wed, 29 Jul 2009 02:36:58 +0000

Photo by Dale Kennemer

Dawson County is about as West Texas as West Texas gets. For all the monotony in its landscape, this part of the world has produced more than its share of gifted musicians.

Jeff Strahan, for example, is from Dawson County. Lamesa to be precise, roughly halfway between Midland and Lubbock – and anywhere halfway between those two oases might be a little rough, but not Strahan. He’s a musician, a musician’s musician; plays both guitar and piano with engaging skill and delivers fine tuned vocals with a good-natured quality.

On Wednesday, July 8, the Jeff Strahan Band was at Dan Electro’s Guitar Bar , one of Houston’s eclectic live music venues. It’s a neighborhood beer joint with good, sometimes great, music and a regular blues jam on Thursday nights.

It might be easy to characterize Strahan’s music and his band as a blues rock band. And while that’s accurate in a general sense, it’s more useful to think of Strahan as a good time band. Wait, scratch that; a huge, kick-ass, great time band. He’s having fun, the band’s having fun, he loves what he’s doing and if you can’t hear that in his music, you might need a hearing aid.

In addition to Texas-quality musicianship, Strahan’s music makes for pure joy-ride-style fun; think of a Saturday night bar packed with people ready to drink, dance and party. If you walk away from an evening with Strahan all cold quenched serious and shit, you might need a vacation.

At the moment, the Jeff Strahan Band is a three-piece outfit. It’s tempting to call them a power trio, but that’s too limiting for what they play. Everyone in the band is top dead center good. The bass player, Randy Chaffin, is tasteful, spare in an elegant way when needed, but also driving and punchy when called for. Chaffin is originally from California, but had the good sense to move to Austin. The drummer, Ernest Klein, another Texan, keeps time clean, tight and discreet. Plays like he knows who the band is named after.

We’re talking a two-hour set on a Wednesday night and even though the crowd was a little slight, Strahan and company played their hearts out. Opened the show with one of his own tunes, “Amen to the Blues”, a solid piece of blues funk rock that reminds us of why we love electric guitars so much. Most of the show featured Strahan-written songs.

You can hear many different influences –at times, the hot slide work of Duane Allman, (yes, Duane Allman) in “Give Me One Good Reason”, or Otis Redding, in a gospel blues ballad (“Hope and Faith”) or the Doobie Brothers, in “Everyday is a Holiday”, even, at times a little Robin Trower or Tab Benoit. You can also hear straight ahead rock, chicken funk blues, and when he plays piano, a little of the stride and barrelhouse blues of Jelly Roll Morton, a little of the straight ahead southern rock of Lynyrd Skynyrd’s Billy Powell and a lot of the jumping jehosephat of Jerry Lee Lewis. It all just makes for a great time.

Strahan has described his music as Red Dirt Blues (and has released a CD with that title) – a passing reference to the Permian red beds that color the earth at the breaks of the Llano Estacado. But in his view, it’s more an expression of the many different music styles that were marinating the High Plains while he was growing up. Styles like Tejano, country (…and western), rock, blues, Texas swing and all the fusions in between. It’s a good mix and it’s one of the reasons Texas music runs so deep.

Strahan started playing in bands at the age of 12. He’s been at it for awhile.

After finishing high school in Lamesa, he made his way eventually to Austin, via Dallas. He played in “countless bands” – playing any and every style that could be useful for booking gigs. Music business being what it is, after too many almost record deals and broken down tour vans, the bloom faded enough by the late eighties that Strahan took a part-time detour for ten years - through law school and practicing law in El Paso.

Finally, by 2000, he’d laid by enough stores to quit the day job and pursue his music again. He moved to Durango, Colorado and spent the time in between getting back to his muse and enjoying the mountain lifestyle. But with serious chops back in place, the road has called and he’s been touring in an RV now for over a year. After this gig in Houston, he’s headed for New Braunfels and Fredericksburg, amongst other places.

As a guitar player, he sports a compact, rhythmic style, not really derivative of anyone – it’s his own. Near the end of his set, just when you might start to wonder if any blues classics might show up, he pulls out his version of “Texas Flood”, the now famous tune of L.C. Davis and J. W. Scott. Takes some cajones to cover that song in the state of Stevie Ray Vaughn. But Strahan handles it quite well, even adding some of his own piano twists and near the end of the song, with his guitar moaning and screaming – well, hell, I’m just going to say it: he out Buddy-Guys Stevie Ray. He’s got a fierce right hand.

His piano playing is also a real treat. In a number of songs, he’ll add piano solos at the end of his guitar solo, then play guitar and piano simultaneously. He’ll whang a quick rhythm chord and then, with just his right hand, break out a 55-gallon drum of Jerry Lee whupass on the keyboard.

Since 2000, he’s released five CD’s (all available on CD Baby) in 2002, as Jeff Strahan and the Strangers, “A Little North of the Border”; in 2005, “Along for the Ride”; in 2006, as the Jeff Strahan Band, “Red Dirt Blues”; 2008’s “Amen to the Blues” and this year, “Double Live at Billy’s Ice”. A prolific recording schedule for anyone; best of all, Strahan’s live sound translates well in the studio.

Strahan’s music might raise eyebrows amongst the blues purists. But there’s been a long tradition amongst blues artist for playing music outside of their genre, because that’s just what musicians do. Sometimes, purists can’t see the forest for the trees and there’s an unfortunate amount of convoluted academic seriousness that has crept into worshipping the blues. For example, one author (Elijah Wald, “Escaping the Delta: Robert Johnson and the Invention of the Blues”) suggests that “As far as the evolution of black music goes, Robert Johnson was an extremely minor figure and very little that happened in the decades following his death would have been affected if he had never played a note.”

Apparently, the hell hound was on the wrong trail. Leave the text books at home and go listen to some music that reminds you how much fun it really can be.

Growing up in Lamesa offered choices: cotton, cattle or crude. Not necessarily a raw deal, but fortunately for us, the muses provided an alternative for Jeff Strahan. It’s been too long since I’ve been reminded of pure, rowdy, beer-drinking and dancing just for the hell of it and I’m glad I got to hear Strahan’s version. I just kinda wish it had been a Saturday night

Note: To see more of the photo work by Dale Kennemer check out his web site at http://austinallarts.com/.

Album Review: The Snakecharmers – Been Gone Too Long

John South — Thu, 04 Jun 2009 04:05:44 +0000

The Snakecharmers formed in 2002 as a family affair. Marie Angell, Will Blumentritt and their son Eric Blumentritt brought together diverse musical backgrounds to form an incredible blues sound. The missing element for the band was a lead guitarist that could feel the music and integrate into “the family”. They found that in the person of Larry Meeker, a saxophonist by early training who turned to the guitar in a big way; his skill is demonstrated throughout Been Gone Too Long. In many ways, he is the glue that brings the sound of the Snakecharmers together.

So how does a blues band come to be called The Snakecharmers? Angell answers the question by recalling how a pet corn snake became very excited when the band played – sounds reasonable! Actually, the band name and the album cover are the two things that drew us to the album; both are intriguing. The cover art is well done with an old steamer trunk as the main element. Done in brownish hues, the cover depicts the idea of the album, Been Gone Too Long.

Marie Angell came from rock, disco backgrounds in music. However, with songs like “Hoochie Mama” and “Ain’t Nothin’ But the Blues”, we see that she has evolved into quite a blues singer. Her sultry approach to the latter song creates a picture of earlier days in the blues when people would gather around the porch, open a few beers on a hot summer night and sing what they felt in their souls. It’s a good way to open the album.

Will Blumentritt has been in music for roughly 30 years performing in bands since high school. For many years, they played for others, but reached a point where they were able to do the music that they wanted to do. Blumentritt brings his technical and managerial skills into play in the production of the CD.

Eric, the younger Blumentritt, is “intense”, as Angell describes him. She tells us that he is steeped in music. He watched Raffi videos as a child, studying the drummer. He took a trip through Reggae before coming across a Grateful Dead album at age 15 or 16. From that he developed a blues, almost country, approach to percussion.

Eric takes music further than just performing a song. Being a history major, he has studied music from the 20s and 30s up through psychedelic rock. Angell tells us, “He doesn’t just learn a song; he studies it. He tries to find ways to improve a song. He is a musician’s musician.” This dedication to the music is highly evident on Been Gone Too Long. His dynamic use of the drums to punctuate the beat when needed is as well done as his ability to softly and subtly apply the cymbals to add a bluesy feel to a song.

Larry Meeker met the team at a musicians’ meet-up group. He rarely attends those types of events, but fate brought them together. They had gone through a lot of guitar players before meeting Meeker. When they had a chance to play with him, they realized that their search was over. Now he is a part of the team; one whose ideas are incorporated in the CD.

The band is more than a group of four individuals. Angell tells us that “…each brings something unique to the CD. Really, this is a unit”. This unity shows as the album is a well balanced, well written, and well produced work.

As stated above, the opening volley, “Ain’t Nothin’ But the Blues” is a great opening number for the album. Hearing Angell’s voice for the first time, singing in a low, slow, sultry gait leaves the listener wanting to hear more. Supporting the song is the hot harp work of Alan “Otis Futhermucker” Gould. His solo in the middle of the piece gives the song a steamy New Orleans sound. David Coronado adds guitar to complete the picture. Overall, this is one of the best tracks on the album and is one of the best opening numbers heard on album in a while.

Angell laughs as she tells us that “Hoochie Mama” was written as a goof. When meeting with a group of other women writers, they agreed that they all love their kids, but sometimes they want to be “Hoochie Mamas”! This led to a fun song that is often requested as the band plays in the Houston area. It starts out with a fast paced guitar intro that breaks into Angell singing that she “…wants to be a Hoochie Mama.” The song is a good example of Texas blues. It’s easy to see why this song is so often requested.

“Big, Big, Love” was inspired by a couple that Angell saw exhibiting a big public display of their love. She says, “They had that kinda love that drives you crazy.” The song again has a strong dose of harp in the middle that again gives it a strong New Orleans influence. This song shows the versatility of the band in delivering a big sound to support well developed lyrics.

Angell tells us that she is partial to the bass. In songs like “No Mercy”, “Been Gone Too Long” and even “Just a Little Kiss”, the songs begin with a bass intro giving them an intriguing hook. Several other songs start with either vocal intros (without instrumentation) or even with a drum intro (“Half a Cup”). This style of songwriting supports the blues image that the band is portraying. More importantly, its simplicity hooks the listener into the song early.

The title track, “Been Gone Too Long” has a haunting bass and guitar opening. By the time Angell opens with “Baby…” we are really anticipating that sultry vocal. This song really exemplifies Meeker’s guitar work. The song sounds almost psychedelic in parts, 60s rock in others, but with a strong blues underpinning throughout. The drum work of Eric Blumentritt really shines in this track.

Highlighting these tracks doesn’t do full justice to the album. Overall, this is an album and band one can enjoy listening to. Angell tells us that the band will be recording their next work next year. In the meantime, they are thinking about pre-publishing a song or two to whet everyone’s appetite. They are anticipating more instrumental work, but with a mix of musical styles. We can hope that they bring more of their blues, even perhaps more roots blues work, into the new album. We will be watching for the new work when it comes out.

We are not the only ones who appreciate the music of The Snakecharmers. The band has been nominated in the Blues category by the Houston Press for their 2009 Music Awards. Voting begins with the July 2nd issue and will continue through the Music Awards showcase July 26th. The winners will be announced July 30th at Warehouse Live.

Further information about The Snakecharmers and their music can be found at their website: www.snakecharmers.net.
Copies of their album can be purchased at Amazon, CD Baby and on iTunes.

Tracks:

1. Ain’t Nothin’ But The Blues
2. No Mercy
3. Can’t Trust A Heart
4. Big Big Love
5. Been Gone Too Long
6. I Wanna Do Right
7. Move on Blues
8. Half a Cup
9. Just A Little Kiss
10. (I Wanna Be A) Hoochie Mama

Performers:

Marie Angell: Vocals, keyboards
Will Blumentritt: Bass
Larry Meeker: Guitar
Eric Blumentritt: Drums
Alan “Otis Futhermucker” Gould: Harmonica
David Coronado: Additional guitar
Tracy Wilson: finger snaps/hand claps

Produced and arranged by The Snakecharmers in association with Troy Warren and Tracy Wilson.
Recorded and mixed at Absolute Sound Studios by Troy Warren (Houston, Texas).
Sound engineers: Tracy Wilson, David Coronado, Troy Warren

Singers/songwriters or bands that would like their album reviewed their albums can send 2 CDs and their contact information to our office (Texas Music Journal, 8920 Pocono Dr., Plano, TX 75025).

Album Review: Mike Darnell – The Promised Land

John South — Wed, 20 May 2009 15:00:04 +0000

Mike Darnell brings us an offering of the “flues” as he calls it – a combination of Folk and the Blues. Like much of Texas music, it’s really the confluence of the many events, people and music that have impacted Darnell. He moved around the country as a youth and was impacted by folk and rock that he heard.

Darnell counts “…Buffalo Springfield, The Byrds, Stephen Stills, Neil Young, Jackson Browne, Jim Messina, Roger McGuinn, Dan Fogelberg, Paul Simon and Bob Dylan…” as musicians that early on influenced him. You can hear a bit of each of these in his music. His album features songwriting that tells a story and provides rich instrumentation from a small number of instruments.

Vocal harmonization plays an important part in Darnell’s music. “Baby, It’s A Long Way Home”, “Old 982”, “The King of Barataria”, “Delia” and “Slow Down” all feature exceptional vocal work from the likes of T. C. Smythe and Gary Taylor (http://www.myspace.com/smytheandtaylor), Richard Gaudette, Mark Gillick, and Bill Aspinwall (see the Texas Music Journal article on Aspinwall & Friends, “Free Range Trout”). With a small number of instruments and the excellent djembe and cajon work of Peter Gruezmacher, each artist makes a big contribution to each song.

Speaking of Bill Aspinwall, Darnell tells us in his biography how he, Mike Crippen, and Bill began playing together. “With the turn of the century and new interest in music, I ventured out to take a few lessons and meet some other players. It was at an informal gathering of guitar pickers (Guitar Circle) with similar musical intentions that I met Mike Crippen and Bill Aspinwall. Similar musical backgrounds yet distinct styles drew us together and we began to meet more often to trade songs. And these guys knew their way around the fret board! We each began to write songs and with the encouragement from our Guitar Circle friends and families we played a few gigs. The trio, “Big Lizard Boys”, was born. In 2005 we recorded the album, “Pick Yourself Up”, engineered and co-produced by Houston music legend, Jack Saunders.”

Darnell has two previous albums, “The Last Mango in Harris” and “It Takes Two to Mango” which he self-recorded and produced. “The Promised Land” was engineered and co-produced by Lloyd Daniel of Songbrush Sound. As in Bill Aspinwall’s “Free Range Trout”, Daniel shows why musicians like Darnell refer to him as “The Dalai Lloyd”. He is a master of producing the best with musicians.

Each track on the album emphasizes the musical influences in Darnell’s past. Two tracks take us back to the musical storytelling of an earlier age. “Old 982” tells us the story of the wonderful old locomotive as it retired from a lifetime of service to be placed on display in Houston’s Hermann Park in 1957. The essence of this song is the final move of the locomotive to Union Station: “she’s come back to where it started…can’t you hear the whistle blowing.”

Another interesting story is “The King of Barataria”: the story of Jean Lafitte and the privateers that operated out of the Bay of Barataria at the turn of the 19th century. It is an interesting part of American history and Darnell does the story well through his lyrics and instrumentation. Kristen Jensen’s fiddle work in this song and in “Slow Down” provides interesting dimension to the instrumentation hinting at a touch of southeast Texas, a touch of swamp and even a touch of emotion with its wailing undertone.

The title track, “The Promised Land” provides us hints of Seals and Croft and perhaps a bit of early Simon and Garfunkel. An interesting aspect of this track is the accordion work of Don Magdill which provides a musical counterpoint to the flues vocal and guitar work with zydeco style emphasis. The overall effect works well.

Another interesting track is “Delia” featuring the harmony vocals of Bill Aspinwall. The song is the tragic tale of a woman leaving town for Hollywood: “It’s a long from nowhere to Hollywood. Talk’s so cheap and the money sounds so good. Don’t believing everything you’re told, everything that glitters isn’t gold. “ The song has strong guitar work that emphasizes the tragic nature of the song.

Overall, “The Promise Land” is an album that highlights Mike Darnell’s attention to lyrical detail and his ability to draw the most out of a minimalist approach to instrumentation. His folk and blues influences shine throughout the album. “The Promise land” delivers on the promise of good music and good musicians.

Further information about Mike Darnell and his music can be found at his website:

www.mikedarnellmusic.com

“The Promise Land” is available at MyTexasMusic.com. At My Texas Music, one can also purchase Mike’s previous albums, “The Last Mango in Harris” and “It Takes Two to Mango”, as well as the Big Lizard’s Boys, “Pick Yourself Up”.

Tracks:

1. Baby, It’s a Long Way Home**
2. Cold Wind
3. Old 982**
4. The Promise Land**
5. Rainbow’s End
6. Mr. T
7. Boquillas
8. The King of Barataria**
9. Delia **
10. Slow Down **
11. Ike
12. Gus’ Blues

(Notable Tracks denoted by **)

Performers:

Mike Crippen: Banjo
Richard Gaudette: Harmony vocals
Walter Bryant: Bass
T. C. Smythe and Gary Taylor: Harmony vocals
Don Magdall: Accordian
Mark Gillick: Harmony Vocal
Peter Gruezmacher: Cajon and Djambe
Bill Aspinwall: Harmony Vocal
Kristen Jensen: Fiddle
Lloyd Daniel: Electric Guitar

Co-produced and recorded by Lloyd Daniel, Songbrush Sound, Tomball, Texas. Daniel also supplied some fine guitar work on “Slowdown”.

Singers/songwriters or bands that would like their album reviewed can send 2 CDs and their contact information to our office (Texas Music Journal, 8920 Pocono Dr., Plano, TX 75025). We try to get the album reviewed within 5- 7 days of receipt. That gives us time to review the music and contact the artist for short interviews related to their music. As all albums are peer reviewed, we have two people review every album then compare and contrast notes.

Blues Icon Dies in Corpus Christi

Sam Moore — Mon, 11 May 2009 13:30:07 +0000

The Corpus Christi Caller Times is reporting that Rocky Benton, a blind musician who was a leader of the local blues scene, died Wednesday.

Benton was 57 years old when he died of heart failure. Friends report that doctors were preparing to put in a pacemaker when he died.

Known for his harmonicas, which he kept strapped to his belt, Benton was an honoree of the South Texas Music Walk of Fame. Lately, Benton had been performing with Phive, a blues, soul, funk and Latin Rock band in Corpus Christi.

Funeral arrangements for Benton are pending at Seaside Memorial Park.

Album Review: Connie Mims “Go Deep”

John South — Sun, 10 May 2009 15:00:08 +0000

At the recent Texas Music Awards, Connie Mims was named Songwriter of Year. Though that is an honor in itself, Connie also found herself that afternoon among a quintet of Houston songwriters, all excellent musicians and performers. This year, Connie stood out among that elite group of peers as the one selected to be Songwriter of the Year.

Behind that award is a career of songwriting and performing that started in 1973 with the acoustic group Wheatfield and the pop-rock group St. Elmo’s Fire. Connie has performed in historic venues like the Armadillo World Headquarters and L.A.’s The Troubadour. In addition, she appeared with Wheatfield in the PBS television series, “Austin City Limits”.

Connie has also performed as a songwriter and vocalist in radio ads for clients such as HEB and Casa Ole. Along two other notable women in Texas Music, Tish Hinojosa and Toni Price, she appeared in the classic Blue Bell Ice Cream commercial known as “Texas Musicians”.

Connie is not just a recipient of awards and accolades. She works hard to give back to the music community. She co-founded and facilitates The Woodlands Songwriters Association. She is also a member of the Houston Association of Acoustic Musicians (HAAM) and servers on the Board of Governors for the Texas Chapter of the Recording Academy (GRAMMYS). She teaches the craft of songwriting as part of the GRAMMY Career Day Program and the Kerrville Folk Festival Foundation Professional Development Curriculum for Teachers.

Even with all of this experience, as Connie crossed the stage in Palestine, Texas to receive her award this past April, it was evident that Connie was very excited about winning Songwriter of the Year. Fortunately for us, it’s not the culmination of her musical career because we will see much more from Connie in the future.

In her recent album, entitled “Go Deep”, Connie provides an intimate view of the rollercoaster ride through love’s rough and tumble road. Each song paints a view of wounded love, empowerment or hope of the future of love. Connie is a great storyteller, using melodies and instrumentation that enhance the message of each song.

In this album, we feel the pain of a woman who has made the decision to move on after failed love in songs like “Anywhere My Heart Goes”, “Maybe by Topeka”, “The Same” and “Hole in My Heart”. In each, however, hope peeks out through the veil of pain. We are left with the feeling that the journey forward will be a long one. In “Anywhere My Heart Goes”, Connie provides a nice Texas country sound with excellent pedal steel guitar work from Cameron Parsons. The song is structurally interesting in its use of a technique where the verses flow directly into the chorus without pause or transition. It works beautifully, emphasizing her message throughout the song.

Connie’s songs of empowerment show that one can overcome the pain of failed love if you’re willing to take your life by the reins. In “Cowgirl Up”, she’s ready to do the town up in style and “…drive those cowboys wild.” In “Lose My Light”, she lets us know that a heart is made to love, to find the light in the darkest night. In “Go Deep”, she admonishes that “In life, in love, in all that you dream of, Go Deep”.

In the title track, “Go Deep” presents the message that one has to “plunge” deeply into whatever is important to you whether love or life:

But he’s got to go deep, and look beyond the surface
Go Deep, find that higher purpose
In life, in love, in all that you dream of
Go deep.

Connie provides songs of hope for the future of love in “That’s the Way My Love Is” and “My Wedding Day”. The latter song is one of my favorites on this album. It paints a wonderful picture of all the emotions that flow not only as a mama and daddy have to deal with giving their daughter away, but also with the girl transitioning from her days as a “…tomboy in a tree” to her new life as the bride of her childhood friend.

The accordion work of Chip Dolan and violin work of Eleanor Whitmore enhance a song that shows strong South Texas influences. A brilliant touch was a brief outro where Connie leaves us with the tender thought of Daddy giving his little girl away:

Daddy puts a penny in my shoe

Another song that really jumps out for me is “Walking it Home”. The song has a wonderful bluesy sound utilizing the skill of keyboardist Riley Osbourn and harp player Tommy Dardar. The spunkiness of our songstress is highlighted in “You’re either coming with me, babe, or you’re walking it home.” Punctuated with excellent harmonica and keyboard solos, this track is a keeper.

With this album, Connie illustrates her virtuosity across multiple Texas musical styles including blues, country, and pop-rock. The production by Jack Saunders is flawless, highlighting the important elements of each song. The artists each enhance the feelings and thoughts that Connie was trying to portray.

This is definitely an album to include in your collection of Texas musicians. Connie is a shining example of the craft of Texas songwriting…and a well deserved recipient of Songwriter of the Year.

More information about Connie Mims can be found HERE.

To order her album, go to iTunes or MyTexasMusic.

Track Listing (Notable Tracks are designated with **)
1. Anywhere My Heart Goes (Connie Mims) **
2. Maybe by Topeka (Connie, Gordon Payne)
3. The Same (Connie Mims)
4. My Wedding Day (Connie Mims) **
5. Cowgirl Girl (Connie Mims, Gordon Payne)
6. Walking it Home (Connie Mims) **
7. That’s the Way My Love Is (Connie Mims and Mark Beets)
8. Hole in My Heart (Mark Beets) **
9. Lose My Light (Jack Saunders)
10. Go Deep (Connie Mims) **

Musicians
Connie Mims – Vocals, Acoustic Guitar
Rick Richards – Drums
Jack Saunders – Bass, Acoustic Guitar, Electric Guitar, 12-string guitar, Baritone Guitar, Mandolin, Vocals
Riley Osbourn – Keyboards
Cameron Parsons – Pedal Steel Guitar
Rankin Peters –Bass
Tommy Peters – Acoustic Guitar
Larry Ratajczak – Keyboards
Eleanor Whitmore – Viola, Violin
Chip Dolan – Accordion
David Spencer – Slide Guitar
Derek O’Brien – Guitar
Tommy Dardar – Harmonica
Mark Beets – Vocals

Produced by Jack Saunders

We welcome your comments about the artist and the album.

If you know of any singers/songwriters or bands that would like us to review their albums, we would be happy to do so. They should send 2 CDs and their contact information to my office (Texas Music Journal, 8920 Pocono Dr., Plano, TX 75025). We have set a stiff goal for ourselves to have reviews for CDs on the website within 2-5 days after receiving the CDs. That gives us time to review the music and contact the artist for short interviews related to their music. We use 2 CDs as we peer review the material and then compare and contrast notes.

Album Review – Blues Rockers: For Adults Only

John South — Thu, 23 Apr 2009 16:30:31 +0000

This album has been out for a while, but it is notable from several aspects – production value, the songwriting, and the performance. The versatility of the singer/songwriters comprising the Blues Rockers is evident in the diversity of compositions presented. From the heavy rock aspects of “Democracy” and “Window Pain” to the exquisitely heart-wrenching story in “Appletown” to the bluesy “Dreaming” and “Coins and Lace”, the musicians illustrate how flexible they can be at developing and performing their work.

The album is superbly produced. It’s obvious that attention was given to each track to get the exact sound that they were looking for. The mix is bang on; which had to be particularly difficult given the different styles adopted by each song.

One of the verses of “Coins and Lace” highlights the bluesy nature of the song and the skill of the songwriter to weave a tapestry of loneliness and despair:

They say that time heals all wounds
But time can’t erase
The emptiness I fell inside
Or the loneliness I face.
Why can’t I get you out of my mind
And go on with the race.

Interestingly, I’ve had the pleasure to hear many of these songs performed as solo performances by Mudcat Reames and other notable Texas singer/songwriters like Billy Ewing from Milford, Texas. In particular, I’ve heard the evolution of the songs “Appletown”, “Walk With An Angel” and “I’m Not Crazy” from their delivery in this album to the way they are performed today. Whether offered in a highly produced studio setting or on a 12’ x 12’ outdoor stage in Ennis, Texas, these enduring songs are strong enough to hold their own.

Track Listing
1. Buy Now and Pay Later
2. Walk With an Angel**
3. Love Sickness
4. Dot Com
5. Coins and Lace**
6. How Times Have Changed**
7. I’m Not Crazy
8. Democracy
9. Appletown**
10. Window Pain
11. Dreaming
12. Too Late**

**Notable Tracks:

Wayne Folse – Guitar and Lead/Background Vocal
Arthur Folse – Drums and Percussion
Keith Folse – Percussion and African Rain Stick
David Gray – Bass
Michael “The Mudcat” Reames – Lead Vocal, Guitar and Blues Harp

Special Guest: Jannsen Lohmeyer – Keyboard and Synthesized Strings
Produced by Rhonda Lohmeyer, Ryan Panepinto, Reames and Folse
Executive Production: Hurricane Records

Copies of the album can be obtained by emailing Michael Reames (mereames@hotmail.com).

Further information on Michael Reames can be found at:
http://www.myspace.com/michaelquotmudcatquotreames

[Artists if you would like your album reviewed by the staff of Texas Music Journal, send 2 copies to the Executive Editor, John South, 8920 Pocono Dr., Plano, TX 75025. All albums are jury reviewed by singer/songwriters. Please provide contact information so that we can obtain additional supporting information for the reviews. All musical genres are welcomed. CDs cannot be returned, but we promise all artists a fair and quick review. ]

To Be Young and Talented

Sam Moore — Sun, 12 Apr 2009 03:45:17 +0000

Here at the Texas Music Journal, we often get tips about young performers from Texas who are sure to be “the next big thing.” Often, however, they fall a little short of the promise. We were referred to a young blues singer and guitarist who would be playing in McKinney. After sitting through his sets, in our opinion, he could very well be … well, you know.

Colton O’Neill is 17 years old. If you close your eyes, during his performance, though, you would never know it. He recently played at the Cadillac Pizza, surrounded by paintings of the great guitar legends. As he played, it seemed as though he was bringing them and their music back for the audience.

The Colton O’Neill band looks like what you would expect a teenage garage band to be: three friends including a shy bass player (Tanner Cash) and a drummer (George Johnson) whose trap work kept up a good beat for the band. The difference between this band and others is O’Neill’s voice and guitar work.

Unassuming between songs, O’Neill takes complete charge as the music begins. He laughs when he makes a mistake, which we find refreshing. It’s a sign that he does not take himself too seriously. But as he plays, he “feels” the guitar and the music. He has a classic blues voice, mature well beyond his years.

One of the more interesting moments of the evening was when O’Neill seriously told the audience that he had once done some hard time. Now our reaction was like everyone else, “Huh?” We certainly weren’t expecting to hear this from a 17-year old blues guitarist. He followed that statement with, “Yeh, I was mowing lawns as a job.” That brought a good laugh from the audience. This was O’Neill’s humorous way to introduce one of his songwriting efforts, “The Lawnmower Song.” He wrote it one day in his head while on his riding lawnmower. It has a funky, jazzy, blues sound; one line stating “I’m going to Texas, where these blues pour down like rain.”

Despite his youth, he banters with the audience like a veteran. During one lengthy pause, while setting a difficult tuning on his guitar for the next song, he told the audience, “I tune because I care.”

As we listened to him perform, we could feel him taking the guitar into places where more veteran performers have been. This was particularly illustrated as he performed a number of Stevie Ray Vaughn and Jimi Hendrix songs.

O’Neill’s talent is home grown. “My dad was one of the top Texas country guitarists,” he said. Just four years ago, the son decided to learn the guitar and he had has done pretty well. It won’t be long before his dad passes on the crown to a new top Texas guitarist.

What’s next? “My dad convinced me to stay in school; but I really want to go on the road.”

We will see a lot more from Colton O’Neill. At his age, to have that level of talent and to have that level of drive to be not just good, but one of the best …

Oh, to be that young and that talented!

Friday Night at the Cadillac

John South — Fri, 20 Feb 2009 22:11:52 +0000

For those of you who missed last Friday’s show at Cadillac Pizza in McKinney, you missed a standing room only viewing of a hard charging, true Texas blues group, Junior and the Journeymen. Lead by frontman Mike Clark, J&J rocked the house with their powerful interpretation of the blues. Mike shared the duties on stage with each of band members including Johnny Marshall on keyboards, Bobby Chitwood on bass and Mike Arnold on drums.

Calling Mike Clark a superb guitar player would be an understatement. Whether playing on his beautiful Paul Reed Smith though PRS amps, or on a Strat, Mike painted a blues picture with his styling that demonstrated his versatility in the genre. His vocals, as well as those of Johnny Marshall, had the crowd from the first line. At times, Johnny’s hands and fingers were flying across the keyboard with the intensity that only comes from putting ones heart and soul into the music.

This was matched with an inspiring bass line from Bobby Chitwood (on a matching PRS bass). Bobby’s bass work showed that he owned the bottom parts of the scale. When taking a bass lead, he highlighted the importance a great bass man on a team like J&J.

Mike Arnold’s percussion work added the perfect punctuation to the team. Whether supporting the beat for the team or performing extraordinary solo work, Mike kept the team together and added the pop that solidified that sound of Junior and the Journeymen.

The dessert for the evening was a long set where Mike and team were joined on stage by Quinten Hope. Having two guitarmen of this calibre on one stage made for fantastic set. Mike and Quinten played off each other in a manner of call and response that recalled the basic formula of classic blues. At times one took the lead, then hand over the duties to the other. Those not at the event missed an incredible display of musicianship.

To see more about Junior and the Journeymen and to listen to a sample of their music, go to their Myspace page, http://www.myspace.com/juniorandthejourneymen. J&J will be playing next at the Hole in the Wall Dallas at 8:30 PM on February 28th. (www.myspace.com/holeinthewalldallas)

To see more about Quinten Hope, check out his Myspace page, www.myspace.com/quintenhopeband. Quinten will be playing at Cadillac Pizza, 112 South Kentucky in McKinney at 8:00 PM, February 20th. He will also be playing at Sambuca, 2120 McKinney Avenue, Dallas at 8:00 on February 27th.

I would recommend that anyone interested in music should stop by the Cadillac for great food, good friends and some of the best music and musicians in the metroplex area. But come early. We found that people who know about Cadillac Pizza stake out their places early.

A G-Chord on an Old Martin – An Evening with Quinten Hope

John South — Tue, 17 Feb 2009 18:00:44 +0000

Many parents pass on their expertise to their sons and daughters, but little did Joe Hope know that by teaching his son a simple G chord a rich body of work would emerge. Quinten Hope recounts that he practiced that G chord for quite some time, often quietly sneaking his Dad’s Martin from its case as he wasn’t allowed to touch the guitar without his Dad being present.

Texas Music Journal caught up with Quinten at the Granada Theater in Dallas on Sunday, February 8, 2009 where he was opening for Andy McKee (quite a guitar player in his own right). Since the show highlighted acoustic guitars, Quinten left his Strat in the case and played his repertoire on an old acoustic – his Dad’s Martin.

The Granada Theater is a great venue for music, as no seat in the house is bad for viewing or hearing the musicians. When a trio is playing an acoustic venue, the Granada affords a bit of intimacy, allowing the audience to feel and experience the music for themselves. On this night, Quinten was accompanied by Joe Lee on guitar and Len Barnett on percussion. The three meshed well, weaving a rich tonal fabric that kept the audience engaged throughout their set.

Quinten jokingly commented that he had had to learn how to play an acoustic guitar for this particular set. This brought a laugh from the audience, as the opening number showed that he is as adept on the acoustic as he is on the electric. With Joe weaving his exquisite guitar lines into Quinten’s lead, the audience was taken on a journey that ranged from hints of classical guitar to the blues and jazz.

Quinten opened the set with a piece that one would liken to a fusion of Paco DeLucia and Wes Montgomery, at times strongly influenced by Quinten’s classical training, yet evolving into flowing jazz overtones. Hearing “Start of a New Day” and “Midnight Drive” in the acoustic version, rather than an electric rendering, painted a completely different picture. By using acoustic guitars without additional instrumentation, the pieces exemplified the virtuosity of each of the musicians.

This set was highlighted by two pieces, both completely different from each other and, again, tonally different from their electric versions. “Caron’s Song” is a beautiful piece in its electric version, but in acoustic, one can really feel the intimacy and love that that artist is expressing for his wife. In contrast, “Q’s Gigue” was a light, airy gigue that had you tapping your toes as the artists’ fingers flew across their fingerboards.

If the set had stopped there, the evening would have been a great success; however, Quinten had one final surprise for the audience. He brought out Mike Clark from Junior and the Journeymen (see the upcoming TMJ article, “Friday Night at the Cadillac”) to join the trio on stage. Mike delighted the audience with his strong charging blues vocals and guitar work. The trio provided the underlying guitar and percussion support that made Mike’s three selections a dessert for the crowd. His rendition of Robert Johnson’s Crossroads Blues was an extraordinary piece. Mike’s powerful vocals capped off a great set.

After the set, TMJ sat down with Quinten back stage.

[TMJ] How did you get started on this journey, and when did you decide that you wanted to do this professionally?

[QH] My Dad played guitar and had a band that got together to play R&B, bluegrass and country. The played a lot of Jimmy Reed material. When I was about age 6, my Dad showed me how to play the “G” chord. That was the only chord I knew for 10 years, but I got really good at playing a “G” [laughs]. I used to sneak into where my Dad kept his guitar and I would carefully open the case and very quietly play it.

As my Dad was teaching me to play, he encouraged me to play “…the good music”. However, I discovered Kiss. In high school, I played with a pop band and found rock very easy to do. I formed a band that played rock and blues. We were good enough to be offered a contract by Warner. However, after four years we started arguing and fighting and then disbanded.

[TMJ] There are two paths that a musician can take to pursue a musical career:

skipping additional school and going straight into the business
going onto college and studying music

Why did you decide on the latter route, going to the University of North Texas to study music?

[QH] I met Joe Lee who was teaching at North Texas and started studying under him (about 14 years ago). I realized that there was a lot that I didn’t know about music and I wanted to learn more about it. When I went to UNT, it was all about breaking down a bunch of walls. I had to wrap my mind around new concepts. In the process I met some new and amazing musicians, like Andy Timmons, with whom I still play.

[Joe chimed in that Quinten had taken the things he had taught him and quickly developed them into three or four new ideas].

[TMJ] How do you describe your music to someone?

[QH] It’s a fusion of blues and rock. I’m not sure if everyone understands it, but you have to write with your heart and hope that people get it.

[TMJ] What makes you most happy about your music so far?

[QH] My recordings. “Reunion” reflects what I had really set out to do. Overall, I really want my instrumentals to be as strong as vocal songs. When you’re playing , you hit that one chord or even that that one note that is just perfect for the chord, and that makes you happy.

[TMJ] What makes you saddest about your music so far?

[QH] It’s knowing that there is not enough time in the world to do everything that I would like to do with my music. Even if I could play music even second of every day, I wouldn’t get to everything I’d like to play. We only have so much time on this earth. You get a birth date and death date; it’s what you do with the time in the middle that’s important in life.

[TMJ] How does Texas influence your music?

[QH] For a long time, it didn’t. Early in my music, I was influenced by NY, LA and Nashville. Then I went to UNT, where they were more focused on the jazz and classical with an emphasis more towards an East Coast feel (particularly NY).

In the last 5-10 years, I’ve started to pay more attention to Texas and blues musicians like Eric Johnson, David Grissom, and Robert Johnson. I found that Texas music has a certain tone and approach to melody. It has a certain rawness and realness about it; it’s not fake.

[TMJ] What is your connection to the music program at Prestonwood Baptist Church?

[QH] I have played guitar there for 9 yrs. [Quinten also teaches in their School of Fine Arts several days a week].

[TMJ] What piece of advice would you give young people who are considering a career in music?

[QH] Listen to what you like and find enjoyable in music; but always be open to new things. If you want to get into music, do it because you love it. But, be prepared. You have to love the journey, as the journey never ends. If you don’t love the journey, you won’t be happy.

Links

Quinten Hope Online

Quinten Hope – Myspace

Discography

	Aspects of the Soul - Released 2001
	Start of a New Day - Released 2005
	Reunion - Released 2008