It's All About The Music 
SINCE 2007
" Its All About The Music "

Everywhere around us is music and musicians, songwriters
and producers who each believe there is nothing else they
would rather be doing. Passion; it's the stuff that
dreams are made of......

Johnny Winter

Johnny Winter played the electric guitar like no one before him and I doubt that anyone will ever play like this again. His style probably came form all the early greats he heard on record or saw playing Live, but he developed that special “ something “ that set him apart. From this writer’s view it was his incredible singing and being able to express the music like two people at the same time who would trade off riffs often with no two in a row exactly as the ones before them. He could sing low and controlled or full out balls-to-the-wall screamo with that high but rough and gravelly grit coming straight from his guts!

The first time I heard Johnny and his very famous brother, Edgar Winter playing and singing together it was on a vinyl LP. Then subsequent albums would be stacked near my stereos and I’d listen until I wore out the grooves. In those days of the early to mid seventies, Johnny and Edgar together or solo were taking the world by storm. Johnny Winter was being called names like the greatest Blues Guitarist Ever, back when he would have been the first to admit he was a work in progress. Soon afterward, Winter released a single cover of the Rolling Stones’ “ Jumpin’ Jack Flash “ and he would appear on every major concert arena with his Gibson Firebird or Explorer and a metal slide on his pinky – shouting out the lyrics and taking the Rock-Blues guitar somewhere we’d never been before.



Inside Tips from a Vocal Coach to the Stars
By Tricia Despres
© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

Gary Allan with Dr. Gaelynn Garrett.
Photo Credit: Anne Rayner / Vanderbilt

There was a time when a singer's voice disor¬ders were mainly about crisis man¬agement. But recently, preventative treatment has become important, es¬pecially in Nashville, where the voice is one’s moneymaker.
“For many years when we saw an artist, it was very hush-hush,” said Dr. Gaelyn Garrett, Medical Director at the Vanderbilt Voice Center and an Associate Professor in the Department of Otolaryngology. “It was literally taboo to think something was wrong or say that something was wrong. Artists were scared. If they weren’t working, they weren’t getting paid, their band members weren’t getting paid, their agents weren’t getting paid … The list went on and on.
“But I think the labels now all recognize that it’s like professional sports — a knee injury is going to take out a football player as much as a voice injury is going to take out a singer,” added Garrett, whose clients have included Country stars Gary Allan and Josh Turner. “It behooves them to proceed with some preventative management.”
Besides the more serious vocal ailments that can occur, day-to-day problems with one’s voice can be common. Often, these nagging vocal issues stem from a number of factors.
LACK OF SLEEP “Lack of energy is often going to mean lack of breath support,” Garrett said. “Not having enough breath support is going to end up straining the muscles around the larynx, which is something we are seeing a lot of now.”
MUSCLE ISSUES “Any sort of neck or shoulder or back issues are going to have a secondary effect on how one uses their voice,” she added. “I have had patients who simply changed the way they were holding their guitar and ended up with some changes in their voice."
LACK OF WARM-UP TIME “I spend a good amount of time in the shower on show days doing the scales and slowly bring my voice up to where it’s supposed to be,” said Allan, who now goes into the Vanderbilt Voice Center for annual checkups. “If I do 10 shows in a row and I can’t talk, I’m going to have to warm up all day, starting with a bit of humming in the morning to get things going.”
LOUD SETTINGS “If I sing for two hours and then you put me in a loud room, talking over that noise just kills me,” said Turner. “To cut through that noise with a lower voice takes so much effort that it’s undoubtedly going to end up affecting my singing voice.”
“If 100 percent of voice performers could come into my office when everything is OK, we could have a baseline exam when they were in good voice that we could always go back to compare it to,” said Garrett, whose office hallways are filled with Gold albums of the singers she and the Vanderbilt Voice Center team has treated. “These performers live extraordinary lives with very busy schedules. But for the ones who do come in to see our team, getting them back on the road is the only thanks I need.”



Seattle Washington
June 28th 2014

On Saturday Night, June 28th 2014, Seattle was treated to a rare and outstanding taste of world class African music, put on by Abdul Ndiaye and African friends of the musicians in Seattle. They held it at the Washington Hall in the Central District. It was a wonderful event, with the musicians on the ballroom stage, and food and beverages being available to the concert attendees.(More Here)

The featured country at this event was Guinea, West Africa. A number of highly talented Guinean musicians live in Seattle, and Abdul was able to bring in two world famous musicians from Guinea, triple Juno Award winning Alpha Yaya Diallo, and Prince Diabate, master of the Kora, a 21-stringed instrument whose sound falls somewhere between the sonic territory of a harp and a guitar.


Thanks to our friends at Music Clout !

by Bob Doerschuk

Rocky Jones - Christian Dean
Courtesy of Render Records
© 2014 CMA Close Up® News Service / Country Music Association®, Inc.

DownDay could fit in equally at CMA Music Festival or on a bill with Metallica. But the Arkansas quartet’s hearts are pure, if power-chorded, Country.
Christian Dean and Rockey Jones, along with bassist Damon Shores and drummer Mike Martin, signed with Render Records in April 2013. Nearly two months later, the label released the band’s earlier, regional album, Chapter 1, along with “Back in the Day” (written by Jones, Dean, Steve Freeman and David Oneal). From the structure of the song to the catchy chorus, that debut single leaned strongly toward Country and began earning adds within a month on Country radio.( continued in CMA )

Loathing, Fear and Moonshine In Centralia
by Malcolm Kennedy

About 10 years ago, I got active in the local blues community and eventually joined the Washington Blues Society. Very quickly, I volunteered to help out. I began by delivering Bluesletters to some of the local haunts in and around Ballard, and I then served as Merchandise Director on the Board of Directors. I took the blues society’s merch booth to many local blues functions, set up at the monthly Blues Bash at the Salmon Bay Eagles in Ballard, and, of course, represented at blues festivals selling t-shirts, CDs, and other blues related items. Carolyn was instrumental in supporting every facet of my volunteer work for the blues society. From spending countless hours in the booth, to reconciling the inventory and proceeds, loading, unloading and setting up… you name it. When I started writing for the Bluesletter, she was my first editor helping me with grammar, spelling and phrasing while doing her best to retain my words and feeling for this music through words.  Carolyn was my partner in every sense of the word; she was there every step along the way. Carolyn also served a full term as Secretary on the Board as an elected officer: we were a team at home, in the blues community, and on the Board of the blues society.  To borrow from the gospel side of the blues, I was supremely blessed. Wait. Check that. We were supremely blessed.  FULL ARTICLE HERE

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