Learn The Basics

Linda Harborth

Ever wonder what you like about music? Is it the sound of the guitars, the sound of the vocals, the rhythm, or the mix? Ever wonder how that sound you like so much was made? What is the common denominator? The operative word here is SOUND!

A call from Washington Blues Society Calendar Girl, Maridell Fliss, put me at Club 99 on a Monday night for Justin Kausal-Hayes' jam with Mark Whitman, Scotty Harris, Lee Oskar and others. Glenn Stewart of Blue 55 was warming up to go on stage and he opened his guitar case to tune up. He took out what I immediately recognized as a true work of art. It was a thing of beauty. It looked like a Gibson, but wasn't. It appeared to be a Fender, again I was wrong. "What kind of a guitar is that Glenn?" I inquired. "You like this?" he said with the pride that only a musician could have, "this is a handmade custom guitar made by Jason Lollar". It didn't register with me, "Jason who?"

Later, I scratched the musical circuit surface and asked around. Seems that everyone who appreciates good technical sound knows Jason Lollar and lollarguitars.com. Keith Richards does. Steve Miller does. Buddy Guy does. So does Joe Walsh, John Fogarty, Billy Gibbons and George Througood. Pretty heady company of some pretty heavy hitters. Glenn and I made a trip to Vashon Island to meet with Jason and partner Stephanie at their shop. Seems his claim to fame is guitar pickups of every kind; humbuckers, P90s, strats, telecasters and steel guitar pickups. These pickups are true works of magic that are repeatable in their quality each and every copy. Lollar Guitars has very dedicated artists in their production shop working hard to deliver those pickups to folks around the world that demand the best. It’s all about sound and the search for perfection.

We spent some quality time on the front porch on a warm spring day. Jason started out playing guitar early in life. Gigging in bands from age 17, he made a trip to a custom guitar making school in Phoenix Arizona at age 19. He returned to the PNW to play in a blues band in the 70's and 80's called Shakey Jake. "I had a band that played all the blues clubs in the 80s and sometimes we played at least 50 weeks a year. There was a happening blues scene in Seattle then. Everybody else was 10 years older than us. We played for a lot of biker parties on the east side and we started booking on the east side and all the blues bands would see where we're playing and sweep in there and book these clubs for themselves. They saw we were playing there and so we like opened up the east side to blues poachers!" (We laugh). "It was a good thing and there was a lot more places to play then and we could make ok money. I wrote this book about winding pickups because there wasn't one and once that came out everybody wanted me to make them pickups. I started making nothing but pickups because that’s what people wanted me to do."

I asked him if he missed gigging? "Not really, no. I haven't missed bartenders telling me to turn it down or you can’t wear jeans here you gotta wear slacks or the crowd asking us to play heavy metal blues please." He questioned, "Where’s all the blues clubs now?" It led directly into our interview.

Rocky-what do you think has been the death knell to blues clubs and blues in general around here.

Jason-Insurance costs, for the bar, DUI laws and DJ's. So ASCAP is taking another hunk and insurance companies and taking the rest of it and if you over serve somebody they can sue your ass. It’s putting a damper down on live music around here.

Rocky-What makes you so versatile that people like Steve Miller and Keith Richards want to seek you out?

Jason-First of all it gets started by listening to what people want giving them what they want talking to them. Keith winds up buying what I make because he heard it in another guitar.

Rocky-So its tonal quality that entices them to buy from you right?

Jason-Yep, and mostly what I'm doing now are pickups.

Rocky-I understand you are doing a Charlie Christian type of single coil pickup.

Jason-That’s the majority of what I do now. A double coil hum canceling changes the dynamic of the pickup. It’s like driving a truck as compared to a sports car. The feel of the pickup will be looser or sloppier or tighter. Making something hum canceling doesn't always work, it changes the frequency. People think they have to have it for recording but I don't think so. The guys that play single coils all the time kinda know what to do to make them to quiet them down. If you’re playing in a bar you turn off all the beer signs. The owners get pissed off when you do that but they're never around that long anyway and as soon as they're gone you turn them off.

Rocky-What have you got for those guitarists that are still searching for that quality sound?

Jason-I can help those people if they call me up and talk to me. I can help them by steering them to what they want. Some people don't know how to express what they want but I know how to get a good tone and get them what they want.

Rocky-Conversely, what do you say to those people like Keith Richards and Joe Walsh that are way ahead of the curve? How do you respond to them?

Jason-Sometimes you never talk to them, you talk to their Tech. Steve Miller called up just from my reputation from people like Bill Nash, Collins Guitars and Heritage. Joe Walsh started using them by buying from a Fender custom shop. Yamaha also buys my pickup. Buddy Guys' Tech called me for a rewind job on some antique pickups. He sent me the old ones in a Remey Martin cognac box so I guess he must drink it. I still have the box that says Buddy Guy on it.

Rocky-You mean he sent you an empty container? How rude!

Jason-(laughs) yeah, we sent him several sets of pickups and I haven't heard back from him but those guys are so busy sometimes it takes months if ever. When we go to a show in town and there’s always a bunch of Tech's standing in the back, they all know us and I’ll start talking to them. They tell me "I work for so and so and they got your pickups", the techs give the artists what they want. George Througood’s tech called me up and had me do a bunch of work to all of his guitars. They took some 30, 125’s and converted them to 225's. They took the necks off of goods ones and the bodies off of good ones and turned them into 15 or 20 good Gibson hollow bodies. They bought a bunch of pickups like 20 sets of P 90's and I haven't heard back from them.

Rocky--But you can bet your sweet ass that if they didn't deliver the sound you'd hear from them right?

Jason-Yeah if they didn't work he'd be all over that. If you don't hear back from them it’s usually a good sign.

Jason-You have to have some idea of where you're at and where you wanna go as far as what your tone is. First figure how to set your amplifiers up and get a good stage sound. Period. Usually when people can’t hear either the amplifier is not set correctly or they got two much volume on the stage and everyone’s trying to compete with everyone else so it doesn’t matter what sound you got from the guitar if everyone is fighting for the stage volume and keeps turning it up it not gonna matter. The sound will sound muddy, listen to each other use dynamic get a stage mix you never gonna get a good mix out front generally the guitar should be a little bit brighter than you think because the audience hears something different that’s what you do. Usually you want it just a tiny little bit brighter than you think it should be on stage. If you're on top of your amps then your sound might want to be darker than you actually think it should be because all the treble is blowing way past you. People tend to set their bass too high it makes the sound muddy. Roll that down. In a lot of clubs your re-verb can be turned completely off and it'll still sound like you have a re-verb. In a small club if you put any re-verb on at all it'll sound muddy.

Rocky-There’s been a preponderance of new studios crop up around Seattle. What do you say to those people that are going in to do studio work?

Jason-If it takes an engineer very long to set up there’s something wrong.

Rocky-What’s your business plan now?

Jason- It's turned into just building pickups, thousands of pickups, and maybe one custom guitar a year. There's a very long list to get one now. It’s also about getting quality products to the customer. The customer is always the boss. They trust me to do my homework and to give them the best product. I have to maintain that level of trust between me and my customer by doing my homework so that my product is consistent and fits their needs.

Rocky-Obviously you have evolved in doing something that you love and it has paid you both dividends in that respect. Thanks for your time!

(This article was originally published by the Washington Blues Society and is reprinted with the authors permission and will be updated with more of the latest information from Jason Lollar as it becomes available )

Rocky Nelson
"ROCK-KHAN"


For more information about the great Lollar Guitar and Bass pickups
please visit Jason Lollars website

www.lollarguitars.com
Call: 206.463.9838
info@lollarguitars.com

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ARE YOU A MUSICIAN? ARE YOU A TRAINED MUSICIAN OR... ARE YOU A "BORN"MUSICIAN?
 by James Dean Fisher


OVER THE FIFTY SOME-ODD YEARS I HAVE BEEN PLAYING MUSIC I HAVE SEEN MUSICIANS OF ALL SORTS, COLORS AND CREEDS. I HAVE PLAYED WITH BLACK, ASIAN, NATIVE AMERICAN, WHITE, GERMAN, RUSSIAN AND WITH MY TRAVELS AROUND THE WORLD OVER THE PAST FOURTY YEARS, I HAVE HAD THE PLEASURE OF PERFORMING AND PLAYING WITH SOME GREAT MUSICIANS.

MANY OF THE ONES I STARTED OUT PLAYING WITH IN THE DEEP SOUTH WERE MOSTLY MY AGE BUT AS TIME WENT ON AND THE MUSIC BECAME MORE RELATIVE IN MY YOUNG LIVE, I FOUND MY WAY TO SOME OLDER, MORE EXPERIENCED PLAYERS. I FOUND MYSELF PLAYING WITH MUSICIANS THAT WERE DOING IT BECAUSE THEY LOVED THE ART AND THE FUN THAT THE MUSIC BROUGHT TO THEM. SOME WERE PLAYING THE LOCAL HONK-TONKS AND BEER JOINTS IN THE LOCAL TOWNS. SOME OTHERS WERE ON A LOCAL TELEVISION STATION AND I FOUND MYSELF WORKING ON A LOCAL RADIO STATION , THEN TWO, THEN THREE STATIONS.
 
I NEVER THOUGHT MUCH ABOUT WHETHER I WAS GOOD OR NOT, I JUST LOVED THE ATTENTION AND THE GIRLS THAT THE SMALL BIT OF CELIBERITY WAS BRING MY WAY! I NEVER THOUGHT ABOUT HOW I SOUNDED MUCH, MOST OF MY LITTLE FAN BASE THOUGHT I WAS GREAT SO I JUST TOOK THEIR WORD! THE RADIO STATIONS WERE GETTING FAN MAIL AND TELEPHONE CALLS AND THE PEOPLE IN THE LOCAL TOWN STARTED TO GATHER AROUND THE OUTSIDE OF THE RADIO STATION. THE PROGRAM DIRECTOR AND THE OWNERS WERE SO SURPRISED THEY STARTED PLAYING THE MUSIC OVER SOME SMALL SPEAKERS MOUNTED OUTSIDE THE STATION
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THE STATION PERSONAL BEING SURPRISED WAS A SMALL THING AS COMPARED TO THE SURPRISE I WAS GETTING FROM ALL THE ATTENTION, AFTER ALL, I WAS ONLY FIFTEEN YEARS OLD!! THE NEWS SPREAD QUICKLY AND WORD GOT AROUND AND MORE PEOPLE STARTED SHOWING UP. UNDER THE RADIO STATION THERE WAS A LOCAL FUNERAL HOME! ON THE SATURDAY AFTERNOONS IF THERE WAS A FUNERAL TO BE CARRIED OUT, THERE WAS A SMALL CONFLICT. THE MUSIC AND THE PEOPLE WERE EVERWHERE AND THE PEOPLE STARTED COMPLAINING. SOON WE HAD TO MOVE AND WE DID BUT THE MUSIC DID NOT STOP!
 
I WAS INTRODUCED TO SOME OF THE OTHER LOCAL BANDS AND THE SINGERS/PLAYERS THAT WAS PLAYING MUSIC FOR MONEY! I HAD NOT PLAYED FOR MONEY BEFORE. MY COMPENSATION WAS "AIRTIME." I WAS SOON TO GET SPONSORS AND I WOULD GO ON TO DO MY OWN SHOW WITH LOCAL SPONSORS THAT PAID ME IN REAL MONEY AND CARS. I WAS A QUICK LEARNER AND TOOK ADVANTAGE OF THE OPPORTUNITIES THE SPONSORS AFFORDED ME AND MY BAND. THE THREE OF US WERE THE TALK OF THE SCHOOLS WE ATTENDED AS WELL AS OVER THE CENTRAL PART OF THE STATE WE LIVED IN.THE RADIO STATIONS IN THOSE DAYS DID NOT REACH OUT VERY FAR, HOWEVER, THE BAND AND I GOT TO BE WELL KNOWN IN THOSE PARTS OF THE SOUTH.

VERY SOON WORD SPREAD TO THE LARGE CITY, THE STATE CAPITOL, AND THE TV STATION THAT CARRIED THE LOCAL COUNTRY MUSIC SHOWS, CHANNAL TWELVE. I WAS ASKED TO COME DOWN AND PERFORM ON THE SHOW AS A GUEST. I AGREED, IF ONLY I COULD USE MY BAND. AFTER ALL, THESE GUYS WERE AS GOOD AS ANY OF THE MUSICIANS ON THE TV SHOW. THE TV STATION AGREED. WE SHOWED UP FOR THE 6:30 P.M. SHOW AND WENT ON THE AIR FOR TWO SONGS. ALL OF THIS WAS COMING SO FAST I HAD NO TIME FOR THINKING, I WAS JUST ALONG FOR THE RIDE, AND A RIDE IT WAS! SEVERAL OF THE ARTISTS WENT ON TO BECOME SUCESSFUL WRITERS AND RECORDING ARTIST.

AS MY CAREER TOOK OFF, I WAS SOON TO LEARN THAT THERE ARE MORE THAN ONE KIND OF MUSICIAN. THERE ARE MANY. SOME ARE THE ONES YOU SEE ON THE TV SHOWS AND THE ONES YOU SEE PERFORMING IN THE NIGHTCLUBS AND BARS. SOME OF THE MUSICIANS THAT WE HEAR ON RECORDS AND IN THE MOVIES AND ON SOUNDTRACKS ARE THE MUSICIANS THAT ARE COMMONLY KNOWN AS THE “SESSION PLAYERS.” THESE SPECIAL PLAYERS ARE USUALLY KNOWN ONLY BY THE PRODUCERS, ENGINEERS, ARTISTS AND THE BUSINESS SIDE OF THE MUSIC BUSINESS. THESE MUSICIANS ARE THE BEST OF THE BEST AND MOST OF THEM NEVER TOUR OR WORK ON LIVE SHOWS THAT COME TO THE LOCAL CONCERT VENUES.
ALL AND ALL, THERE ARE BASICALLY THREE TYPES OF MUSICIANS AS KNOWN TO THE PUBLIC; THE LOCAL PLAYERS THAT PLAY MUSIC AS A HOBBY AND FOR FUN, THE MUSICIAN THAT PLAYS THE ENTERTAINMENT VENUES ON A FULL TIME BASIS AND TOURS WITH THE MAJOR ACTS AS A PROFESSION MUSICIAN. THEN THERE ARE THE SESSION PLAYERS THAT LIVE AND WORK IN THE MAJOR MUSIC TOWNS AND DO NOTHING BUT WORK IN THE RECORDING STUDIOS. THE MUSICIANS OF ALL THREE CONCEPTS ARE MUSICIANS THAT HAVE LEARNED THEIR SKILLS AS A PLAYER AND LEARNED TO PLAY THEIR OWN PERSPECTIVE INSTRUMENT OR INSTRUMENTS TO THE LEVEL THAT ENABLES THEM, AS MUSICIANS, TO PLAY MUSIC AT THE VENUES THEY ARE CAPABLE OF, STILL, SATISFING THEIR NEED TO PLAY AND PERFORM MUSIC. MANY GO ON TO HIGHER LEVELS WITH THEIR CHOOSEN INSTRUMENT AS THEY CONTINUE TO PERFORM AND GET BETTER ON THAT INSTRUMENT. SOME EVEN ADVANCE TO THE PROFESSIONAL LEVEL AND ENJOY A SECCESSFUL MUSIC CAREER. THE MAJORITY OF PLAYERS DO IT FOR FUN AND AS A HOBBY AND ENJOY A SUCCESSFUL CAREER WITH A “DAY JOB.”

I HAVE PLAYED WITH MUSICIANS THAT ARE EXTREMELY WELL TRAINED, SOME WITH DEGREES IN MUSIC AND SOME PLAY WITH A PRECISION THAT IS REMARKABLELY ACCURATE AND THE PERFORMANCES ARE FLAWLESS. THESE MUSICIANS ARE THE ONES THAT HAVE EXCELLED IN THEIR CHOOSEN FIELD OF MUSIC AND ON THEIR INSTRUMENT AND BUILDS A CAREER FOR THEMSELVIES AS PERFORMERS AND ENTERTAINERS. THEN WE HAVE THE PEOPLE THAT JUST WANT TO PLAY FOR THE FUN AND ENJOYMENT OF PERFORMING. TO MAKE A CAREER OUT OF THEIR MUSIC ISN’T IN THEIR MAKEUP. THEY SIMPLY WANT TO PLAY AN INSTRUMENT AND SOMETIMES PERFORM AS A PLAYER ON THEIR INSTRUMENT AND MAYBE SING A LITTLE. SOMETIMES THIS IS DONE IN THE PUBLIC VENUES SUCH AS THE LOCAL JAM NIGHTS NEAR THEIR HOME AND SOMETIMES THEY JUST PLAY AT HOME WITH FRIENDS. THAT IS PROBABLY SOME OF THE MOST FUN A MUSICIAN WILL EVER KNOW AND ENJOY...NO PERFORMANCE JITTERS AND NO PRESSURE TO PLEASE THE CROWD......AS WELL AS THE BOSS! THE CLUB OWNER OR VENUE MANAGER NEEDS THE BUSINESS AND HE WANTS THE BEST MUSICIANS TO PERFORM AT HIS BUSINESS FOR HIS CLIENTELE.SOME OF THE TIME THE LOCAL PLAYERS GET A CHANCE TO PLAY THESE VENUES BUT MOST OF THE TIME THE OWNER WILL CHOOSE THE PROFESSIONAL MUSICIAN OR THE GUYS THAT ARE WORKING THE OTHER COMPETITION. THE MUSICIAN THAT IS WORKING ON A REGULAR BASIS IS USUALLY THE ONES WITH THE MOST EXPERIENCE AND GETS THE MOST WORK.THESE PLAYERS USUALLY MOVE ON UP THE LADDER TO THE BETTER PAYING GIGS(PLAYING JOBS).

A MUSICIAN IS A SPECIAL BREED. THEY CAN BE VERY HUMBLE OR THEY CAN BE THE KIND THAT LIVES ON EGO. EGO IS A GREAT PART OF BEING A PERFORMER AND ENTERTAINER. WITHOUT SOME EGO, IT IS HARD TO GET UP THERE AND DO THIS THING CALLED ENTERTAINING. EXPERIENCE COMES WITH TRAINING AND ACTUALLY DOING WHAT A MUSICIAN DOES......PLAY! WHEN TRAINED WELL A MUSICIAN WILL PEFORM THE MUSIC WITH A PRECISION AND ACCURACY AS COMPOSED AND AS THE SHEET MUSIC IS WRITTEN, ON THE OTHER HAND A MUSICIAN WILL GO TO A GIG WITH ONLY CHARTS OR WITH NOTHING BUT THE EXPERIENCE GAINED FROM CONSISTANT PLAYING.
A TRAINED MUSICIAN CAN PLAY MUSIC AS WRITTEN AND COMPOSED WITH ACCURACY AND PERFORM UNDER PRESSURE FOR MOST AUDIENCES AND BE APPLAUDED WITH STANDING OVATIONS. THAT IS THE ULTIMATE GOAL OF ANY ENTERTAINER. THAT IS CALLED SUCCESS! THEN THERE ARE THE OTHER KINDS OF MUSICIANS THAT ARE PLAYING TO PAYING AUDIENCES IN CONCERT VENUES AND NIGHTCLUBS, ETC. THESE MUSICIANS/ENTERTAINERS ARE THE PROFESSIONALS THAT MAKE A CAREER AS A PERFORMING MUSICIAN.

THIS KIND OF MUSICIAN USUALLY COMES UP THROUGH THE RANKS OF PLAYERS PLAYING THE GIGS AS A PROFESSIONAL MUSICIAN. THEY PLAY AND PERFORM AS PLAYERS AND BACK-UP MUSICIANS FOR SINGERS AND MAJOR RECORDING ARTIST. THESE MUSICIANS ARE THE TYPE THAT LEARN FROM EXPERIENCE AND PERFORMANCE, OR GETTING THE SHOW ON! THEY ARE THE GUYS AND GALS THAT YOU SEE WHEN YOU TAKE IN A CONCERT AT THE LOCAL CONCERT VENUE. PLAYERS OF THIS TYPE ARE ON THE ROAD AND SOMETIMES IN THE STUDIOS WORKING IN THE PROFESSIONAL ENTERTAINMENT ARENA. MOST OF THEM PLAY PROFESSIONALLY AS LONG AS THEIR HEALTH AND AGE ALLOWS THEM TO PLAY. AGE AND HEALTH PROBLEMS PLAGUE MANY PROFESSIONAL PLAYERS AT YOUNGER THAN USUAL AGE. THEY, INTURN, LOOK FOR LOCAL WORK AS LOCAL PLAYERS IN THE CLUBS AND BARS NEAR IN LOCAL TOWNS WHERE THEY RESIDE. THEN THE LOCAL NON-PROFESSIONAL PLAYERS USUALLY LOOSE SOME WORK DUE TO THE X ROAD PROFESSIONAL COMING IN AND TAKING THE PLAYING JOBS. THEY ARE THAT GOOD AND THE VENUE OWNER WILL CHOOSE THE BETTER PERFORMERS OVER THE LOCAL PLAY FOR FUN GUYS. THIS IS JUST THE WAY THE CLUB BUSINESS OPERATES
.
IT HAS BEEN MY EXPERIENCE WITH PLAYERS OF ALL GENRES AND TYPES, PRO, SIMI-PRO AND THE MUSICIANS THAT JUST WANT TO PLAY WHEN THEY LIKE AND WHAT THEY WANT TO PLAY, THERE IS ONE OUTSTANDING DIFFERANCE BETWEEN MUSICIANS. A “BORN” MUSICIAN! THIS IS THE GUY OR GAL THAT CAN PLAY MOST ANY INSTRUMENT AND SING MANY KINDS OF SONG MATERIAL. YOU KNOW, THAT MUSICIAN THAT PLAYS SO WELL AND EVERYBODY JUST LOVES AND CAN’T GET ENOUGH OF!!? WELL....IS THERE SUCH A MUSICIAN OR IS THAT GUY JUST TRAINED SO MUCH BETTER THAN MOST? THINK, FOLKS....YOU KNOW SOMEONELIKE THAT, A CERTAIN MUSICIAN THAT PLAYS AND EVERYONE GOES TO HEAR HIM OR HER AND THEY JUST KEEP COMING BACK FOR MORE. A “BORN”MUSICIAN HAS THE ABILITY TO PERFORM WITH AN “EDGE” AND WITH THAT SPECIAL EXCITMENT. GREAT ARTISTS SUCH AS THE GREAT JERRY LEE LEWIS, JOHNNY CASH, ROY ORBISON, PATSY CLINE, JUST TO NAME A FEW, FIT THIS DESCRIPTION . THESE KINDS OF ARTIST SUCH AS ERICK CLAPTON, BUDDY GUY, ELTON JOHN, THESE ARE ARTISTS THAT ARE AND WERE BORN TO PLAY....AND PLAY,... THEY CERTAINLY DO! NO ONE CAN GET ENOUGH OF THEM AND THEIR PLAYING ABILITY! THEY JUST DRIVE THE CROWD WILD! THIS IS A “BORN”MUSICIAN/ENTERTAINER! THESE KINDS OF MUSICIANS HAVE BEEN DESCRIPED AS “LIFERS,” AND SOME SAY THAT BEING BORNED A MUSICIAN IS WORSE THAN DRUGS. THESE KINDS OF STATEMENTS USUALLY COME FROM SOMEONE THAT HAS LIVED WITH, BEEN MARRIED TO OR HAS LOVED A MUSICIAN DEEPLY.THE “BORN”MUSICIAN WAS BORN TO PLAY AND HE WILL PLAY FOR FREE AS WELL AS MOST ANY PLACE HE CAN, IF NECESSARY, JUST AS LONG AS HE CAN PLAY MUSIC. HE WAS BORN TO PLAY AND PLAY HE WILL DO! AH....SOMETIMES, ONE WILL FIND AN EXCEPTION TO THE RULE. BUT......THAT MUSICIAN IS USUALLY A VERY UNHAPPY SOUL! A PART OF HIS BEING THAT WAS INSTILLED IN HIS SOUL AT CONSEPTION AND MUST BE SATISFIED. EVENTUALLY, HE WILL FIND THAT SATISFACTION, OTHERWISE, HIS LIFE WILL NEVER BE COMPLETE.

TO SUM IT ALL UP, FOLKS ........I SUPPOSE THIS WRITER IS ONE OF THE OF THE MUSICIANS DESCRIBED HERE-IN. I HAVE GIVEN UP MUSIC SEVERAL TIMES AND THEN......GUESS WHAT? I AM BACK! I SUPPOSE I WILL NEVER GIVE IT UP AGAIN........THERE ISN’T ENOUGH TIME IN ONE’S LIFE!!

THESE LINES ARE JUST A FEW OF THE MANY THOUGHTS AND TRIALS A PROFESSIONAL MUSICIAN-ENTERTAINER  LIVES WITH THROUGHOUT HIS OR HER LIFE. JUST A LITTLE INSIDE INFORMATION ABOUT THE MIND-SET OF THE MUSICIAN, THE SPECIAL ONE!! GOD GAVE US THE TALENT, AND I THINK USING THAT TALENT IS WHAT GOD MENT FOR US TO DO. ENTERTAIN PEOPLE AND TRY TO MAKE THEIR LIVES FULLER WITH THE PEACEFUL AND WONDERFUL SOUNDS OF MUSIC, A BETTER WAY!! GOD BLESS AMERICA AND GOD BLESS THE SPECIAL ONES...............THE MUSIC-MAKERS!!!! 


JAMES DEAN FISHER
NASHVILLE, TENNESSEE