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Tim: The Blues and Lives Well-Lived

The Blues……
And Lives Well-Lived

By T.E. Mattox

hen the Blues community reflects back on 2011, it will be with great sadness. We lost so many incredibly gifted musicians during the year. The loss of each one of these legendary individuals has been felt by millions of admiring friends and fans the world over. So, instead of grieving, or maybe as my way of grieving, I'd just like to share some of their stories and photographs. To a person, these artists were dynamic, forces of nature that paved the way for every blues man and woman that followed; and fortunately for us, through their music they will remain influential for generations to come.

Hubert Sumlin performing Hubert Sumlin 1931 - 2011

One of my all-time 'wildness at a show' stories came from Hubert Sumlin. Hubert, of course, was Howlin' Wolf's guitarist for close to twenty-five years, and was playing in a small roadhouse in the 1950's, about the time 'Evil' was hitting the charts. A packed house was normal for the Wolf and a lot of people were pressed against the front of the slightly, elevated stage. At eye level and literally face-to-face with the crowd, Hubert had just strummed the opening chords of the song when he heard a pop-pop-pow...staccato, echo through the room. "I thought it was just firecrackers really, you know, that place was full of folks, man."

One unfortunate concert attendee standing directly in front of Hubert, contorted, swayed backward, then lurched violently forward right onto the stage, and directly into Hubert…and his guitar. "I'm pushing him, man and every time I pushed him... He's DEAD! He's DEAD! This guy lighted him up, man. The first guy I ever seen, man. I had a Gibson guitar, I'll never forget it. The guitar went that way, the neck went that way and (gesturing with his thumb over his shoulder) I went this way, man."

Hubert Sumlin performing with Big Daddy Kinsey on stage at the Palomino, North Hollywood, CA
Big Daddy Kinsey and Hubert on stage at the Palomino No.Hollywood, CA
Photo: Yachiyo Mattox

On hands and knees, Hubert found his way through the kitchen and into a back bedroom and hid beneath a bed until the police arrived. He laughed about it then, but the memory was crystal clear, "When the Wolf went to holler 'Evil' that's when the shots started back there."

the writer with Hubert Sumlin backstage at the Palomino
With Hubert Sumlin backstage at the Palomino. Photo: Yachiyo Mattox

Whiskey, women and money; too much, not enough or any combination of the three has been the flash point for some of our greatest blues recordings; not to mention fist fights; barroom brawls and assorted gun play.

David 'Honeyboy' Edwards 1915 - 2011

David 'Honeyboy' Edwards was one of America's living treasures and one of the last of our founding fathers of traditional Delta blues. His road was filled with adventure, hardships and more than a few, near-death experiences.

Honeyboy related, once at a picnic in Tennessee "they had a big table, gambling, shooting dice," as the liquor flowed and money changed hands he recalled, "they got to arguing, fighting." One excitable patron upset that "snake eyes" always seemed focused on him, registered a complaint. Edwards remembered it as an extremely large-caliber complaint. "The pistols were shooting." and just like in the movies, the first thing that happened, "they shot the light out."

Honeyboy was standing right there when the opening salvo got everyone's attention. "Money was all on the table and every time the pistol would shoot, it would light up the table (he starts shaking his head) and I was trying to grab the money." Ducking down to just above eye level with the gaming surface and to avoid any possible stray round or ricochet, he would wait. "Every time somebody'd shoot," he said, "it'd throw a big light." You could almost see the glint of those muzzle flashes in his eyes as he spoke, "That's when I could see, when one'd shoot."

Think about that, he would stand, scoop up as much of the cash as he could before ducking back beneath the table. He repeated this scenario multiple times until the gunmen both emptied their revolvers. Honeyboy continued to shake his head as he remembered, "I coulda' got shot, I coulda' got killed. I was young and crazy, I was just taking that chance of getting that money or die, you know?"

Dumb-struck, I'm staring at this man, and all I can think of is, "How much did you get?"

Honeyboy Edwards with fan and photographer Yachiyo Mattox
Honeyboy Edwards with fan and photographer
Yachiyo Mattox

When he realizes what I've asked, Honeyboy looks right at me and just laughed, "Oh, it wasn't that much, fifteen or twenty dollars, trying to get all that change up, you know."

One of the most impressive qualities I noticed about David Edwards was his remarkable ability to recall dates, events and literally, the history of the blues. And according to his own account, his introduction to the road began one fateful weekend in 1932 when, at the age of 17, he heard a bluesman perform at a local house party. His life would never be the same.

"Joe Williams was out there playing for a country dance on a Saturday night and I went over there where he was playing. I kept looking at him and he said, 'Can you play?' I said, 'I can play a little.' He passed the guitar to me and I started to strum 'cause I had a good lick, you know? And he said, 'Yeah, and I can learn you, too.'

So, he come to my father's house that Sunday morning, we eat breakfast and sat around. He played guitar and he asked my father, 'Can Honey go with me out to Greenwood?' We were only about two miles from Greenwood. My father said, 'I don't care, he ain't nothin to do on the farm. He can go if he want to.' I got my brother-in-law's guitar and followed him. I never did brought his guitar back, I kept a-going with Joe Williams."

Honeyboy Edwards performing at Long Beach, CA
Honeyboy Edwards in performance, Long Beach, CA. Photo: Yachiyo Mattox

It would be the beginning of Edward's lifelong journey.

"When I first started out with Joe, I played some in the streets, little clubs, cafe's and joints, just everywhere, anywhere you can make something. Joe couldn't read or write or nothin', but he had a good mind and he could think of songs to sing. He had a good mind but didn't have no kind of education, but he could think good and he wouldn't forget nothin."

In order to further his own education, Honeyboy would soon find company with another blues traveller.

"After I left Big Joe the last of '32, in '33 and '34 I was with Tommy McClennan and '35 too. I was around Greenwood and Tommy was around Greenwood too. Tommy and Robert Petway, we all just go in and out together. Sometime I'd work with Tommy, sometime Tommy'd work with Robert. We all know'd each other, played with each other, you know?"

Charley Patton, one of the most influential of the Delta's elders, had a profound effect on a young Honeyboy. Patton's creative guitar style and turn of a phrase was an inspiration to, or imitated by almost every bluesman to come out of the South and Honeyboy was no exception.

"I was with Charley Patton a little while before he died in '34. I know'd him in '33, he was at Marigold, Mississippi out from Dockery, he was still on the farm at Dockery Plantation. He married this young girl, Bertha, that was his wife Bertha, and the year he died, in '34 they had went to Jackson and Bertha had recorded the 'Yellow Bee Blues.' She sung and that was the last recording he done."

The Sweet Life

When Honeyboy reflects on his early days in blues he has to laugh.

"Before I married, I didn't do nothin' but play guitar and gamble. That's all I done. I had a gang of women's, you know. I had two or three, they was working and had good jobs."

Living the sweet life was nice but David Edwards was never very far from the music or the players who made it.

"I used to live in Memphis and I used to play with some of the Memphis Jug Band, Big Walter Horton, Will Shade (Son Brimmer), Little Frank Stokes and Old Man Stokes. I was young then but I know'd them all. Me and Big Walter Horton was pretty close together. I was two years older than Big Walter but he was a good harp blower ever since he was 14. I met him in Memphis, Tennessee, he was maybe 15 years old. I met him in Handy's Park."

Charlie Musselwhite, who also credits Joe Williams and Will Shade as influences, once described himself as 'slack-jawed' the first time he witnessed some of the early greats on stage. So it shouldn't be surprising that harp players, to this day, still try to match Horton's technique and tone. Honeyboy doesn't think it will happen.

Honeyboy Edwards with a Pearl Jam cap
Honeyboy. Photo: Yachiyo Mattox

"Can't do it. Both of them Walters had a good tone. Little Walter Jacobs had a tone that Big Walter didn't have. Little Walter had like a Louisiana style, down on the bayou music but he had his own style of playing harmonica. He had a good, full sound. Little Walter had a better, fuller sound than Big Walter had, but Big Walter played more harp than Little Walter played. You understand me? He knew more riffs. But Little Walter had the best tone."

"I carried Little Walter Jacobs with me in 1945, he come there with me in '45. In the winter of '45 I went back south, I was scared of the cold weather. Walter told me, he said, 'Well Honey,' he say, 'I ain't goin' back. I'm gonna' lay around and hang around here awhile.' He liked it up there. And I left. In '46 in the fall I heard Walter's records. Walter had recorded with Muddy Waters. I said, 'That boy's done recorded'.....I say, 'I'm goin' back' I say, 'I'm going where I can do me somethin'. So when I come back Walter was hooked up with Muddy Waters."

Everyone who heard Little Walter play knew he was ahead of his time, but those who ran with him knew his time wasn't long.

"Walter could play that harp, the boy was good, but he lived too fast, too fast. He got down to Chicago and was makin' money. He was tall, a nice-lookin' boy and had a lot of women's and a big Cadillac. It went to his head."

Gone to soon, Little Walter would die from injuries suffered in a street fight and Honeyboy remembers only too well, Big Walter's life-long suffering.

"Big Walter was sick all his life. He was sickly, puny-like, you know? He drank a whole lot of whiskey. Oh, he was a heavy drinker."

Speaking of an early demise, Edwards spent a short period of time in the mid 30's playing and touring with the bluesman considered by most to be the 'King of the Delta Blues' players, Robert Johnson.

"In 1937, Robert was 26 and I was 22. Robert was about four years older than me. The first time I met him was on the streets. I didn't really know who he was 'cause I hadn't ever met him, but I heard about him. I got a cousin who lived in Tunica, Mississippi, she was Robert's girlfriend, and every time I go to see my cousin she'd tell me about Robert. 'Do you know Robert? Robert plays guitar.' I say, 'No, I don't know Robert.' She say, 'Robert Johnson, he goes by Robert Johnson, Robert Lonnie Johnson, he wears so many damn names, I don't know.' (laughing)

And so, when I met him on the streets and he was playin' he told the people he was Robert Johnson and he had just came from Austin, Texas. That would have been the fall of 1937, and he was playin' on the streets. A lady come up there, she said, 'Listen sir, play me Terraplane Blues and I'll give you a dime,' like that. Just country people standing around drinking whiskey, listening to that music and he said, 'That's my record, lady.' She said, 'Well play it then for me,' and he started to playing it and she said, 'I believe that is that man's record.' He played it just like the record, you know."

Tragically Johnson would be dead within a year, but David Edwards' career was just starting to pick up speed.

"I was so fast myself, I went around a whole lot myself, but as long as he (Johnson) was around Greenwood I'd hang around with him. I'd go where he was playin' at and we'd go to a couple of whiskey houses there in Greenwood and whore houses where they sell whiskey, you know? Two or three woman's there at Greenwood had good-time houses, women's be hangin' around and men drinkin' a lot of white whiskey and we sittin' there playin' for them, you know? Good time houses, good time Charlie."

Well into his 90's Edwards continued to live the blues. Not a lifestyle for the weak of heart, Honeyboy always insisted he was going to slow down. He was also the first to admit that the blues were here before he was and would still be around long after he was gone.

"Blues is not gonna' go nowhere. There's a lot of young people playing the blues too, now. They're gettin' right into it. And a lot of festivals bringin' in some of the young people to the blues."

The endless cycle of human suffering guarantees that the blues, in one form or another, will always endure.

"Blues come along ways to what I've been experiencing because I'm old, I've been here a long time. Blues come from slavery time and what I mean by slavery time, the peoples used to work in the field and sing holler songs. Ohhh…Ohhhh…trying to make the day. In the 20's they started recording like Mama Rainey, Bessie Smith, Ida Cox, Blind Lemon and they named it the blues. In the early days, it was players like Texas Alexander and Lonnie Johnson and then they just come on in the 40's and the blues got wide. I came up playin' the lonesome, slow blues. There's two or three different ways you can play the blues. You can play a slow blues, the low-down dirty blues, the Mississippi blues or you take the same blues and make it uptempo, a shuffle, up-tempo beat, you know? In the later years I worked a lot of taverns and I started playing some of the up tempo blues. Just raise the tempo on it. See what I mean? Still it's the blues."

David 'Honeyboy' Edwards was a living, breathing piece of American history. A National Treasure who summed up his life as a bluesman, philosophically.

"Blues is a feeling. You can start playing the blues and the feeling comes down on you sometime. It's a feeling, from the heart. Mine. And when I was young, I used to start playing the blues and I'd play a couple of numbers and I'd get right up and put up my guitar case and start to walk, go catch me a ride and go to the next town. They wouldn't let me stay nowhere, that's what the blues do for me. I wouldn't stay nowhere, that's why I went so much. I'd be here this week, and next week I'd be somewhere's else. That guitar just kept me goin', wouldn't let me stay."

Lucky for us.

Joe Willie "Pinetop" Perkins 1913 - 2011

the writer with Pinetop Perkins
Pinetop Perkins informs me just how lucky I am… to know him. I agree.
Photo: Mike Meadows

Over the years I ran into Mr. Perkins on several occasions and he always had stories for me….the last time we spoke I asked him about his constant touring. Country dances, traditional picnics and fish fries; did you ever play in houses of ill repute? "Well, I played in some houses, don't know if they were whore houses or not. They might have been! (he starts laughing) I played in everything; in the Blues Brothers movie and all that stuff…Angel Heart."

From the beginning you were running with a pretty fast crowd, literally some of the all-time blues greats. Robert Nighthawk, Sonny Boy Williamson, Earl Hooker, Big Joe Williams… "Big Joe Williams? Oh man, I loved that Joe. He never did sing with me none. I love that Joe, man. My best memory of Big Joe was he was a good singer, he was really good. I loved the way he sung."

Tell us a little about your association with Robert Nighthawk? "Oh man, I played with Robert about four years. And what took me from Robert Nighthawk when I was over in Helena, Arkansas…we was advertising Bright Star Flour. Mr. Max Moore, Interstate Grocery Man at KFFA, he heard me and told Sonny Boy (Williamson) 'Looky here man, hey, go over there and get him. I want him to play for me.' He loved the way I played piano. Dudlow (Robert Taylor) was playing, Mr. 5x5 (not to be confused with Jimmy Rushing) was playing then."

Pinetop Perkins performing on his piano
Pinetop sets the tempo. Photo: TE Mattox

Perkins played on a number of the most popular live radio broadcasts out of Helena. As mentioned, the Bright Star Flour program with Nighthawk, and of course the most prominent from that time was sponsored by King Biscuit Flour. The show featured numerous stars of the day, like Sonny Boy Williamson, Houston Stackhouse and James 'Peck' Curtis.

In the late 40's and early 50's, Pinetop would once again hit the tour circuit with Robert Nighthawk, eventually ending up in Chicago at the renown '708 Club.' He would also back the legendary slide guitarist in the studio, on some of Nighthawk's last recordings for Chess. Another long-time friend of Pinetop's, Willie Dixon produced and played bass on those memorable Nighthawk sessions.

You also ran with Earl Hooker for awhile…. "Earl Hooker? Boy, oh me and him got together years ago. He was 13 years old when we started playing together. And I was young and had nuthin' of nuthin'! (laughing) That was way back, I was about 20 or something then, and Earl was real young. But he was in bad shape. (Hooker suffered from tuberculosis and died in an Illinois Sanitarium at age 40.) He was sent to the hospital, and every once in awhile he'd come back around and say, 'I'm well now.' He wouldn't be discharged; he'd done slipped out of the hospital. (laughing) The doctor didn't turn him loose; he'd turn his own self loose. He'd come back, 'I'm well now!' And no sooner than he'd get back, they'd send him right back to the hospital. So the last time, Muddy Waters heard me playin' with him."

Is that when you replaced Otis Spann in Muddy's band? "Well, in a way I did. Otis had quit him and I started playin' in the band with him. That was '69. 1969, so I played with him up until '80."

What was it like playing in Muddy's band? "Oh, I loved playing in Muddy's band, man. I loved it 'cause he had the 'stomp-down' blues stuff. That's why I loved it."

some of the former members of the Muddy Waters Band
Just a few of the former members of the Muddy Waters Band. Photo: TE Mattox

One of Pinetop's long-time friends, Buddy Guy, told me a wonderful story about his piano playing protégé. "Just before Jimmy Rogers' died, he (Pinetop) used to play with Jimmy a lot, at my club in Chicago. So I walks in the club before they start playing, and I went to say 'hi' to Pinetop and he took his leg and throw'd it up on the bar like this." (Buddy hoists his leg up near the table) "I say, 'what's that for?' And they had that monitor on his leg (Buddy begins to laugh)... from the police. I say, 'who did you kill?' He said, 'Nobody!' I say, 'what's wrong with you?' He said, 'simple drunk, they got me just simple drunk.' The only time they let him come out at night, is if he was working, they wouldn't stop him from playing the keyboard. I said, 'you wasn't drivin'?' He said, 'no, I was just simple drunk, walkin'.'

So then he takes me over there and sits down and said, 'they told me to stop drinkin', he say, 'but Buddy' and he had this shot of whiskey in his hand. He say, 'if I stop drinkin…' now this has been about 15 - 18 years ago. He say, 'if I stop drinkin' (Buddy snaps his fingers) …that's IT!' I say, 'DON'T stop drinkin' then, then keep on drinkin'. And about three or four years before he passed away, they had him at the club again and he came in, they was rolling him out in a wheel chair and it was raining. I say I hadn't hollered at him, I want to holler at him before he go, and I say, 'wait a minute 'Top, I wanna' say hi before you go.' He say, 'I ain't goin' nowhere, I'm goin' outside to smoke.' And I think he was 93 or something. And I say, 'if you can smoke at 93, people should stop saying cigarettes are not good for you.' (laughs)

Early in 2011, the world was Pinetop's oyster. Although in his 90's he was still vital, still productive and still doing what he loved the most. He had just been recognized with a 'best traditional blues album' Grammy for a recording he'd done with old friend, Willie 'Big Eyes' Smith entitled, 'Joined at the Hip'. A memorable evening and lasting moment that embraced the man before generations of his friends, fellow musicians and fans. You have to think that the extended applause that night was not only for his music and his remarkable career, but an outpouring of love and respect for a legendary and gentle man. Thanks, 'Top. Rest in Peace.

Willie "Big Eyes" Smith 1936 - 2011

the writer with Big Eyes Smith

the writer interviewing Big Eyes Smith
Willie 'Big Eyes' Smith talks about life in the Muddy Waters Band.
Photos: Yachiyo Mattox

I would be remiss if I didn't mention Bob Brunning 1942 -2011 British bassist who was a founding member of Fleetwood Mac and also played with the Savoy Brown Blues Band.

Doyle Bramhall 1949 - 2011 who played with both Jimmie and Stevie Ray Vaughan and helped put Austin, Texas on everyone's blues map.

Keith "Keef" Hartley 1944 - 2011 drummer with John Mayall's band.

Alan Rubin 1943 - 2011 trumpeter for the Blues Brothers

Eddie Kirkland 1923 - 2011

Clarence Clemons 1942 - 2011

Big Jack Johnson 1940 - 2011

Gary Moore 1952 - 2011

Coco Robicheaux 1947 - 2011

And the dozens of others I've failed to list. So do yourself a favor, go out and pick up a couple of new or old recordings from some of your favorite musicians. Put your feet up, slap on that old pair of headphones, close your eyes and spend a few moments enjoying what's really important. A life well-lived.

Related Articles:
Blues Storytellers, Field Hollers, Buddy Guy, Pinetop Perkins, Honeyboy Edwards, Willie Dixon, Charlie Musselwhite

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Let Tim know what you think about his traveling adventure.

I was there at the Shrine to see Bob come in riding on a baby elephant. He says in the interview it was either '68 or 69: it was both – it was New Year's Eve (See "The Bear," an article on Bob Hite),

Debbie Hollier, Nevada City, CA

* * * *

Who else played with Canned Heat and Deep Purple at the Shrine in '68?

Bill, LA

I think the Shrine show on New Years in '68, where Bob Hite rode out on the elephant, also featured Poco, Lee Michaels, Black Pearl, Love Army and Sweetwater. Don't know that Deep Purple was booked on that evening.

Bill, maybe you're thinking about the International Pop Fest in San Francisco a few months earlier that featured these fine folks... Procol Harum, Iron Butterfly, Jose Feliciano, Johnny Rivers, Eric Burdon And The Animals, Creedence Clearwater Revival, The Grass Roots, The Chambers Brothers, Deep Purple, Fraternity of Man & Canned Heat or possibly the following year in Jan of 1970 when Deep Purple appeared with Canned Heat and Renaissance on a triple-bill in London at the Royal Albert Hall.

One final note: The current Johnny Otis piece didn't mention it, but it was Mr. Otis that took Canned Heat into the studio the very first time to record in 1966. Small world, ain't it?


* * * *

Thank u for posting it! Bob is still boogin' around!! (See "The Bear," an article on Bob Hite),

Stefano Di Leonardo, Fisciano (Salerno, Italy)

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Great Read! (See "The Bear," an article on Bob Hite) I will post it on Bob "THE BEAR" Hite Official Facebook Page,

Dave Tohill, Brandon, UK

* * * *

Hello Tim, thank you so much for letting a huge Canned Heat fan check out this
interview with the Bear. I really enjoyed it.

Best regards,

Rick Caldwell, Fairfield, Ohio

* * * *

I knew Bob Hite in the 60's. Canned Heat played at our high school prom 1966 Rexford High. The Family Dog, Chet Helms, Skip Taylor.

Max Kalik, Los Angeles, CA

Dear Tim,

I just discovered you from an email I received from Preston Smith disclosing his next event. I wanted to tap into his website Prestonsmithmusic but it would not link from your site for some reason. I have to say Preston really is a genius and I met him in Glendale at a jazz club about three years ago, after a fatal accident. By chance, I was invited to spend time hanging out with Preston and some friends after his gig. He is everything you say and I will never forget his amazing creativity and his positive influence in my life.

Janelle, Palm Springs, CA

Love the article! (on Lowell George) Lowell was my father.

Forrest George, Warren, Vermont

This Bob Hite interview is the most interesting thing I have read concerning Canned Heat. I have Fito's book, but I always was interested in learning more about Bob Hite. You did it here my friend...great interview!!!!!

Tony Musto - Pittston, PA

Hey Tim, Great article on Preston! I really enjoyed it and you did your homework. I'll probably catch PS this weekend.


Dave - Northridge, CA

* * * *

Hello, what a great article on Preston Smith! I actually met Preston one evening after an Acoustic set of my own at the Prestigeous Carlton Hotel here in Atascadero, Ca. We were loading up and he happened to be walking down the sidewalk and stop to say hello. I must say that he is a truly interesting and talented man that NEVER forgets to let me know when he is playing around the Central Coast where I live. It was so fun to read about who he truly is...(as if you don't know him the first time you meet him)! My adventures have only just begun as I recently returned from Nashville recording my self titled debut EP. I can only hope that my adventures down the road are as enlightening as Preston's and that I have the honor of a great writer such as yourself to share them with the world. Thank you for doing just that, sharing "Preston Smith" with the world.


Amy Estrada - Atascadero, CA

Hi Tim,

My name is Bert, I'm from Italy and I'm a blues harmonica player...I read your article and it reminded me of the two trips I made in the Delta, in 2008 and 2009. I love Frank's music and I think it's a shame people don't really know his work. It's important that people like you write about him. Thank you! In the Delta I was only a "stupid" tourist, but it was a great, unique experience I consider one of the most important in my life: driving on the highways, Listening to the blues everywhere, jamming in places like Red's and ground Zero in Clarksdale or the Blues Bar in Greenville... are priceless things, something I will keep in my heart for the rest of my life. I met a beautiful, lovely woman there too (named Hope), but I behaved like a stupid kid and I lost her... Alas! I will never forget that days and the chance I had to find happiness...Well, I also wrote something about Frank on a website, but it's in Italian... I give you the link of the first part (the second will be published in the next weeks) anyway if you know some Italian or somebody who can understand it... Even if I'm thinking of making a translation


Bert - Pavia, Italy

I wanna be Tim!

Brent, Seattle, WA

* * *

Those pictures give you an idea of what the Rockin' Pneumonia actually looks like and it looks BAD! But the man can still play! Enjoyed the article - give us more TRAVELING BLUES BOY!

Steve Thomas - NA, INDIANA

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Good Stuff, Tim. Having been a Johnny Winter fan since the first time I heard Rock n Roll Hoochie Koo, it was great hearing his take on some his highlight moments that defined his blues career. His affiliation with Muddy Waters was particularly interesting. Kudos for bringing that out. Thanks to your dedication to covering the blues scene, this "one of a kind" music still lives for servicemen & women around the world. Keep it Up!

Brandon Williams, Moreno Valley, CA

* * *

Impressive! What a legend and how cool that you got so much time with him, Tim.

Don, Louisville, KY

Tim - Great article, enjoyed Little Feat/Lowell George story, really brought me back in time. Did not know he was a fishin' man! Wonder what surfaces out of the abyss of your memory next?

Steve Thomas, New Albany, IN

* * * *


I really liked your travel back in time with Lowell and Little Feat. As a long time Feat fan (mostly the stuff with Lowell) it was cool to read. I learned several of their songs back in the day and they still stand up today when played live. Another singer I really liked from back then is TimBuckley. Thanks for the article.

Chet Hogoboom, Arroyo Grande, CA

Loved your last issue of TB, especially the Mayall piece. I want that guy's job!

Brent, Seattle, WA


This is a great write up. Has it been printed in any magazines? It's better than a lot of things I read in my guitar magazines, so props for that.

Caejar, Moreno Valley, CA


I can tell that you have this passion for jazz. I wonder if you yourself play any instrument. Or are you just a groupie like most of us?

I talked with a mid-aged flute jazz artist a few weeks ago and he lamented that despite his talents (and he is extremely talented) he says that the industry hasn't been kind to him. He said jobs are few and far between. He said the music industry is combating piracy and competition due to technology being readily available to private homes and that they are not as profitable as before. So they are replacing live talent for synthesized or digital instruments.

Do you see the same trend in your relationships with your music network?

Bob, Pasadena, CA

Stay tuned.

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