Al and Jean Lumpkin started the afternoon with their pleasing trademark harmonies after which Al helped with running the board as the music continued.

Paul Farnham’s musical offering featured his distinctive vocal phrasing with a blend of original and commercial tunes including a nice rendition of Bob Marley’s “No Woman No Cry.”

Stu Shrawder and Steve Catania’s set was a sample of good things to come since their musicianship kicked many more performances up a notch or two.

Bruce Barr was a triple threat…a solid performer, lending his skillful touch to the mixing board and adding his licks on bass and guitar for other shows.

Dogs are professional beggars. I suspect these dogs practice in front of a mirror, because they had the look that was hard to resist. Oshi, the visiting dog from Philadelphia made his rounds, and Bev’s dog found a place in the shade of the stage oblivious to the performances going on around him. (or perhaps just quietly enjoying them)

A distance from the stage, guests visited Bev’s wigwam, an enchanting construction of bark over stones which felt like a genuine Native American artifact…one which Bev created herself.

The food was quite tasty including grilled hotdogs and burgers compliments of the collective and a terrific array of home made offering including one of my favorites…my daughter, Heather’s macaroni and cheese. (which was warm, but would have been hot had we not gotten a flat tire).

A number of performances benefited from the excellent contribution of versatile sidemen including Fred Strickland on bass, Steve Catania on mandolin, John Sweeney on blues harp and Stu Schrauder on percussion.

Guest performers included Marty and Tim from a music collective in Philadelphia who specialize in harmonies and acoustic rendition of classical oldies.

In the second part of the Rhoades Family band jam, Fred gave a rousing rendition of his political protest song ’Mad Enough To Fight’ featured on the collective CD. Judging from the response, his well-crafted lyrics struck a chord with the audience.

George Poter followed with his entertaining silliness showing why his group, Good Without One is so popular on the humor charts on Soundclick.

In our set, one of my favorite parts was seeing my 11 year old daughter, Renee, sing the blues and direct Steve, Heather, and John to play solos, exhibiting more stage presence that I could have imagined for someone so young. (She was clearly inspired by Diva performances at King Street.)

John Sweeney and Lee Kukolla performed a strong blues set which featured some powerful numbers with other musicians sittJing in. Their last tune seemed magical surprising everyone…even the players themselves.

As darkness fell and it seemed things might wind down, the second shift arrived. KJ, after playing two shows beforehand, blessed the celebration with her musical offering, and Greg Burgess fresh from his gig, set up his keyboard and performed in an outstanding blues jam with an ensemble of talented musicians. Of particular note, was his wife, Beverly Conrad’s rendition of the Ray Charles’ classic, “Hit The Road Jack.” Blues is a universal language and the bass, percussion, keys, guitar and harmonicas put the icing on the cake for a most entertaining day of festivities.

In less formal settings music continued through the night and John Johnson took to the stage for the last show at 11:30 AM Sunday morning.

The reports predicted rain, but the weather couldn’t have been better for the 20th anniversary Local Music Collective celebration. Camaraderie of the moment made friends of strangers and even the dogs enjoyed themselves.

Due to concerted efforts of members too numerous to mention, the event was more than a success.

The same sound system used at King Street Coffeehouse filled the air with an enjoyable blend of music from noon to 11:30 PM…but when the speakers were turned off, the music continued in typical acoustic fashion late into the next morning..

The festivities included a presentation of the new CD showcasing the talent of the Collective members, cutting of a special cake featuring the Collective logo, grilled burgers and hotdogs, a collection of fine covered dishes, and an assortment of tasty performances.

Musicians who had never played together before provided a seamless string of performances that seemed like they had rehearsed for years. It began with a quiet appreciative audience enjoying the shows and food, and as the day continued more lawn chairs emerged and more musicians arrived until children frolicked and adults danced around a cozy campfire to the spirited beat reverberating from the speakers.

There were magical musical moments that you just can’t plan for. Players from various ensembles sat in on each other’s sets making the joy of music contagious…resulting in instant friendships. A visiting trio from a Philadelphia music collective took the stage backed up by sidemen from our collective reinforcing the universality of the language of music contributing most enjoyable literal and figurative examples of harmony. One family just ‘dropped in while passing by’ with the young wife taking to the stage performing Janis Joplin tunes behind an instant makeshift band of talented collective members.

As the night progressed, performers fresh from local gigs joined in. The performances were as varied as the CD selections presenting a wide range including traditional tunes, singer songwriter offerings, blues, oldies, protest, humor and a plethora of hot licks and remarkable musical energy.

The party’s over. But NOT forgotten! And as the preceding
pages show, it was a heck of a party! From all reports, everyone had a good time, the performers and audience alike delighted in the music, and no one went home hungry!

And as I reflect on the LMC’s first 20 years, I see much that is gratifying, and a touch of irony as well. Anyone who joined us at the party, or anyone who peruses the final pages of this newsletter, can clearly see how lively and vibrant the music scene in this Valley has become. Most nights, one can find someone playing somewhere, and the variety and excellence of the music one can hear here is remarkable. I think the LMC has played a part in fostering this happy reality, and I’d say that is reason for us all to take a bit of quiet satisfaction.

As many of you know, the LMC was originally formed for the purpose of bringing talented and skillful musicians from elsewhere to perform here. It was formed as a collective so that the financial risk inherent in such an enterprise could be shared among the members. This plan worked well for some years, but as time went on, the LMC branched out into other activities, such as sponsoring concerts of local musicians, hosting open mikes where a variety of local musicians would each appear for just a few songs, and of course sponsoring our monthly house Jams. Our Anniversary Jam combined many of these elements — local groups presented their music, many musicians took the stage for just a song or two, and of course we had time for our trademark anything-goes, free-for-all, just-jump-right-on-in jamming! In fact, the only element that was not represented at the party was importing musicians from elsewhere! This idea was considered at our planning meeting in January, but the unanimous response was “We have so much talent right here in this Valley, why should we pay anyone else?” So we didn’t. But it is a bit ironic –the one purpose for which the LMC was originally founded is the one activity we have outgrown!

The collective nature of this organization has not changed, however. A party on the scale of this Anniversary Jam must of necessity be the work of many hands. And so it was – many times I went to attend to a detail, and found that someone was already taking care of it. In fact, I don ‘t even know all the ways in which folks helped, and so will most likely leave someone out of my thank-you list. My apologies if I do.

But I do want to try to acknowledge those who helped make our party such a good time. Many thanks to Sue and Logan Goddard for helping with the set-up, to Bruce Barr and family for providing the tent over the food tables and the lighting for the stage, to Tami Catania, Sue Farnham and Caroline Brady for tending to the food tables, to our Grillmeister Committee of Paul Schaffer, Paul Farnham, Steve Catania, and Paul Snyder — Well Done, guys! (no pun intended!) – to Al Lumpkin, Bruce Barr, and Stu Shrawder for taking turns at the Sound Board, to Steve Catania for designing and building our new sign, to Ed Rhoades for conceiving, coordinating, contributing to, and producing our compilation CD, to Sue Goddard, Barbara and Paul Schaffer, Jean Lumpkin, Paul Snyder, Ed Rhoades, and others for preserving the day in photographs, and to Bruce Barr and Family, Caroline Brady, John and Emily Johnson, Rick Emerick, and Sue Goddard for helping with the cleanup. Thanks also to all who contributed to the music and to all who contributed to the feast! And, most of all, heartfelt thanks to Beverly Conrad and Greg Burgess, who welcomed such a rowdy crowd into their home for over 24 hours, and cheerfully tended to the myriad tasks such a gathering requires. It was truly a Collective effort!

Article by Ed Rhoades

Some people look at guitar players like old wild west gunslingers. Who’s the fastest? Who’s the best? When you’ve been around awhile, you realize no matter how good you are there’s somebody better somewhere and some teenager practicing in his basement who’s going to be the next thing. Still, when you get to a certain level… even the seasoned talented guitarists admire your work. That’s where Joe DeCristopher is, and his playing impresses and inspires musician and listeners alike.

Much of his success has to do with content, not just playing those dazzling rapid licks which he does so well, but playing with soul and style which is fresh and tasteful to the point where it’s more than hot guitar licks…he plays with a very musical sense.

I met up with Joe recently at the Blue Butterfly show at the Lewisburg Club where he was playing with The New Crusty Suspects with Tom Patten, Andy Seal, and Steve Mitchell. He showed me his Zinky blue velvet amp which looked and sounded great. His guitar, which was made by Tom Patten, is a quazi Strat style with G&L pickups.

Joe described his musical beginnings. “When I was in junior high school back in New Jersey, I was rummaging in the attic and I found a spoon mandolin with three strings, I tuned them to an open chord and played music. Dad helped me string it up with 8 strings and I got a Mel Bay chord book but the face of the mandolin pulled off. Then this person my mom was in business with had an old F hole Harmony that he gave me. For Christmas in 1965, my parents bought me my first electric guitar and amp, a Gibson SG and Gibson Scout Amplifer with 1 ten inch speaker.

Then the Beatles struck and in high school I played in a unique garage band quartet: we had two guys on guitars – one of them me – who really didn’t know how to play, and a drummer and an accordion player. Our very unoriginal band name was, “The Whats.” We played once on a UHF TV station out of Newark on a show hosted by Zacherly, at the World’s Fair in NY at the New Jersey pavilion. One weekend, before we parted ways by going off to different colleges, we played all the open mikes in Greenwich Village like the Bitter End, theCafé Wha and the Night Owl, where the Lovin’ Spoonful started out.

When I was in high school, I did take a few guitar lessons, but I didn’t have the patience to learn to read music when I could listen to the radio, hear tunes from the likes of the Beatles and learn to play by ear.

I fancied myself a guitar player back in college, but I switched to bass to join Still at Large, the hottest band on campus early in my sophomore year. George Lilly was a great guitar player who did the whole nine yards of playing like Hendricks. Best of all, he had a bass guitar and amp that I could use. In my junior year, he didn’t return to school, so I switched back to guitar. Ever since then I’ve played electric bass from time to time, but consider guitar my primary instrument.

While still in college, I was part of the band, fred, formed at Bucknell and based in Lewisburg, from 1969 to 1974, and featuring the late David Rose on electric violin. We recorded a 45 rpm single and about 2 studio albums’ worth of material. We auditioned for Columbia and Atlantic, but couldn’t get a nibble from a major label. We finally broke up after negotiations to record with Stan Getz fell through. After we parted ways late in 1974, I moved back to New Jersey. For a time, I worked for the American Federation of Musicians when they were moving to new quarters at Times Square. While I was working there, I started law school.

After earning his law degree, he returned to Lewisburg in 1979, and became part of the local music scene. He matched up with a couple of student bands, started his association with George Potor (now a co-member of Good Without One) in “The Ppits” and later, “Veto and the Hit Men”. He also played with Barbara Riemensnyder Singer (KJ’s cousin), Spiritwood, and the band, Ellen Reducks with Tom Patten and Larry Lawson, a predecessor of the Usual Suspects (the latter of which featured the late Carrie Smith-Belleson on vocals). In the 90′s, he played bass with Trace Elements and occasionally with Flora Eyster’s Classical Jazz, which led to a jazz trio with Jamie Ernest on drums and guitarrist Alfonse Ciaccio (from Canton, PA) known as Mostly Shady and Cool. Later in the 1990′s, Joe, with some folks from the Usual Suspects and Trace Elements, started playing with Carl Kirby in the first versions of Sink or Swing. Around the same time, Tom Mattern, the bass player for the Usual Suspects, started playing with KJ and Henry Koretzky in Sweet Nothings. Joe joined them on guitar, but switched to bass when Tom moved to Syracuse.

Joe recalled the early days of the Local Music Collective. “I was one of the founders of the collective, although I never took a lead role in the organizing. In the early incarnation of the collective, our focus was to bring lesser known but national artists to the Susquehanna Valley, Lewisburg then being the center of the collective universe. We had excellent concerts from Paula Lockheart, Michael Jerling , and Charlie King, but it was difficult to get performers to come to Lewisburg, because we couldn’t guaranty enough money to get them to play. I remember talking with Rory Block’s manager in an unsuccessful attempt to have her come to this part of the world.”

When asked about his approach to guitar playing and songwriting, he explained, “I guess I’m not a very self aware player, it’s always been something I just did. I’ve been an ensemble player from the beginning, and have performed only once or twice as a solo performer. My real pleasure in playing is making music with friends. I don’t’ remember a time when I didn’t play…it’s been a backdrop. In my writing I try to look for a unusual chordal combinations…out of the mainstream changes.

The very first time I went to see a show of contemporary live music was in the mid-60′s. I went to the Café Au GoGo in Greenwich Village. On the bill were Richie Havens, the Youngbloods, and the Blues Project. A short time later, I returned to another single show with the Youngbloods, the Blues Project, and the Paul Butterfield Blues Band on the same evening. Each band was terrific, but progressively more polished and impressive. If the music bug hadn’t already gotten to me by then, that would have done it.”

His advice to aspiring guitarists is simple, “Just play a lot”

Article by Ed Rhoades

As the drummer for the popular “Lip Smackin’ Blues Band” Stu Shrawder is a very visible member of the Local Music Collective, but his contribution to the local music community doesn’t end there. At the 20th anniversary jam, he performed his own set and to the delight of the audience sat in on percussion for a number of other performances. He also has lent his talents to other musical projects and recordings of various collective endeavors including CD demos and live shows.

Stu described his first experience with playing drums,” I was born with a beat and a sound track…..I started playing drums when my parents had a party and I played the drums when the band took a break. They let me play a song and I’ve never been the same/sane since.”

Although Stu’s accomplishments and experiences as a drummer/percussionist are noted within the musical community, his playing interests and abilities don’t end there. He explained, ”When I started to travel (1976 to 1980) I decided I needed a smaller instrument…so I started playing the guitar while on the road. I also play Bass, Piano and just last month bought a Saxophone.”

For readers interested in equipment, I asked Stu for details. “I play an old set of Ludwigs (vintage ‘68) or a new set of Pearls when I’m playing drums. My guitars are Alvarez and Charvelle and I have a Roland keyboard and a 1925 Kimball upright. My hand drums range from ‘Cosmic Percussion’ to ‘Remo’.”

Stu described his training and musical background as “A mixed bag–four years of drum lessons in high school, four years of drum lessons with Steve Mitchell, two years of piano lessons–20 credits from Bloomsburg U. towards a Music Therapy Certification (Music Theory, String Class, Sax, Cello), 10 Music Therapy National Conferences and every book, tape and CD that I can get my hands on….“

Although his current musical experiences feature Lip Smackin’, he described his tastes in music to be wide range, “Boy I like it All! I would say Blues and Rock are my favorites with a close second to Jazz and Folk. But a good string quartet on a quiet night can sure make the flesh tingle!“

He recalled that his “Best show was probably winning the Billtown Blues Challenge last year with the ‘Lipsmackin” Blues Band’. It was a lot of fun because we went on last, so we got to talk to and watch all the other bands. When our time to play came we knew what we had to do to win and we rose to the occasion. It’s always great to be on a stage and have people really hooting and yelling for you.”

With his excellent musicianship, singing, and songwriting there are sure to be many more times of having people ‘hooting and yelling’ for Stu.

Article by Ed Rhoades

It isn’t easy to get Steve to talk about himself. He was reluctant to grant me an interview and did so only when I told him it would help me in my struggle with time constraints. Then he began with a statement that couldn’t be more inaccurate…one that anyone who knows Steve would disagree with…he said, “There are so many people more deserving of a profile.”

Self promotion is something that most musicians gladly do and accept as necessary just to get the chance to play. But Steve prefers to give the spotlight to others. He lets his music speak for itself, and it does so eloquently.

He discussed his role as an accompanist. “My favorite part of music is to play with as many people as I can. I love singer songwriters, I love being in the background and just trying to back them up.”

His playing makes others sounds good. I speak from experience because I had the honor of having him play my music at King Street….and as Emeril would say…bam! It kicks it up a notch! Some sidemen play to the audience and try to knock them out with hot licks. Steve listens to what the song needs and just makes everything better.

Steve plays guitar, Appalachian Dulcimer, and percussion, but his biggest passion for the moment is mandolin which he plays for anyone anytime…shows, jams, recording sessions…you name it. And he always sounds great! I can’t imagine anyone ever tiring of hearing him, because his instrument is the messenger and music is his message. Also, as incredible as it seems, he actually builds all the instruments he plays. That’s how he got started.

“Actually, I was a woodworker. First I made some cat paws, musical wooden spoons.” he explained. “When I was doing craft shows I was mainly doing wooden boxes, but I began making musical instruments and it seemed like they really took off. So in order to sell them, I had to learn to play a few songs on each instrument. Then back in ‘92 I did the Philly Folk Festival, I was making a bunch of stuff out of gourds…thumb pianos. The gourd farm sent me gourds that were way too big, so I made mandolins from them. At the festival other mandolin players showed me a few chords and a few simple tricks on the gourd mandolins. That’s what sparked my interest in the mandolin.”

Like his playing, his instrument building reflects someone who has mastered his craft. “I took a course back in 1980 down in Nashville Tennessee. It was one whole summer…we built a guitar from scratch. I was doing social work at the time. I took the summer off. Then ten years later, this house that we bought has a huge workshop and I thought this would make a great woodshop. That’s when I started Catania Folk Instruments Inc. The business sort of took off so we both quit our social work. And now we’ve been doing this full time for 15 years.”

Like some of the finest musicians, Steve learned in a natural way. “I sort of am self taught. I never took formal lessons. I used to get CDs and at night time play along with the CDs.”

A recent show at the Radison Hotel with an audience of about 500 provided him with a pleasurable experience. “We played a benefit for the Holy Spirit hospital. They had the whole place set up to look like Italy. It was in the grand ballroom they had red roses, marble statues and (copies of) famous paintings and everybody was in tuxedos. It was fun to play at a fancy affair like that.”

He discussed his eclectic approach and taste, “I’m always drawn to music in minor keys. I like a lot of ethnic type music. I’m in a band called the Old World Trio…we do a lot of Italian, Irish, Mexican, Scandinavian music and that’s probably my favorite music to play. Everybody thinks when you’re a mandolin player, you should do bluegrass, but I like to play all kinds of music. I do like the old world music.”

He began playing at the age of 40 and remarked “When I started playing the mandolin…in every spare moment…I tried to practice. I had very limited time to practice, so I tried to make the most of it. My advice to young performers, when you come home from school you have eight hours. Young performers should take advantage of that time and play as many different types of music and play with as many people as possible.”

Steve’s one of the most musical and nicest people in the collective and with this bunch that’s saying something. If you get a chance to play with him, you’re in for a treat. If you display virtuosity, he’ll keep up with you, if you’re a beginner, he’ll make you sound better without overshadowing you. He’ll encourage you, and his warmth and enthusiasm are contagious.

Article by Ed Rhoades

Being an acquaintance of John Sweeney is a life enriching experience. His musical skills are constantly growing and inspiring to those around him. He can be counted on to make outstanding musical contributions on the stage, in the studio and during informal jams. John is one of those rare individuals who has good things to say about everyone and brings out the best in those around him.

An early member of the collective, he shared his perspective on his participation and its evolution. “The heart and soul of the Local Music Collective has always been the music itself, the people involved, and the house jams. I attended a few LMC events in the mid 80s- a house jam, and an LMC concert, but it was in the 90s that I really got into it, thanks to Fred Strickland dredging my name from an old mailing list, and sending it blind. I always enjoy the people, the music and songs, the jams, concerts, personalities and conversations.”

As a kid, John grew up in a family that valued music…a tradition he continues with his own family. His son Ian is a drummer\percussionist who has studied with Steve Mitchell, and John relates similar beginnings for himself. “As a kid, my parents had musician friends, and I always loved the drums. I took bongo lessons at age 5 or 6. Then later played bass drum for a year for the HS Band. My parents got me into music, with their record collection, their friends who played folk rock and blues music, and their encouragement and tolerance. My sister Kate taught me my first guitar songs, Friend of the Devil and Helpless.”

John’s powerful blues harp style pleases audiences everywhere. He discussed his experience with bending those reeds. “I started harmonica at around 15, after hearing a family friend play Baby Please Don’t Go and Sitting on Top of the World in Chicago blues style. In ’99 and ’01, I attended David Barrett’s Harmonica Masterclass for 3 day intensives. I really enjoyed backing up John Garcia, who played with John Lee Hooker for years. In ’03, I spent a week at Augusta Heritage Center’s Blues Week, in Elkins WV, and got to learn from and play music with Jim Schwall, of the Seigel Schwall Blues Band, Joan Fenton, Phil Wiggins, and Ernie Hawkins, among many others.” John began playing guitar at as a teenager and has developed into a seasoned performer who works with fellow bluesman Lee Kukkola. “Lee and I met at an open mike, sometime in the mid to late 1980s, and jammed at parties and at bars. We’ve been in several music units together, since then. As a duo, we enjoyed playing at the Gordon Community Music Festival in 1992, and at the King St. Coffeehouse- my all-time favorite venue.

In addition to performing as an occasional sideman for groups like the Rhoades Family Band, John is a regular with some outstanding blues assemblages. “Right now, I’m in the duo with Lee Kukkola, and our four piece blues band, the Barncats (with Todd Preston on bass and Loren Young on drums), as well as the Blenders (Carl Chimey- guitar, Pete Gatski- percussion, Loren, Todd, Lee and me), a six piece band that plays rock and roll and blues.” “I’m trying to get better at playing the music, and singing, mainly to have some fun and relax. I’m trying to get into the feel of the music, and to put something across, to share that feeling.”

Audiences and those who get to jam with John understand that musical feeling he is sharing is something special.

Article by Ed Rhoades

You’ve seen him at the jams, and perhaps you’ve been treated to hearing his music at a show. Bruce exemplifies all that is good about the Local Music Collective. He is warm, friendly, helpful, talented and fun to jam with.

A guitarist, singer, songwriter, Bruce’s songs range from sensitive to clever, from penetrating to driving, and his influences are diverse. Drawing on his early roots in folk from the days of hootenannies in Philadelphia and his mid 70’s experiences playing in a ‘blues and boogey band’ Bruce adds energy and musicianship to the mix at jams and in performances. Since the mid 90’s, he has been playing his own material on stages almost exclusively.

Bruce also works behind the scenes sometimes running sound at the King Street Coffeehouse. “I’m glad to contribute when I can to support the collective’s efforts,” he explained. His solid work at the board is appreciated by performers and audiences alike.

The first time I saw him take his guitar out of its case at a jam, another guitarist commented on the quality of musicianship saying “Now the bar is being raised.” When I heard his tasteful guitar leads and interesting rhythms, I understood that the statement was much more than a pun.

As a collective member, he was responsible for introducing talent like Hanna Bingman to the fold and explained, “I wish I could get more young members.”

His long collaboration with percussionist Tim Attinger has made him a favorite at numerous songwriter venues such as the Kind Café in Selinsgrove, Phillips Emporium in Bloomsburg and clubs in the Williamsport area.

If you haven’t met Bruce, introduce yourself at one of the jams. He’s a musician and person well worth getting to know.

Article by Ed Rhoades

When Ed takes a solo, he creates a mood that transforms the listener. Despite his characteristic modesty, his playing is among the smoothest and tastiest you will hear in the Collective…or anywhere for that matter. I can honestly say, it’s a privilege and an honor to jam with Ed and a joy to listen to him. If you don’t know him, take a moment to talk with him at a jam or a show. He’s friendly, soft spoken and one of the nicest people you’ll ever meet.

Ed talked about his initiation in the Local Music Collective. “I saw it advertised in the paper and I wasn’t doing any playing at the time, so I ventured over to the coffeehouse. They invited me to the jams. The first one was at Paul Shaffer’s …then I joined. Most definitely, I will be at the jams and coffeehouse if I’m not playing.”

Ed discussed his early years as a guitarist. “When I was a junior in high school my brother bought a guitar (It was a 1952 Gibson ES 125) and started taking lessons, so I persuaded my parents to let me take lessons too. I took lessons for a year and a half and also learned on my own. I started playing with a band in June 1954. I played clubs like VFWs Mooses Elks Eagles all over in the area. Back then we played old standards and some new stuff. It wasn’t a rock band; Rock and Roll was just beginning….it was a 5 piece dance band. In my first band I played 12 years and got better. Then I joined Johnny Collins, and I was with him 25 years. Those guys were good musicians and I learned a lot from them.

When I asked Ed about his equipment, he explained, “My dad had a home made amplifier. The first thing I did when I began playing was to buy a guitar and amp. I bought a 1955 black Les Paul Custom; it was called a ‘fretless wonder’…it had frets but they were very low…I wish I had it today. It would probably be worth about $10 000 today. Then I had two Gretches… then I went back to Gibsons like I have now. I had a 1971 Gretch Country Gentlemen and a 1998 Gibson Country Gentlemen. (For amplification) I use a Fender…the one I use mostly is a big tube amp called a Hot Rod Deluxe. Of course I’ve got that old Gibson I bring to jams and 1936 L50. It’s just like Fred Strickland, but Fred’s is a year younger.”

“Chet Atkins and Les Paul were my big influences. Although I don’t play Chet Atkins style, I do play his songs. I don’t play finger-style I just use a straight pick. I listen to just about any kind of music…old standards and new music. I don’t listen to hard rock or rap. I like country, big band that kind of stuff.

As a sideman, Ed finds himself in demand, “I’ve done one or two jobs with Don Krech. I’m playing with Season’s Sounds, it’s an 18 piece big band. I play with a three piece country band, and I played with Sink or Swim a few times when they need me and anybody who will have me. I enjoy playing with anybody…I just like to play whenever wherever I can.

Years ago I went down to Philadelphia and backed up a girl for a Christmas song in a studio on Broad street…I don’t remember the name of the studio…probably in 1967 or 68.

He gave this advice for beginning guitarists. “The best I can say is learn to read music even though you don’t think it’s worthwhile it will always be a plus for your playing but don’t ever give up using your ear.”

Article by Ed Rhoades

Some people are of the opinion that our outward appearance reflects our inward self. Personally, I think that’s a dangerous assumption…except in the case of KJ. Her cheerful, bubbly, countenance…her exterior image of sweetness, kindness, consideration…they’re all the real KJ.

Her background features a combination of the suburbs of Philadelphia, a local small town atmosphere and that of a busy performer.

She cites John Denver as one of her influences which to me is interesting, because I met him once at a workshop years ago and got to know him a little. His wholesome, friendly, stage persona was exactly the way he was offstage when making conversation with people who didn’t matter. In some ways, KJ is much like a female counterpart to him. Her pleasing voice, lovely image, and contagious optimism are more than a marketing theme. Her sincerity is real.

KJ was one of the founders and a key sustainer of the Local Music Collective through some difficult passages. Despite a grueling performance schedule, she still found time to attend the Anniversary Celebration and make a musical contribution on the stage.

As a songwriter, her inspiration and subject matter is diverse ranging from light and fun to poignant and thoughtful. When I asked how she approached the craft of songwriting she explained “I write songs mostly at odd times…while I’m at a traffic light, during a wedding where I’m to be singing, in my car as I’m waiting to gig somewhere…often times during breaks at festivals. Often it’s the lyrics that come first…but not always.”

She’s traveled to bring her music to audiences and cites her most exciting show as when she played with Dougie McLean in Scotland. Another memorable experience was opening for Diamond Rio “…just as they were getting famous.”

Currently she has a 3 song promotional CD available for her “Proud To Be A Farmer CD that’s she’s working on which is planned to be released this fall. Also in the works is a Kids’ CD with an anticipated release date of late fall to Christmas.

She was recently interviewed by the Press Enterprise for an article about the Local Music Collective. As one of the founding members, she described the evolution of the organization. “It’s including more family-based activities from time to time….and is holding more jams than before. The King Street Coffeehouse has given us a tremendous boost. Both the ‘old’ collective and ‘newer’ collective have been wonderful….glad to see “new blood” helping to keep it running.” She credits Kate Hastings and Tom Patten for getting her involved.
She discussed her personal plans and goals in the music business? I’m currently writing a lot of songs that organizations are using to promote their cause….RSD (“RSD’s A Mystery”), Cancer (“Carrie’s Quilt”), Circle of Women (many women’s groups), WW1 folks (“Helen Fairchild”), many of my farm songs for farmers and my John Kerry tunes for this campaign season. Hoping to continue to do that and to produce more CDs for all ages, while also continuing to perform in the UK and US.”

She gave this advice to young performers. “Be as true to yourself and your music as possible. Accept that you might sound different than the TOP TEN on the radio and find your niche. You’ll be happiest that way.” Good advice from someone who is a perfect example of the power of positive music.