Thursday, November 15, 2018


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                           RESURRECTION BLUES BAND
SCHOOL OF BLUES PRESENTS: BLUES JAM w/ RESURRECTION BLUES BAND...ALSO WITH MARCO PENA- GUITAR PRODIGY THIS FRIDAY & Every Friday Night 7PM JAM SIGN-UP 7:30 START TILL CLOSE - ALL AGES MAY SIT IN UNTIL 10PM  Jalisco Mexican Restaurant, 941 Pearl Street Eugene (541) 517-5224-Resurrection Blues Band: Featuring, David Vanderhoff, GT Albright, Sean Jackson, and Steven Masone

Monday, November 12, 2018

School of Blues: Operation Little Red Hen

Little Red Hen found a grain of wheat.Image result for little red hen story
“Who will plant this?” she asked.
“Not I,” said the cat.
“Not I,” said the goose.
“Not I,” said the rat.
“Then I will,” said Little Red Hen.
little red hen 2So she buried the wheat in the ground. After a while it grew up yellow and ripe.
“The wheat is ripe now,” said Little Red Hen. “Who will cut and thresh it?”
“Not I,” said the cat.
“Not I,” said the goose.
“Not I,” said the rat.
“Then I will,” said Little Red Hen.
little red hen 3
So she cut it with her bill and threshed it with her wings. Then she asked, “Who will take this wheat to the mill?”
“Not I,” said the cat.
“Not I,” said the goose.
“Not I,” said the rat.
“Then I will,” said Little Red Hen.
little red hen 4
So she took the wheat to the mill, where it was ground. Then she carried the flour home.
little red hen 5“Who will make me some bread with this flour?” she asked.
“Not I,” said the cat.
“Not I,” said the goose.
“Not I,” said the rat.
“Then I will,” said Little Red Hen.
little red hen 6
So she made and baked the bread.
Then she said, “Now we shall see who will eat this bread.”
“We will,” said cat, goose, and rat.
“I am quite sure you would,” said Little Red Hen, “if you could get it.”
Then she called her chicks, and they ate up all the bread. There was none left at all for the cat, or the goose, or the rat.
little red hen after eating bread with chicks

Tuesday, October 30, 2018

Blues Therapy Radio On Airways Near You!

Image result for blues therapy radio

by steven masone
Music heals! I prefer Blues for my musical healings. There is a movement across this nation and world to use music as therapy for many of the things that ail people. From Guitars4Vets, using music for PTSD, Teaching abused children ukulele as an introduction to music, and other out of the box ways to help heal emotional hurts, mental stress, traumatic events, depression, anxiety, music has always been one of the best balms for healing. So, check out "Blues Therapy Radio."

Thursday, October 25, 2018

Bluesman John Clifton & Band... "Electric In Eugene!"

A Blues Review
by steven masone 
 I play harp. I developed COPD some years ago and lost my windpower and am now doing all I can to learn how to play all over again using new breathing technique . Watching, and taking lessons from some outstanding harpists in Eugene, I have learned I can breath different and more efficient than the way I taught myself. Most of us started out not having a clue about breathing. Most use 1/3 to 1/2 of our lung capacity during normal activities, then we get a harmonica and are surprised by our shortness of breath and small capacity. We hear great bluesman do seemingly impossible harp parts and wonder how they did that... John Clifton is one of those!

John Clifton's first time in Eugene at Mac's @ the Vet ( thanks to Vicki Pearlman & Rainy Day Blues Society)  took many harp aspects to new levels for both the audience and some of the bluesmen who showed up. First of all his showmanship is off the hook! To me, he's a blues version of "Old Blue Eyes." Classy and flawless, but with much more electricity from the start of his show. It takes a special performer to open up in high gear and keep shifting into higher gears. John Clifton did not have a weak moment as he upped the ante throughout a great show! He is now one of only a handful of harp players I will watch everything he has online to try and learn his incredible ability to blast with Chicago electrifying stylings, and switch up into Delta swampy acoustical rhythms, and breath control techniques that are all his own, and phase into soul and rock/funk stylings so effortlessly, then blending them with lightning fast note runs and tonguing techniques beyond ridiculous! His voice is also ridiculous as he can sing like a cajun swamp crooner, then hit high notes that would get instant four chair turns on NBC's The Voice. Hailing from Fresno, Ca...if he got his bandmates there, Fresno has b een hiding a musical untapped gold mine! All were outstanding! I'm from the SF Bay area and Sacramento blues scene, circa late 60's thru mid eighties, radio personality and blues harp player from Sacramento, known as the Godfather of Blues, Mick Martin raves... 

Vocalist and harp player John Clifton is an outstanding, dedicated musician who plays genuine blues. The real deal!”
            — Mick Martin , Capital Public Radio
But enough from's some of his bio.... and see link to his website and get some of this man's music!

You've got to work hard to make it look this easy and hard is where He starts. He knows how to light up a show with intensity, and doesn't know how to quit---so he doesn't . With the electricity turned up to 11, you can count on John Clifton to electrify you!” Midwest Record

Image result for john clifton blues band

Hitting the road hard since the early days and performing over 150 dates a year, John regularly tours in the U.S. and has headlined some of the most well known venues and festivals throughout Europe such as the Beersel Blues Festival in Belgium, and the Blues Express and Polish Boogie Festivals, both in Poland.  He has also electrified audiences on festivals and in venues throughout the islands of New Zealand and Fiji!  

IN 2016, The John Clifton Blues Band performed on the Doheny Blues Festival, California's largest and most prestigious festivals, with Edgar Winter and Lynyrd Skynyrd headlining.  He also injected a shot of adrenaline to the acclaimed Edition de Bain de Blues Festival in France.

With style and prowess on the level of Kim Wilson and Rod Piazza, John has always kept it real with his own voice and identity and never set out to be a copy of any of his musical heroes. As a showman he delivers straight from the heart, soul, and gut, staying clear of the typical clichés and novelties. 

He also keeps things fresh and exciting by effortlessly infusing styles from West Coast to Chicago Blues, classic R&B and Soul, to some hard driving vintage Rock'n'Roll.

John's reputation and performances have earned him the respect of many of the greats as he has been invited on stage with the likes of James Cotton, Rod Piazza, Tommy Castro, John Mayall, Huey Lewis, Willie Big Eyes Smith, Luther Tucker, Kim Wilson, Billy Boy Arnold, James Harman, and Rusty Zinn.  He was also given the honor of opening for BB King, winning and being a multiple nominee for the Modesto Area Music Awards, and receiving the "Declaration of Appreciation" from the State of California for his contribution to the arts.
"Nightlife" Latest release by Rip Cat Records. On Nightlife, Clifton ramps up his game by multiple notches, seamlessly translating his onstage blend of West Coast and Chicago Blues, '50s style hard R&B and Soul, and high energy vintage Rock'n'Roll to the studio for a dozen tracks that sizzle and shake to perfection. "The new record is the live band, the guys who I play with every night," says Clifton. "So it definitely has more of a live feel to it. These songs have been a part of our live set for some time now, so when we went in and recorded them, we just turned on the tape machine and let it roll." The album is already being hailed in the US, Europe and Australia as one of the year's best, and has also begun to appear on blues, roots and rockabilly charts worldwide. 

Wednesday, October 24, 2018

Opinion: When Cheap Music Venues Ruin Local Music Scenes.

by Steven Masone

Many years ago, as a Talent Agent and Producer, I was in a major metropolitan live music region where at least several hundred live music venues were thriving, and top notch bands were able to supplement day jobs enough to still have time to live normal lives, yet furthering their music careers. I had my share of both very good to great musical groups, and Venues that paid well, and understood the value of booking only the top bands on for 4-5 nights a week. Smart venue owners usually had an off-night to audition up and coming bands seeking to both get exposure, and hone their skills in "real-world" performances. When the Cream rises to the top, cream (music) lovers win, venues win, and working musicians win! We all win! However, when Disco took the country by storm, live musicians began losing venues left and right. Music budgets dropped from an average of $1,200 a week for a 5-7 piece band to $500 a week club DJs.  

Then, when Club's began installing their own DJ systems, wanna-be DJ's who knew nothing about programming the right music, or knew how to mix and segue properly, began undercutting pro jocks offering to work for $25-$50 a night, greedy club owners with no eye nor ear for quality, welcomed those amateurs and ruined the Disco scene as well. When drunk driving laws were passed and enforcement and crackdowns started police to stake out nightclubs with check points, the industry saw the music scene both live and disco, crash tremendously. 

Now, we see the resurgence of live music venues facing the same crisis where amateur musicians will play for next to nothing, or free, bringing down the music budgets of greedy club and venue owners who are in it for a fast buck with no regard for the long term damage done to quality bands and artists who can't afford to stay in smaller music markets. If they want to play week-ends and get paid even anywhere near the pay scale of the 1980's...they have to move to major urban cities where corporate and private events are the only way to make ends meet. The result? Medium to small music markets lack good musicians and the public's music tastes are dumbed down by wanna-be rock-pop-stars who dilute the music scene with milk-toast talent. The ceiling is lowered and greedy club owners are the only ones making money. The so-so bands never get better as there is no high-bar set in the community for bands to strive to be good enough to get paid top dollar if there are no bands left to set higher standards.

The Blues communities in most medium markets are an exception, where small venues are still featuring great talented blues players who play for the love of the blues, and understand if they abandon the traditional blues jam sessions, the blues will suffer as well. There is no contest between the quality of good blues players vs the thrown together bands of fad music genre that changes with it's pop stars and idols. It's usually either musicians of the genre du jour who play oldies and some classic rock, just to showcase their originals and play for peanuts, for a younger generation that is attracted to the scene over the musicality because it's more of a fashion and fad scene. 

For blues, the talent is always the draw! But because some Jam sessions make more money for venue owners than the week-ends make, they feel they have to bring in out of town bands which costs more, and local musicians see no advantage in putting in the work to form new bands and rehearse enough because very few venues will pay enough. So local bands fill up their calendars playing out of town. Most medium markets are down to a handful of blues venues where people tire of the same players that just jam and have no exciting stage show people will talk about. 

What is the answer? More venues for one. Competition always breeds excellence! Business breeds business. Festivals and innovative productions and events are needed on regular basis to expose the community to quality musicians. If a city of 200,000 population or more has only three or four venues, and jam sessions are as good as the imported talent, week-ends are less attended and that venue's music budget will shrink and stagnate. Soon. the venues will dilute the genre and experiment with cross-genre booking which has never been a winning formula for building a music venue successfully, especially if the venue relies on food & beverage as well. If a venue does not cultivate their base of regulars, in like manner in keeping their food and service staying consistently good, it has been a proven fact that their music menu has to also stay consistently top notch! However, when venue owners are only in for for the quick fix, paying insulting rates for their bands and other entertainment, they get what they pay for, and the community is cheated of their resident talented musicians artistic potential.

Friday, October 19, 2018

Gino Matteo Band Rocks Eugene

Jade Bennett
By  Steven Masone

The good folks at Rainy Day Blues Society of Oregon, and The Westside Blues Jam at Jimmy Macs Overtime Grill Sports Bar Tavern in Eugene, Oregon, gave blues lover's a treat this past Thursday night! Gino Matteo  Band put on an excellent show with their dynamic, fresh and progressive style that rocked the house with several different levels, shades, and sides, they showcased their finely honed outstanding and tight act. From Gino's brilliant guitar work and soulful vibe, to Jade Bennett's singing like a blues Diva right out of an authentic old school blues speakeasy, one would have been satisfied. However, then the bass player; Michael Burnham and drummer Carson Ford were let loose and the talent factor went through roof. And it was outdoors! Look forward to catching them again as soon as possible.
 Gino: "Work hard at what you love, treat everyone you meet like family, and try to smile here and there". 
Through it all, Gino Matteo still holds true to what he believes. Being a rarity in today's Roots-Music world, Gino Matteo is a young man with an incredible knowledge and respect for the past. A true student of the life. Gino's performances are spontaneous, explosive, and original- a triple threat to the music world. 
Gino is the definition of an "old soul" with a voice as smooth as velvet but tough as nails. 
Gino writes music about his life as he lives it. His love, joy, and pain pour through his guitar and voice. 
Using the experiences learned over time, Gino Matteo's sound respectfully pays tribute to true roots music while adding a bit of his own life in between and is quickly carving out a name for himself being among the finest songwriters and guitarists in music. 
For the last several years, Gino served as the lead guitarist in the Sugaray Rayford Band traveling the world with the blues great.