Blues Society of Western PA - Newsletter

Lionel Young is preparing for his return to the 'burg for his performance at the Pittsburgh Blues Festival on July 23. Lionel was the 2008 International Blues Challenge winner of the solo/duo competition. What differed him from the rest? His blues set was done on an electric fiddle with a bow...decidedly an orchestra instrument. An orchestra performance ... no! It was a pure interpretation of Delta Blues ....done with four strings.

Most recently, Lionel Young took Memphis by storm when the Lionel Young Band was chosen as the winning band at the 2011 International Blues Challenge. His winning both the Solo/Duo and the Band Competitions is a first.... in the many years of the competition.

Pittsburgh, what you do not know...Lionel studied music at Carnegie Mellon and was a part of the Pittsburgh Symphony...impressive on that alone. The following conversation is to introduce to you to Lionel Young and his musical journey that is bringing him home to the 'burg.

Jonnye: What were your thoughts when you went to Memphis as part of a band in 2011 after winning the solo division in 2008.

Lionel: (A light chuckle, then a hesitant pause...and then an earnest answer) Dave McIntire, the president of the Colorado Blues Society, asked that I enter their band challenge to try for a spot in the 2008 International Blues Challenge. Frankly, my band was not interested....no pay and a lot of expenses to get to Memphis. I had promised that I would get into the competition. I really did not want to do it...but he said ...why not try it as a solo. I went "kicking and screaming" but I was honoring a promise that I had made. I didn't think that I could do it....work as a solo. It was shocking that I could do it and do it well. ( a soft chuckle)

J: How difficult was the transition from working as part of a band to performing as a solo artist? Did your solo stint in 2008 help you to prepare for 2011?

L: (Seriously) Well, I was used to working with the band. The competition opened a "lot of doors" on my first circuit. True, it seemed to be a lot of work both as a band and as a solo. There were a lot of promises. BUT...what you realize is that you are at the bottom of the pile. The next rung up on the pile is the pros. Mixing with the pros on bills like Buddy Guy, Ana Popovic, Ronnie Baker Brooks (many more were mentioned) ...is a different ball game! (quite earnestly and with a soft laugh)..You get one opportunity to make the most of what comes your way...that is the hardest part since winning... doing your best to maximize the opportunity. In some ways, we "foster" and teach the next generation with help from the IBC. (Intently and with a heartfelt passion) In preparation, I have learned to work backwards from the criteria required for the IBC. You have to work at scoring heavily in blues content and then the vocals. The rest of it, you work on it day by day. We chose songs ...making choices that were not about what we liked but picked songs that would score high. We used our experience as a band to offset ourselves from the other bands. I had to personally focus on doing better with the circle of people that I worked with. I even was coached on how to dress for the audience. What I noticed in 2008 was that some bands played too hard-the pressure of the situation and their reaction to that test (competing) made them nervous and they played faster and louder. People don't process at times that they need to settle their nerves as they play....knowing when they need to pull back and not play as loud and as fast. At the local level for competition in Denver, we knew we only had "one shot." Slowing down (seriously), nothing is too slow in the blues. Trampled Under Foot is not afraid to take their time to work a song. It may seem like forever when you are playing it but it is only a brief time...and the audience digests what you are trying to get across.

J: Having crafted a "smoking" type of blues on an electric violin that is unique and unusual, do you get the desired response that you are seeking from the audience or is it a delayed reaction. I noticed that when you play something, you turn and look at the audience...waiting for them to digest what they have heard. What are your secrets to winning over the audience.

L: Their reaction to my playing the violin is one of shock....the audience usually says...'Whoa...he is playing something different.' After their initial shock and you have gotten everyone's attention, you have to keep it and maintain it. If not, they tune you out and walk away after the first minute. You have to feel the connection. You may not get another chance...and (chuckling) that is why we play music. It is a learning process. Believe it or not, I am a SHY person, an introvert. A friend, Rachel, who has a Blues dance class helped me with my stage presence issues. She said that I was good ... (hesitating) something was missing. Rachel insisted..."Make me want to listen to you!" She said that I needed to pay attention to her, not myself. She said that I, the performer, had to appeal to her in a sexual, deep way and to relate to her with my music. (Sighing, answering slowly) I thought about it and worked very hard in that area. (Quickly adding) It is a scary thing when you are in front of people. Most people don't experience it every day and all day like performers. It makes people nervous and then you get an adrenalin rush. You learn to try different things. My thing...go within yourself to find refuge. It is not how good your vocals are...it's how you connect with people. People are very encouraging.

J: I have heard that you have researched music by listening to records. Do you have a collection of your own. What are your most valued records or which artists influenced you and why.

L: I have a lot of different kinds of records and different types of music. Sometimes I listen to everything that a person has put out. When I was young, I rode my bike to the Pittsburgh Public Library and listened to very old stuff...stuff that I found interesting and listened to very old stuff from far out and off the beaten path...violin music, gypsy recordings, Charlie Patten...stuff from the 20's and 30's. I listened to the complete recordings of Robert Johnson and Blind Lemon. I went on tangents and studied Albert and Freddie King. I would listen and listen until my ears were too tired to listen any more. I felt like a sponge listening to the music from the past. I draw on that to do what I do now.

J: Having studied and played music in Pittsburgh, would you share some of your 'burg experiences. What is on your to-do list while in the 'burg? Were there any Pittsburgh musicians that influenced or shaped your interpretation or style of music..

L: I studied music with the assistant concert master of music with the Pittsburgh Youth Symphony. I attended Central Catholic and Carnegie Mellon. Fritz Seigal was the student's concert master. I was around musicians every day. There is a strong blues community in Pittsburgh. They play it with real conviction. It is a neat city (excited and laughing). It is a cool place. I am always polarized by the warmth of the people and the yinzer accent! Pittsburgh's people are a 'unique' treasure! I AM a Steelers fan, always have been. Funny thing (laughing), I had just won the 2011 IBC and that was a GREAT experience. However, the next day the Steelers lost! I was devastated. I "flipped out." Football and music bring people together in Pittsburgh. I am looking forward to coming "home." I worked for awhile with Duane "Stackhouse" Johnson in the Midtown Playboys. I followed Mike Sallows on guitar and Lucy Van Sickle on harp. Lucy's father was a bass player in the symphony. I watched Chuck Watts teach guitar in Squirrel Hill. He knew everyone in town and I got to play.

J: Any special thoughts that you would like to tell the Pittsburgh Blues Fans about your blues. What should they expect.

L: Expect anything! It is my homecoming! I will lay a dozen roses on Heinz Field. Yes, (in a quiet, serious manner) I would like to add that I am writing music in preparation for unique challenges on December 2012. I strongly believe that no matter what happens, that if we stick together as people we will get through it. It is apocalyptic, it is factual... stay positive. See you in Pittsburgh.

~ Jonnye Weber

The voice from his website lures you in with his Oklahoma twang laced with Bostonian undertones. Simply said..."I'm Watermelon Slim. This is the place to get up close and personal with the blues.”  A blues fan in Wheeling commented that Watermelon Slim was a rough and disheveled character but musically talented. Hmm! I leaned over and said...."Don't judge a book by its cover. You may just be surprised!" In 2002 after a brush with mortality, Bill Homans a.k.a. Watermelon Slim proclaimed, "Everything I do now has a sharper pleasure to it. I've lived a fuller life than most people could in two. If I go now, I've got an education, I've lived on three continents, I've played music with a bunch of immortal players, I've fought in a war and against a war.  I have seen an awful lot and I've done an awful lot.  If my plane went down tomorrow, I'd go out on top."

After two weeks of missing each other, I finally got through to Kenny Wayne Shepherd for an interview. It was thanks to his wonderful publicist, Jonnye Weber and I trying to get times settled. It was a short, interrupted interview, but We got most of what we wanted in.


If you haven't seen or heard "10 Days Out," the music and story are fantastic! Kenny visits blues legends and plays in their kitchens/small clubs. All these people are 75-95 years old. There are some great stories and music... a must for all blues lovers.

DON V. -  Hi, Kenny, thanks for taking the time to talk .
KENNY - Oh, you're welcome. Please hang on, I'm stuck trying to check out here.
DV: (LAUGHING) . OK Kenny , take your time and let me know when you're set.
KWS: OK, I'm ready.

DV: First, let me say we're thrilled to have you back in Pittsburgh. I've seen you every few years going back to when you were 18. You seem to add something each time.
KWS: Thanks, I enjoy playing there. People seem to enjoy my music there.

DV: You started your career at 16 and recorded your first CD at 17 as a senior in High School. Do you think you missed out on having a 'regular teen life?' Just having fun with friends, No cares ?

KWS: No way, it was an incredible experience. I'm sure many kids would've changed places with me. Touring the world as a teen was just amazing! If I had a choice, I'd do it all over again the same way.

DV: Your newest CD/DVD,  "10 Days Out," features quite a few blues legends. Is there one that you can say thrilled you the most to play with?

KWS: Oh, wow! There were so many it's hard to pick one. Of course, B.B King has been like a father to me and Hubert Sumlin, who I played with for the first time, became like a father, also. The one that knocked me out the most was Etta Baker, though. She was 90, and hadn't played guitar in quite a while. She picked it up and 'took me to school.' If you never heard her, she plays guitar like a ragtime piano.

DV: Ok, I haven't seen the DVD yet, but I have to now. Also on the DVD /CD is Bryan Lee. Wasn't your first appearance on stage with Bryan?

KWS: Oh, Yes. I was 13 and he gave me a chance. I love Bryan and I think he never got the credit he deserves as a musician.

DV: Fender introduced the "Kenny Wayne" Stratocaster last year. Congrats!  You helped design it, didn't you?

KWS: Yes, it was quite an honor for me. It took three years to complete. I feel privileged to be in the same company as Clapton and Stevie Ray Vaughan .

DV: The sales are doing extremely well, aren't they?

KWS: Yes, they're backordered constantly.

DV: I know the 'strat' is your first love, and most know you for your guitar playing. However, I have to say I love the tunes you play on the Dobro. In particular, "Was" and "Every time it Rains." I crank them up every time they come on. When did you begin playing Dobro? Do you enjoy it?

KWS: I started playing Dobro a few years after guitar, and I love how it sounds. Those 2 songs especially, I thought were meant for Dobro. I'm by no means a great slide player. Derek Trucks is about the best around today. He's incredible to watch.

DV: Kenny, you have a pretty unique sound, I can usually pick out your songs in a few notes. Who were your early influences?

KWS: Well, there were many, but mainly Stevie Ray Vaughan and  Jimi Hendrix. I met Stevie Ray when I was 7 years old, and decided that I was going to be a guitarist right then! So, I'd have to say Stevie Ray was my main influence.

DV: I hear you have a love for muscle cars? You do a tour with them?

KWS: Oh, yes! That's where we're heading now. A long stretch and I'm bringing my '69 Charger.

DV: Kenny, we're  always looking for something new from you. Any new CDs on the way.

KWS: Yes, thank you. Let everyone know  I have two CDs coming out this year. If you liked '10 Days Out,' you'll like the next one. It's a live CD with many of the artists I played with on the '10 Days Out' project.
Then later this year, around Christmas, we're putting out our next studio CD.

DV: Two CDs! That's a lot to look forward to from you. Can't wait to hear them and can't wait to see you again! See you in July. Thanks again.



~ Don Vecchio

E: It was a risky song. I was surprised that it got radio play. I don't think it would today. What motivated me to write that song was, that during the Vietnam conflict, which we saw for the first time on television. Peoples' sons and brothers were being slaughtered on the news every night. I saw a clip of film with a priest with a bottle of holy water who was blessing bombs about to be loaded onto U.S. jets. When I saw the reverend Father blessing bombs as they were being sent to devastate the people of Vietnam, I felt I had to make this statement. I remembered that "Sky Pilot" was the soldiers’ terminology for a military priest. We had a lot of fun recording the song because in LA at the time, we discovered that a military marching band from the UK was touring the country. We got in touch with their commanding officer and explained that we wanted to record their band for a record concept. We put them on the recording and paid them with cans of American beer. Sometime after, I got a letter from the Officer-in-Chief of the Royal Scot's Guards with complaints that we were using the recording of their band for anti-war purposes. I wish I had kept a copy of the letter, but I didn't... 
D:  Shortly after, you joined "War." Then another song that inspired controversy... "Spill the Wine." Most of us listened to the story and just enjoyed it. Others linked it to either "pot" or "heroin." I read that it was a song praising women. I loved it just as a departure from the standard rock and R&B I listened to back then. Can you tell us now what was the underlying meaning?
E: The lyrics have nothing to do with pot or heroin as some people would imagine. Was it praising women? Yeah, I guess it was. The truth is that there is a memory I still carry with me today resulting from a road trip to Mexico around 1973. It was beautiful, I'll never forget it. I was alone most of the time and travelled the length of the country in a 4x4 I had at the time. Memories of that trip came back to me after I joined War. Lonnie Jordan was fooling around on the piano and a mutual friend of ours came in. She had a certain sexual sort of gait. He played the piano in tune with her walk and that was the basis for the track. I was lying on the floor with a microphone and we laid out the track right there while the rest of the band was at the bar across the street. Later, Lonnie Jordan accidentally spilled a bottle of Red Mountain wine on the mixing board at Wally Heider's Studio 3. This shut the studio down for 3 weeks and now, I think, this can be considered the most expensive single in history. That incident contributes to the legend of the origin of "Spill the Wine," but the song is performed leaving the interpretation up to the listener.
D: Another change came when I saw you with the Animals years later - 1983 - and again loved it. I got the new album (yes, album then), "Ark." Who all was with the "Animals" at that time?
E: The album was recorded to accompany the supposed worldwide tour of the Animals reunion in 1983. I said that I thought that the 5 original Animals wouldn't be able to sustain a lengthy tour and play 90 minutes every night. I said that we would have to add a couple of people. The people that we added were percussionist Nippy Noya, keyboardist Zoot Money, and Steve Grant was on 2nd guitar. Those musicians plus the original Animals made up the band in 1983.
D: The time I enjoyed seeing you the most was a band that I absolutely loved was with a group called "The All-star Blues Band." If I remember, some of the band besides yourself was Alvin Lee, Ainsley Dunbar and more I can't recall, but the music was fantastic. I stood there amazed at all the talent on the stage.  I especially liked a tune called "No More Elmore James." I still remember it after all these years. Who all was in the band? How long did they play together? No recordings from them?
E: The All-star Blues Band to which you're referring, I can't recall all of the members, but the bass player was from Bad Co. "Boss" Boswell.  The tour was going well until Alvin Lee complained of a strained wrist and left the tour in Washington DC. That's when it all fell apart. I never saw any money for my work on that tour.

D: I then bought your solo CD, "My Secret Life." I liked especially "Can't Kill the Boogeyman" and "Devil Slide." Devil Slide seemed to be a story- what was the source?
E: I wrote "Can't Kill the Boogyman" on the spot in the studio as part of a jam. The source of "Devil Slide" was on the road in Spain with Louisiana Red. He was convinced he could find the perfect slide for bottle neck style playing and with it he could rule the world. He spent the whole tour in wine cellars putting the middle finger of his left hand into wine bottles. If he found one that fit his finger, he was going to break it off and that would become the mythic slide that he'd been looking for... He called it the search for the Devil Slide. However, he never did find the bottle neck that he was looking for. If he had, we would have all known about it.


Thanks, Eric ....Don Vecchio

Curtis Salgado, known for his powerful blues vocals and fine harp playing, was the recipient of a liver transplant in recent years. His story is intense and the results are amazing. I knew that I needed to learn more. Curtis's early career included: six years with the then "up and coming" guitarist, Robert Cray; fronting Roomful of Blues in 1984-1986; working with the Stilettos and touring with Steve Miller and The Doobie Brothers; and was lead vocalist with Santana in the 1990's.  In 1979, John Belushi was filming Animal House in Curtis's home town, Eugene, Oregon. Belushi credited Curtis with schooling him on the blues. The Blues Brothers act that Belushi and Dan Akroyd put together was based on Curtis's show. Their first album was dedicated to Curtis.

A simple phone call to the west coast and a few hours later, I felt that Curtis Salgado and I were old friends.  Sleepily, Curtis had answered the phone. He soon came to life and the interview was in "super charged" mode. His voice was warm and engaging. He was very thoughtful on many answers.  We traded many stories...(sorry, I can't divulge many of them). He was very engaging, hearty and earnest with his answers.

Jonnye: Was the Blues Brothers phenomena the "breaking out" point in your career? Did the Blues Brothers open doors or has it held you back?
Curtis: (laughing huskily) If nothing else, it's a "great story." (Seriously) I am proud that the Blues Brothers Album was dedicated to me. It did get my name out there early on. I did not know Belushi or who he was. I finally realized that it was Dan Akroid who tried to get Belushi into the blues. Don Akroyd's muse in the blues was the Downchild Blues Band in Toronto, Canada. I became Belushi's muse. (Earnestly) I have always championed to have people know the history of blues.  I am "into people knowing where the music comes from." I helped Belushi to learn about the T-Bone Walkers and the Lonnie Johnsons among the many others who formed the roots of the blues. I am grateful that I was in the right place. My role was a crucial part in the resurgence of blues...it created a much needed interest in this country....No doubt about it.

J: I loved your song, "Too Loose."  You talked about losing you liver, losing your mind. There was a lot of living behind those
words.  Was that a turning point in your life? Was this a cleansing for you or was this your way of relating to others about your chosen path?
C:  (Seriously and quietly) I have been sober for 21 years. I was raised in the hip, party town of Eugene, Oregon during the 1950's and 1960's.  It was artsy and had lots of music. I listened to the first generation of blues players that came to town while the folk music era was coming to life. (thoughtfully, he added) ...Son House, Otis Rush, Mississippi Fred McDowell, BB King). (emphatically) It was the times. Nobody knew what the results of those times would be.

J: How do you cope with "life, reality and mortality coming at you full force"?
C: Frankly, I do not think about it. I do know that the "older I get, the older I want to get." I was given six months with little chance of getting a liver. My girl friend, the community and my friends got me through. When I first was diagnosed, I stood up and walked around. A sudden boost of energy overtook me. I then decided that I was going to pick myself up and go kicking and screaming.  I called people and the ball started rolling. I went between tests at the hospital and going on stage.

J:  Many musicians and many in your community helped you when you were medically and financially challenged. How do you give back?
C: I have been giving talks to kids since I first got sober. I have talked at all levels of schools for drugs and alcohol abuse. (very seriously and with a deep sigh) The message: the consequences outweigh the pay off. I am their "direct link" with living fast. What you do as a young person comes back to you in later years. ....like getting a liver transplant...it all figures. Wow! These are great questions. I have done benefits for the Children's Cancer Hospital for many years. I still do drug talks but now I also talk at liver and cancer symposiums (Colorado, Chicago, Dallas).  A doctor found me on the internet. I took a guitar player along to a meeting, played the blues and simply talked about my situation. That concept has "snowballed." I keep getting calls to talk about my medical journey.

J:  What was your most memorable moment musically?
C: (Laughing) I have many. Hmmm. Hands down...Clifton Chenier when he stayed at my apartment in the 1970's.  Great Zydeco. His blues were powerful and funky. His records do not do him justice. When he played, he "made me pee my pants." He was that good... Clifton and his Creole road manager, Davis Petrie, cooked me gumbo and red beans and rice.

J: Anything you want to tell the readers?
C: (Boisterously) I really like what I do. I do what I know...sing, play harp and try to write good songs. I am "old school."  I am rich in friends and blessed in the eyes of God. It is overwhelming. I still pinch myself. In my eyes, I have won the Grammy of life with my fight to survive and the way people fought for me. (quickly he added) I had a good time playing at the Pittsburgh Blues Festival. Tell Moondog that I wear his shirt, "Please feed the hungry." Again, great interview and great questions!
Good night, Curtis.

What a feat! Many have clubs in the Pittsburgh area have risen, many have fallen over those many years. My mission: to track down that blonde haired man who is always on the run, Moondog, a.k.a. Ron Esser. I put on my “big game hat,” armed only with a tube of hot pink lipstick, and went on the hunt for the “big dog” himself. Ron Esser, the name is a statement in itself. Being an ardent supporter of the blues, Ron Esser’s club, Moondog’s, was bestowed with the “Keeping the Blues Alive Award” from the Blues Foundation in Memphis, Tennessee. He is the guy with the big, generous heart and a maverick spirit who is always on the move…planning the Greater Pittsburgh Area Food Bank Blues Festival, doing concerts in Erie, operating Moondog’s and at the Starlight, being a very involved family man, helping with benefits and loving the music. I finally cornered him, tied him to a chair to get him to sit still and talked with him about his thoughts about being the “big dog” of blues. (Just kidding about the chair, but I threatened to play tambourine at every event…he thought it over and decided to spill what was on his mind.)
What amazed me was the intensity and sense of purpose that this man has for the blues, the people and the musicians. He is as genuine as it gets…he is very involved. He has been in the music business for thirty years and has many stories to tell.

Jonnye: What is your favorite band or the one that performed the best at the club?
Ron: Oh, wow. (Laughing) When I was just starting out in music, Styx was my favorite. (I thought that he was kidding). (Sheepishly, he continued) That was during my formative years and a time in my life when I was just starting to explore music. I thought that the band was cool. I thought the music was cool. (He spoke in a nostalgic tone). However, (enthusiastically) the BEST band that played at the club was, hands down, Luther Allison. He played 3 ½ hours with no breaks, (10:20 pm to 1:40 am). Wow! What a show! (He added that Zack Weisinger broke that record in recent years).

J: What are some of your favorite memories?
R: (Warmly responding…) The jams after the Pittsburgh Blues Festival. It is always a treat for those that support and work the Foodbank event to get a chance to come out and enjoy the music in the club. It is also great when the high paid performers stop in and just play like they are one of the regular players. They have fun and the blues fans have fun. It is very cool.

J: What is your worst memory?
R: (Without hesitating) Jimmy Vaughn’s road manager. He tortured me for hours when Jimmy Vaughn was to play one night. It was “musically” the worst night of my life. He kept the crowd standing outside waiting. He had us stapling sleeping bags to the ceiling to make the room quiet. I thank Pianos and Stuff for opening that night and responding to all of his demands. I still have the picture that was taken at the end of the show where I was smiling. When I have a bad day, I think back to that night. It is a reminder on a rough day…that if things go that badly and you can still smile at the end, then I can get through anything.

J: What do you feel has been your best achievement?
R: (Quickly and with resolve he answered) The Blues Festival. I am very proud that an all volunteer staff has raised over $1.2 million for the Foodbank.

J: As a recipient of the Keeping the Blues Alive award and celebrating your 20th anniversary…why are you still in the game? How did you outlast the rest? Are you crazy or is it the love of the music?
R: Well, both. I am crazy and I love the music. I have the opportunity to see music in the other things that I do and at the club. There are bad people in the business but there are a lot of good people out there. The good ones make it worthwhile. I actually still get excited about music. I enjoy the music and quite honestly sometimes I do ask myself why I do this.

J: How do you keep the momentum going - working the blues festival, do music events in Erie, operating Moondog’s and the Starlight and being a family man?
R: When I was young, my father instilled in me the fact that I should be a hard worker and that I should be the best at what I do. I look back and know that I have worked hard as promoter, restaurant and bar owner and mostly as a father and husband.

J: So, you have rearranged your priorities as you have gotten older?
R: Yeah, I had to. It is hard on my family at times.

J: If I was your fairy godmother and I granted you three wishes what would they be? Personal, musical, professional?
R: (Answering quickly and with a calm seriousness) 1. Peace in the world. 2. I wish that the poor would get what they need to be comfortable….the basic comforts of food, water and shelter. 3. I would like to see all of my old friends and family who have passed away just one more time. (I was staggered by his heartfelt responses)

J: What is your vision of what you would like to see in the future?
R: (With choked up hesitation in his voice) I will be remodeling. (I was originally going to ask who his interior decorator has been over the years.) I have been torn by what a blues club should be…dingy and weathered. I feel bad to change things. There are so many memories here…People like Johnny Copeland, Junior Wells, Susan Tedeschi. There have been so many memories and so many great performers. I do not know if the change will erase those memories. There are two schools of thought on the idea of change. There is a quaintness of the old roadhouse and the feeling that it gives you. Then there is the thought that a new era should make way for new ideas. Change (His voice drifted off). Wow. The support for music these days is not the greatest. I still get excited when Tinsley Ellis and Jimmy Thackery come to the club along with all of the others. It is great to meet as friends and talk about family and friends. We meet and spend time at the club. …and then they go on. We part ways until the next year. They are cool and they say I am cool and at the end of the day…we are friends. Well, my vision…I have more memories than what will be in the future. I am not saying that the best years are not ahead…I am just saying that from what I have learned. I have seen more performers in the past then I will see in the future.

J: I heard you sing after the blues festival. Why don’t you sing more?
R: You have to be in the mood to do your best. I wear many hats and am always on the run with all of the stuff that I do. (Laughing) I am afraid that some would say that I am a “show off” if I start singing at the club. Then again, performers are showoffs or they would not be on the stage. (Laughing) When no one is around, I lock the doors at the club and get up on stage. I play and sing for hours. It is very therapeutic.

J: If you were not at Moondog’s, where would you be or what would you be?
R: (Seriously) In the Coastguard! As a kid, I watched Sea Hunt with Lloyd Bridges. All of my transgressions of the past made it impossible for me to outgrow my poor judgment until my later years. (Laughing!!!)

J: Is there something that you want to share with the blues fans…escaped felon, kidnapped by aliens, ???
R: Well, (sighing) people think that I am too busy and not paying attention and that my mind wanders. I have a lot on my mind. A psychiatrist friend of mine says that I am the poster boy for adult ADHD. I am always on the run with lots of things going on. I want people to know that I appreciate what the people have done over the years for the club, the bands and the customers. If someone has money in their pocket and can go anywhere, I appreciate when people choose to come to Moondog’s. I am here to make money, sure, that is true. However, without them (the customers and the bands) there is no music. My dream has been to bring the music to the people. During the concerts, I see people laughing and enjoying themselves. I personally enjoy seeing them forget how cruel and brittle life is for awhile. If I were a millionaire, I would just put on concerts. That is the “gift” that I was given…to make people happy through music. I am really looking for young bands and young people to keep the music alive. I know that they are out there and I am not going to give up looking for them.

J: Is there one thought that comes to mind when you think of twenty years in the business?
R: (Emotionally and quietly) I may not show it but I do appreciate all of the people that have come to Moondog’s over the past twenty years. I have actually sat at the sound board in the back of the room during a concert and have had tears in my eyes. I have been so blessed in life with all that has come my way. I think of people like Ron Yarosz, Zack Weisinger, Norm Nardini, Glen Pavone, and so many others here in Pittsburgh. They are the best. They are intense in what they do. I am proud to be affiliated with all of them. I also want to say that we are winding up the year with a lot of intrigue…good performers (Tinsley Ellis, Ana Popovich, Tommy Castro) and a lot of fun. Thanks to everyone.
“The Big Dog hunt” had concluded. I suddenly had a strong urge to “howl at the moon” in honor of all those blues musicians that had shared so much of their music and their lives with the blues fans in Western Pennsylvania.

Congratulations to Ron Esser and his club, Moondog’s, for twenty years of blues. Keep the music coming. And…thank you, Ron, for all of the great memories. See you at Moondog’s…378 Freeport Road, Blawnox, PA 412-828-2040

The woman of the memorabilia museum in Clarksdale, Mississippi had just been sharing the hows and whys of her relocating to America with a load of music memories. In filed the Blues Foundation dignitaries, Jay and Joe, and several of their colleagues. Each introduced themselves to this very engaging woman. Last in line, “Hello, I am Bill Wax.” I stood there, feeling totally run over from their interrupting my interview. Quietly and pointedly, I quipped, “I am Jonnye and I am just a blues fan.” At that moment, Bill Wax spun around, gave me a very warm smile, grabbed my hand and shook it energetically. His rich, warm voice matched his generous smile. Immediately he said,” The fans are why we all are here. That is what it is all about. The fans and the music. We are all fans!” He then walked with me into the museum area. We shared a few moments sharing comments about the memorabilia, the music, the Blues Awards, Clarksdale, and Ground Zero. He may not have known it at the time, but I had just become a fan of Bill Wax. His warmth, his hospitality and the time that he took to talk with me…made a big difference. His enthusiasm was contagious.