John Pazdan, bassist by Joe Gagliardo

Seminal Sides: Pezband United Technique (1972) and Women and Politics (2016)

 

Artists / Bands: Pezband, Milton and Winston, Off Broadway

 

John Pazdan has pursued an eclectic array of musical styles during his five-decade career as a bassist – from rhythm and blues, to pop rock, soul, rockabilly and jazz. Though the Chicago area-based musician generally prefers performing an improvisational set at a New York City club or composing electronic tones from his studio in Aurora, Illinois – he also gigs in the Midwest with well-known power-pop bands.

 

Pazdan broke into the Chicago music scene in 1971, with an electric Wurlitzer piano and a Fender guitar, as one of the founding members of the power-pop legends Pezband. John played with the group until 1973, and occasionally through its several metamorphoses thereafter, switching over to the bass guitar.

 

From that two-year stint with Pezband, Pazdan appeared on United Technique (1972), which was released forty-one years later, and was followed by the release of a 1982 recording, Women and Politics in 2016. These records afforded Pazdan the opportunity to tour Japan and the East Coast with Dwight Twilley and Shoes.

However, it was the soul music of the 1970s, as well as the rhythmic delights of roots reggae, funk fusion and African music that turned Pazdan to the bass! Post Pezband, Pazdan joined up with the Southside Chicago soul band Milton and Winston, a well-known duo on WVON, which was Chicago’s premier soul, r&b and blues radio station, which released several of their 45s. 

This was the experience that made John a bona-fide bass player, Pazdan says – keeping time, playing the pocket, pushing the groove – and opening his own bass playing to influences that shape his improvisational focus.

Pazdan lists bass players such as James Jamerson and Leroy Hodges, funk fusion pioneers Michael Henderson and Paul Jackson, reggae bassists Robbie Shakespeare and Aston “Family Man” Barrett (Bob Marley & The Wailers) among the influencers of his style.  

Pazdan rolled with the 70s – playing funk and fusion instrumentals, as well as circling back to the power pop scene. A stint with the TS Henry Webb Band (after Webb moved on from The Flock), morphed into Off Broadway, which featured former Pezband lead singer Cliff Johnson. The band’s debut album On was released by Atlantic in 1980 and included the hit single “Stay in Time.”

By the mid-1980s, Pazdan had been to Los Angeles and back to Chicago playing blues at the storied Kingston Mines with Joe Kelley (Shadows of Knight), and blues greats including Sugar Blue and Hubert Sumlin. These sets, which ran every weekend for a year, often lasted until 4:00 AM!

Also during the 1980s, a new form of rocked-up traditional country music, now known as “Alternative Country” drew Pazdan’s interest. He teamed up with former Off Broadway bandmate and guitarist John Ivan to form Big Guitars from Memphis. The band, which became popular in Scandinavia, toured with The Jordanaires, top session player Charlie McCoy, and Beatles’ mentor Tony Sheridan – a rockabilly guitarist.

Through all these musical transformations, John mostly finds his groove in improvisation, such as a 2016 gathering of bass players at the Manhattan Inn in Brooklyn, New York.  That evening, Pazdan, set for the final solo of the evening among fourteen bassists, decided to invite Brooklyn-based baritone sax player Maria Eisen to join him along with upright bass players Scott Ritchie (Lady Gaga) and Louis Levitt (Sybarite 5) at the show for a free-form set. For Pazdan and his impromptu crew, that was exhilarating music!

Since the 1980s, Pazdan has produced and released compositions of bass and electronic instrumentals.

You can catch Pazdan live with Off Broadway, and check out his playing at the links below.

Also, watch for John’s electronic “free noise” ensembles St Fu and The Empty Set, as well as a new free floating “skronk-noise thing” under the monkier Scorched Space Policy.

John Pazdan Sound and Vision: 

 

Off Broadway-“Stay In Time” https://youtu.be/zJOTXWoeIew

 

Off Broadway-“She Said, She Said” Live https://youtu.be/h43wgg9erWc

 

Pezband-“Fab Girlfriends” https://youtu.be/hyHUIKENm0A

 

John Pazdan-“Murder” https://soundcloud.com/johnp352/murder

Notes John: It was written as a protest against the murder of black and brown people in the Middle East.  My “Machine Gun”…I like the false endings…

 

Weapons of Choice: Pazdan has used a diverse array of gear over the years, including a 1959 Danelectro Longhorn, a Mocha Brown Fender Precision bass, Fender Bass VI, MusicMan StingRay, a Piccolo bass, and an Ibanez Mikro bass, as well as Washburn, Jerry Jones and Alembic basses.  His go-to basses these days for jazz and improv are a custom Rick Turner Renaissance five string fretless, tuned from E to high C and a heavily modified Mikro bass using a variety of tunings. 

 

With Off Broadway, he prefers a MusicMan Sub from the early 2000s.  While he had monster rigs in the past, with MusicMan and Hi-Watt heads, and multiple 4×12 and 4×10 cabinets, his go-to rig these days is a GK1001 and a TC cabinet with 2x12s. He recommends tipping the monitor mixer a $20 bill to hear bass through the sidefills! For pedals / effects, he uses the Malekko Charley Foxtrot, and two extremely bent Roctek pedals from Circuit Benders UK. He also plays a Mbira Huru which is a large kalimba style instrument from Zimbabwe,  and various synthesizers.

By Joe Gagliardo

Mark started playing bass on a 1970 Fender Mustang.  By 1972, he was playing a Rickenbacker 4001 and anchoring Utopia, a horn band that preceded Todd Rundgren’s band of the same name.  Utopia was playing the music of Chicago, Earth Wind & Fire, and Average White Band, among others, and was tearing up the college and club circuit until 1979.  This fit his playing style well, because in addition to Paul McCartney, Mark was deeply influenced by the melodic playing of Peter Cetera with Chicago.

In 1979 Mark joined the band Lovecraft. HP Lovecraft is one of the legendary bands in Chicago that started out as a folk/psych band in the 60’s, and included George Edwards on guitar, Jerry McGeorge (Shadows of Knight) on bass, and Michael Tegza on drums (2 Lps-HP Lovecraft and HP Lovecraft II).

With a shortened name, Lovecraft moved to a more rock sound in the early ‘70’s, and included Marty Grebb (Buckinghams, Leon Russell, Bonnie Raitt and more), Jim Donlinger (Aorta), Michael Been (The Call), and Michael Tegza (one Lp-Valley of the Moon).  By the mid-70’s Lovecraft was a Funk band, which included vocalist Lalomie Washburn, Tegza and Frank Capek on guitar (one Lp-We Love You Whoever You Are).

In 1980, after Lovecraft, Mark and Frank Capek joined one of Chicago’s hot power pop bands, The Kind, who had opened shows for Lovecraft.  That line-up was rounded out by leader, songwriter and lead vocalist, Frank Jalovec, and Frank Sberno on drums (The Hurd).

Within short order, three of The Kind’s songs were creating a hell of a buzz!  “Total Insanity” was played heavily by WXRT, and was recently included in The Dirt- the story of Motley Crue, and is on The Numero Group’s compilation cd, Buttons—From Champaign to Chicago.

“When You Rock” received heavy play rotation on WLUP and WMET, two of Chicago’s other radio giants, and the band got a big push when “Loved By You” became a staple of WLS radio.  By this time, Mark was slinging a Cherry Red 8-string Hamer bass, as well as a 4 string Hamer Cruise bass.

This line-up of The Kind had a run until 1986, and released two Lps, The Kind and Pain and Pleasure.  During this time, the band toured extensively, and played shows with musically diverse groups, including, ZZ Top, Duran Duran, Robert Palmer, Angel City, and The Romantics.

After The Kind, Mark spent the next six years playing with The Legends, primarily a cover band, that also worked with Chicago DJ, John Records Landecker.  This run had the band playing with Paul Revere and the Raiders, The Monkees, America, Rare Earth and many other bands from the 60’s and early 70’s.

These days, Mark is a co-owner of Naperville Music outside of Chicago, where he started to work as an employee in 1977, and became an owner in 1985. He is also busy working to promote the careers of his two sons, Dylan and Mark, who are involved in music.

Dylan is a multi-instrumentalist, who released 2 CDs on Warner Brothers, Adventures in Real Time and Almost Real, and is currently working on his third CD.

Mark is a drummer who works at Old Style Music in California, and one of his fortes, besides drumming, is making custom pedals for a who’s who of musician clients.

Check out Mark’s playing:

The Kind-“Total Insanity” https://youtu.be/skrU8XF8LXc

The Kind-“Loved By You” https://youtu.be/I2icCGpPOMQ

The Kind “When You Rock” https://youtu.be/i-GqZ9MXvZc

The Kind-“I’ve Got You” https://youtu.be/SaViWQ66fcw

Mark Gardner, Dylan Gardner, Mark Gardner and Frank Capek-Recent Partial Live Clip of “Total Insanity” https://youtu.be/v8LjnoV0AGU

By Joe Gagliardo

The power of power pop!

Using a friend’s 6-string to start a garage band while in 9th Grade, Pete’s aggressive playing broke the B and E strings.  He then started playing bass lines on the 4 remaining strings, and within weeks moved up to a red Kalamazoo SG styled bass with a Fender-shaped headstock.

Growing up in a time when the garages and basements were bursting with bands, Pete jumped right into the fray.  Playing the classic rock of the day in Wisconsin with Bare Nerve Blues (Cream, Alice Cooper, Beatles, etc.), and morphing into Rory Slick and the Roadsters when there was a resurgence of Doo Wop and 50’s music, and moving back to a classic rock sound incorporating a few originals with Slick, the band became a favorite at the Church Key in Madison, Wisconsin.

In the late Fall of 1977, after a summer of a rotating cast of bandmates, Pete and childhood friends/long-time band mates, Pat McCurdy and Mike Hoffmann, formed the power-pop/new wave band Yipes.  The band started playing extensively, developed a strong following, and found a music home at Jay’s Longhorn, which was part of Minneapolis’ hot music scene.

Jimmy Ienner signed the band to his Millennium record label, where they released two LPs, Yipes and A Bit Irrational.  Yipes toured extensively in support of the records, including opening slots with Cheap Trick, Triumph, Foreigner, Kansas, Robert Palmer, Eddie Money, and Southside Johnny and the Asbury Jukes, among others, but national success eluded the band.

After Yipes, Pete continued to play bass in various musical configurations, until he stepped away from full-time playing to go to law school.

 In 2013, Yipes reunited to play at the Wisconsin Area Music Industry (“WAMI”) awards event when the band was inducted into the WAMI Hall of Fame.  This led to more high-profile shows, including Milwaukee’s Summerfest.  The band has continued to perform, and released a new album in 2018, entitled Yipes!!!, featuring all of the original members.

These days, Pete’s go-to bass is a 1979 natural finish Rickenbacker 4001, though he has a complete arsenal, including a ‘59’ style Roadworn Fender Jazz Bass, a late 90’s Fender Precision Bass, a Danelectro dual cutaway, a Fender Blasted Sandstone Jazz bass, strung with black nylon strings, and a 1974 Hofner Beatle bass.  His preferred amp is an Ampeg Portaflex.

Pete’s musical influences reflect the variety of music he has played-Paul McCartney, Jack Bruce, James Jamerson, and Duck Dunn. As you can hear from the tunes below, Pete plays melodically, in support of the song, giving the other band members a platform to play off of.

You can catch Pete and Yipes live, and when he is not playing his bass, he is a top-entertainment lawyer in Chicago with Mandell Menkes, where he has devoted a significant amount of his time as a volunteer with Lawyers for the Creative Arts.

Yipes-“Blink of an Eye” https://youtu.be/s6hBLEcPeM0

Yipes Redux-“Last of the Angry Young Men” https://youtu.be/fTSH95b0894

Pat McCurdy & The Men About Town-“Don’t Move”  https://youtu.be/qeBDXg1m-uI

By Joe Gagliardo

For some reason, the sound of bass always resonated with Tom as a kid, especially after he heard the Booker T & The MGs groove classic “Green Onions,” and was further driven home when he saw The Beatles. When he asked his parents if he could get a bass guitar, his mom suggested he would be better off with a 6-string guitar so that he could play chords and accompany himself, so in 1966, that’s what he did!

Fast forward to 1980, and a geographic move to the far North Side of Chicago which landed him in the proximity of the legendary blues club Biddy Mulligan’s, and that all changed.  Inspired by the blues, Tom went immediately purchased a 1974 Fender Precision Bass with a maple neck and a Peavy bass amp, and in short order, was the bass player in the group that rehearsed at the club.

That fateful decision to buy the P-bass drove Tom’s music career. Tom got his biggest boost working with Glenn Davis and the Blues Commission at various clubs in the Midwest. He became a staple of the Chicago Blues clubs, at jam sessions held at Blues Etc. on Chicago’s North Side as a member of the house band (which was Glenn Davis and the Blues Commission).

Tom has played with many Chicago blues luminaries including Hubert Sumlin, Son Seals, Studebaker John and the Hawks, Shirley King (BB’s daughter), Eddie “The Chief” Clearwater, Jimmy Dawkins, Jimmy Johnson, Rockin’ “Johnny” Burgin, Joe Moss, Liz Mandeville, Byther Smith, Dave Weld, and Brewer Phillips and Ted Harvey from Hound Dog Taylor’s Band.

Tom also did a tour with Blue Watusis, a group made up of veterans of the Chicago music scene. That band had one release with Tom on bass – Welcome to the House of Blues (1992).  That release is available
at https://bit.ly/2LJ61iQ

In the years 2005-2010, Tom was a member of the rock band Beatnik Turtle- a six-piece band that played original material. With Beatnik Turtle, Tom added his bass to two major projects. The first major undertaking was “The Song of the Day” – wherein the band wrote, recorded and uploaded to the web an original tune for a total of 365 compositions.  The second project was “Song of the Week” – where 52 original tunes were crafted weekly. Beatnik Turtle also recorded 20 CDs of original material featuring many tunes from the aforementioned projects. Information is available at: http://blog.beatnikturtle.com/

Along with gigs in the Midwest, Tom has also worked at the 1995 Festival di Torino in Turin, Italy, 1995 Amsterdam Blues Festival, 1995-96 Tampa Bay Blues Festival, 1994 King Biscuit Blues Festival, and the 1995 Montreal Jazz Festival.

Tom’s bass influences start with Duck Dunn. Tom considers Duck Dunn the “Gold Standard” and the template for his style. Other influences include:  James Jamerson, Hutch Hutchinson (Bonnie Raitt), Jerry Jemmot, George Porter and Ray Brown.

Tom’s “go-to” bass is a Fiesta Red Fender ’62 Precision bass American Reissue, with a Rosewood neck. He also has a 2017 Candy Apple Red Fender American Professional Precision bass, also with a Rosewood neck, a black-on-black Tony Franklin Fender Precision bass and a 2020 Fender American Professional Jazz bass. His amps of choice are Fender Rumble 500 or a Yorkville 200 Watt head run through a 1×15 and/or 4×10 cabinet – depending on the venue.

These days Tom is a part of the Blue Monday Band, and works on various projects in the Northern Illinois/Central-Southern Wisconsin area.

Check out Tom’s rock solid in the pocket bass playing:

Blue Watusis – “Chicago Breakdown” from “Welcome to the House of the Blues” https://www.youtube.com/watch?v=3jOn8jidO9Y

Beatnik Turtle – Live performance (June 9 2009 – Gallery Cabaret) of the song “Sick of Sandwiches” from the “All in a Day’s Work” CD https://www.youtube.com/watch?v=hXBRZWSC94U

With Li’l Davy Max (David Janke) live performance of Long Distance Call at the Indian Crossing Casino, Waupaca, WI – 10/06/2017 https://www.youtube.com/watch?v=9Flz86t4xI4

By Joe Gagliardo

While many of us were inspired to pick up a bass or guitar after seeing The Beatles on Ed Sullivan, Phil Orsi was already cutting 45s, long before that fateful Sunday. Growing up not far from Chess Records and Record Row on Michigan Avenue in Chicago, Phil was inspired by some of his blues and soul musical heroes, including Muddy Waters and Willie Dixon, who would visit his parents’ Italian store on the South Side of Chicago.

Phil was also inspired by the Rock and Roll and Doo Wop of the late ‘50’s that he was hearing on the radio that his Grandmother gave him.  By the late 50’s, Phil was playing guitar, however due to a serious accident which affected his fretting hand, he switched to bass.

Phil’s first bass was a gold and white Danelectro Longhorn, but in November 1960, he went to the Chicago Music Cooperative, and bought a 1960 Fender Jazz Bass with a hard-shell case for $227.00, which he still owns.

During the early 60’s, Phil played with the Don Caron Orchestra, backing various national recording artists who came through Chicago, including Dion and The Marvelettes.  He also had a band, The Uni-Beats, and their first record, “Someone New”, was released in 1961.  True to his love of Doo Wop, he had The Sheppards, a Chicago vocal group, as background singers.

After the Uni-Beats, his next band was Phil Orsi and the Little Kings. The band had a run from 1961-1964; playing all of the hot clubs in Chicago including The Peppermint Lounge, Whisky A Go-Go, The Scene, and others.

Phil and the Little Kings released many records and his love for the music he grew up on, never left him.  Some of the band’s early to mid-60’s releases were great covers: “Sorry” I Ran All the Way Home,” (The Impalas), “Stay” (Maurice Williams and the Zodiacs), “Don’t You Just Know It” (Huey Piano Smith and the Clowns), “California Sun” (The Rivieras) and “C’mon Everybody” (Eddie Cochran).

Phil also wrote some of the songs released as 45s, including “Someone New,” “Oh My Darling” and “Whoever He May Be.”  Stay, Sorry and Whoever He May Be” were released on the USA record label, which gained notoriety a few years later when The Buckinghams had a No. 1 national hit with “Kind of a Drag” on that label. By the mid-60’s Phil was part of The Thunderbirds.

That collective was an in-demand act, and they regularly opened for many of the British Invasion groups, including the Rolling Stones, Yardbirds, Dave Clark 5, Moody Blues and Chad and Jeremy.  They also worked with the Beach Boys and Tommy James and the Shondells.  Like the Little Kings, the Thunderbirds also released a string of 45s on local Chicago labels.  At this point, the band had that classic mid-60’s Garage Band sound.  Check out “Your Ma Said You Cried.”

After The Thunderbirds, Phil reformed the Little Kings and they had a run until 1970, and released a 45, “Loving on Borrowed Time”, which became a “Northern Soul” classic.

From 1970-1985, Phil was part of a horn band, Happiness Is, which released another “Northern Soul” classic, “Love is Slipping Away,” which was a rearranged remake of the 45 previously released with The
Little Kings.  Phil continued playing regularly until 1992, a music career spanning over 30 years.

Phil Orsi & The Little Kings “Loving on Borrowed Time” https://youtu.be/1tO6hp1S0ms

Phil Orsi & The Little Kings “Love Is Slipping Away” https://youtu.be/RFiiH47ccx4

Thunderbirds “Your Ma Said You Cried (In Your Sleep Last Night)” https://youtu.be/O5mdUgyXNT8

Happiness Is “Love Is Slipping Away-Love Is Slipping Away” https://youtu.be/5U_ssR70vXY

By Joe Gagliardo

After moving from the Humboldt Park neighborhood in Chicago – yes, the very same hometown of rock legend Patti Smith – to the suburb of Northlake, Bill made some new friends who were musicians and he started playing bass on a guitar with the B and E strings removed!

Shortly thereafter, Bill purchased a Hofner Beatle bass and was off on his journey as a player.  First with a prog rock band entitled Mother Country, then he moved on to a Montreal based show band named Fancy Colors. Bill tells of having to fly to Montreal for the audition and is grateful he got the gig, because he only had enough money for a one-way ticket.

Ahhhhhhh to be young and confident!!!!! 

Returning to Chicago, his career kicked into high gear when his band Skylady, which he founded and also served as a songwriter – morphed into Tantrum.

There was nothing like them! Picture walking into a club in the late 70’s, and witnessing the visual impact of three energetic and strong female singers; Pam Bradley, Sandy Caulfield and Barb Erber, backed by a hard-rocking band, Bill, Phil Balsano (keyboards), Ray Sapko (guitar) and Vern Wennerstrom (drums).

The band performed at major venues including the Arie Crown Theatre, Chicago Amphitheatre, Aragon Ballroom, Park West, ChicagoFest and toured extensively across the United States.

A concert and radio favorite, Tantrum produced three albums on the Ovation label: Tantrum, Rather Be Rockin’, and Breaking Away.

Following Tantrum, Bill joined Alan Hewitt & 88; an ensemble which played original pop music composed Hewitt – who later worked with the Moody Blues as their touring keyboardist – and toured throughout the Midwest and made two appearances on the nationally syndicated, highly rated TV show, Star Search, during its premier season.

From 1988-1993 Bill toured with Survivor throughout the United States and parts of Europe, with numerous appearances on German television. He toured with both Dave Bickler, the original singer of Survivor, as
well as Jimi Jamison. Bill appears on the band’s Too Hot to Sleep and Greatest Hits LPs.

Bill and Davie Bickler also had a band, Radio City, which included former Trillion and Jinx guitar player Frank Barbalace.

In addition to live performances, Bill was busy playing numerous sessions, including with renowned guitarist Jennifer Batten – noted for her work with Michael Jackson and Jeff Bec,), Marc Scherer on his releases Battle Zone, White Cross, and High Gear; Kelly Keagy (Night Ranger) I’m Alive and Time Passes; Scott May (Ides of March)  Outside the Inside; Harry Nilsson’s Lost & Found;  and Jim Peterik (Survivor, Ides of March) Pride of Lions and World Stage discs.

As a songwriter, Bill has co-written several songs, often with Jim Peterik for various projects, including “Under the Spell” recorded by the Doobie Brothers. He co-wrote much of the music with Joe Vana for his Mecca 3 album, which was recorded in Nashville with David Hungate (Toto).  He currently writes the majority of Classical Blast’s original music.

Bill’s songwriting has given him a different perspective on his bass lines, prompting him to listen more intently to all the players, to provide support, but also to supply melodic fills in open spaces to keep the song moving forward.  Bill’s bass influences include Jack Bruce, Geddy Lee, Chris Squire, and Jaco Pastorius.

Currently Bill’s go-to basses include: a ’72 four string Fender Jazz bass, a ’91five string Fender Jazz bass, and a five string Sire Marcus Miller Bass.  He runs his bass through a Hartke 1×15 Combo Amp with a Hartke 2×10 extension cabinet.

These days, you can catch Bill with R-Gang, a band that specializes in Motown/Soul/R&B music, and which he has been co-leading since 1988.

Bill is also with Classical Blast, a band that features mashups of famed classical pieces with contemporary rock music, along with originals.  The band has released three albums, two of which can be found on the Toucan Cove label (Seattle), and have received regional acclaim and airplay.

His concert shows include Bach to Rock: A Musical Metamorphosis, Dark Side of the Yule, a holiday concert show; and Classical Blast in Kilts, a Celtic rock revue.

They’ve performed an instrumental rock version of the National Anthem at Wrigley Field three times and opened for numerous national acts, including Joan Jett, Michael McDonald, The Orchestra/ELO, among others.

While Bill has many accomplishments, he is a gracious performer, and plays guitar and performs weekly for cancer patients, caregivers, and families as part of the Caring Arts Program.  The Caring Arts
Foundation is a non-profit organization dedicated to providing emotional
support to Chicago-area cancer patients and their families.  Its mission is to facilitate and encourage expression and healing through music, fine art, journaling, photography and other creative disciplines.

Learn more about Caring Arts Foundation at: http://www.caringarts.com/

Check out these tracks and videos from Bill’s remarkable career:

Tantrum (album track montage) https://youtu.be/U8ExN1zBiKc

Tantrum live at Haymaker’s Reunion (“Rock n Roll Waltz”) 2012 https://youtu.be/N8XwwcdUuBw

R-Gang on WGN-TV, 2010 https://youtu.be/-0bB3rIZnNc

Survivor “Didn’t Know it was Love” (music video, 1988), From Too Hot to Sleep https://youtu.be/AJJSej2ru0c

Survivor “Eye of the Tiger” on German TV, 1993 https://youtu.be/NsbXE8A9Rtg

Classical Blast Live Stream at Arcada Theater (“Let’s Pretend” song written by Bill Syniar & Barbara Weigand), March 2020 https://youtu.be/vniZjUYHjL8

Bill performing at Children’s Hospital for Caring Arts (2015) https://youtu.be/pTaV08WE_Yg

By Joe Gagliardo

Karma? Serendipity? Fate?  

All of the above with reference to the career of bassist Keith Voegele!

The journey started on a holiday visit to Keith’s cousin’s house when he was age thirteen – which consequently became a turning point in his life.

Keith’s cousin played bass … and he let Keith play the instrument. Back home, Keith returned from school one day and his Dad surprised him—he had purchased his cousin’s Rickenbacker 4001 copy Electra bass guitar and Marlboro amp! Though Keith took a few lessons, his best teacher was his record collection, immersing himself in the grooves and styles of several players.

By fourteen he was in a band – Equinox – whose members were high school seniors, and he toiled the next eight years honing his craft in bars, clubs and beer bashes.

In the late 80s Keith spent five years with Axe Minister, a metal band based out of St. Louis. While working at St. Louis Music making Ampeg and Crate equipment, he joined Lex Luthor, a band that mixed originals with covers.  However, a contact made from the metal days, lead to him moving to Boston to play with Epic recording artists, Meliah Rage, a thrash metal band.  The drummer of that band was Sully Erna, who went on to become the lead singer of Godsmack.

In the mid-90’s, Keith was back in St. Louis anchoring with The Phonocaptors, playing hard-edged original music in the vein of the Velvet Underground, MC5 and The Stooges.

That band had a tune on a compilation CD entitled St. Louis’ Tribute to Chuck Berry. The Bottle Rockets also had a song on that CD. Some years later when the Bottle Rockets needed a bass player, the engineer of that release suggested Keith.

After moving to Springfield, Illinois, Keith joined the Bottle Rockets in 2005 – and has held down the bottom ever since. The band’s rootsy / Americana repertoire gives Keith the opportunity to render up-tempo rockers as well as country music.

As they often tour with and back up acclaimed singer, songwriter, recording artist Marshall Crenshaw – Keith enjoys the opportunity to replicate the melodic bass passages from Crenshaw’s hit records which were originally cut by such notable players including Tony Garnier, Chris Donato, Graham Maby, and Tony Levin.

Keith cites his influences as Paul McCartney, Geddy Lee, Steve Harris.  Chris Squire, and Jack Cassidy. Given his metal background and the fact that his bass heroes are players who often ply complicated passages, Keith focuses on being a consummate “song player” – and limits his playing of lines that are overtly “busy.”

Weapons of choice: Keith  owns an array of basses, including a 2003 butterscotch blonde Fender Precision bass with a maple neck, strung with flatwounds; a 2013 Lakland Darryl Jones jazz bass, strung with roundwounds; a Rickenbacker 4003; a Fender Justin Meldal Johnsen Mustang bass; and a Creston Lee Tele-styled bass.

While he utilizes the traditional Ampeg SVT 8×10, GK 800 RB, and other cabinets, his go-to amp is an Ampeg B-100R combo amp that he fell in love with while playing a gig at the Sportsman’s Tap.

Catch The Bottle Rockets when they come through town on their own, or with Marshall Crenshaw, and check out Keith’s playing…

… The Bottle Rockets on Audiotree Live (Full Session) https://youtu.be/2cm2XpmtJV8

In 1966 Mike Kane was walking back to his house in St. Charles, Illinois, when he came upon a huge crowd of girls from the neighborhood.  Going to check it out, he saw it was Dan Buck (The Boyzz from Illinoizz), who was a few years older than him, making music with two other guys from the neighborhood.  Right then and there Mike decided he needed to be in a band.

Within a few months he was playing in a band with one of the guys from the garage, first using his brother’s 6-string guitar that was missing the B and E strings, and then moving on to a ‘65 Kingston violin shaped bass.

At that time, with music exploding in bars, teen clubs and school dances, Mike was exposed to bands such as Vanilla Fudge and The Yardbirds at the Jaguar in St. Charles.  Mike had an extra advantage–his brother, Dan Davis, was booking bands at The Lottery, a club he owned in Aurora, and Mike was able to hear the music and hang out Rory Gallagher, Manfred Mann, Wayne Cochran and the CC Riders, and Baby Huey and the Babysitters.

By 1972, he was part of the popular Cock N’ Bull Band, with Dan Buck, EZ Dave Haines, Gil Pini and Kim McGowan, playing the local music circuit.

Around 1979- 80, Mike, EZ Dave Haines, Dana French and Mike Hoge formed the band DeLuxury.  By then Mike’s go to bass was a ’76 Gibson Thunderbird. They were later joined by Kent Cooper (The Boyzz) and Gil Pini (The Boyzz).  At the time, DeLuxury was known for playing red hot rockin’ rhythm and blues!

Although there were personnel changes over the years, the band played regularly until 2008.  Phil Miller (Sonia Dada) and Jimmi Kidd, two hot guitar players in Chicago, also did stints with the band.

Over the roughly twenty-eight years that the band was together, Mike held down the bottom for that entire period.  DeLuxury had five record releases, including the all original Crosseyed Cupid; was sponsored by Miller Beer for eight years; toured the Midwest and beyond; and played many prestigious gigs as headliners as well as the opening act for Stevie Ray Vaughan, Southside Johnny and the Asbury Jukes, Fabulous
Thunderbirds and Little Feat, among others.

They also had the pleasure of supporting established artists, including Robert Plant and Joan Baez, and jumping on stage to jam with them.

Since DeLuxury, Mike has kept busy playing live gigs, and working in the studio, as well as playing music in his church.

Mike’s bass influences include Bill Wyman, Paul McCartney, James Jamerson, Carol Kaye, and Chicago blues bassists including Willie Dixon.  Like his heroes, Mike lays down a tight bottom, with melodic flourishes.

Mike’s bass collection has grown since the days of the Kingston Violin Bass.  Akin to his hero, Bill Wyman, Mike has two vintage Vox Wyman Basses (Mahogany and Sunburst).  His arsenal also includes an electric standup bass; multiple vintage Fender Precision, Tele and Jazz basses; and a ’69 Gibson Thunderbird.

Check out Mike’s playing on…

“Leavin’ Again” https://youtu.be/3mzdYmcqxZU

“Girl Like You”  https://youtu.be/j2-hHr7u42Q

“Super Bowl”  https://youtu.be/l_gBV_0GEFE

“Hey Baby” Live at Summer Fest https://youtu.be/XcdpGV6ucWc

By Joe Gagliardo

When Andre Howard was growing up, he had an uncle who would regularly visit his home and play blues guitar and sing.

Andre’s dad had a house full of instruments too, and Andre would sometimes join in with his with his uncle, playing trumpet or drums.  Then one day his uncle arrived with a friend who brought along his bass guitar, and everything changed for Andre!  With minimal instruction that day, Andre learned to play a basic blues pattern, and he never looked back.

With his Teisco bass, Andre began soaking up the plentiful blues, soul and rhythm and blues music being played on Chicago radio.  While still in high school, Andrew was gigging five nights a week in the clubs.

Eventually Andre’s pursuit of music took him to Nashville, where he did studio work, and performed regularly with Victor Wooten’s talented Family at 3rd and Lindsley, one of the great authentic blues bars outside of Chicago.

Since returning to Chicago in 2000, Andre has been a mainstay at the top Chicago blues clubs, including the Kingston Mines, B.L.U.E.S., Blue Chicago, and Buddy Guy’s Legends, often playing 5 nights a week.

He has played with a virtual who’s who of blues royalty, including, Lonnie Brooks, Magic Slim and the Teardrops, Eddie “The Chief” Clearwater, Liz Mandeville, and Big Time Sarah.

These days, Andre’s basses of choice are a 7-string Ibanez, a 5- string Schack, or a 4 string Steinberger.

If you have been in a Chicago blues club in the last twenty years, there is a good chance that you have seen and heard Andre perform.

You can catch him supporting a blues legend, playing with Frank Bang and the Cook County Kings, or with his critically acclaimed Andre Howard Band.

Check out Andre’s soulful grooves with Frank Bang & The Cook County Kings, and it’s is readily apparent why he has become known as “Da Funky One!”

The Blues Don’t Care LP  https://youtu.be/t3KCYVa18s4

Live at “The Funky Biscuit”  https://youtu.be/qyHY8hnRhA0

By Joe Gagliardo

In the early 80’s, after the explosion of punk, power pop and new wave, Chicago experienced a renaissance of soul/funk/R&B music.

Although it had never gone away, it had not been very visible in the clubs, or on the airwaves.

Enter Amuzement Park Band (“APB”), with a horn section, and songs that dripped with funk n’ soul.  The band consisted of many veterans of the Chicago music scene, and most of the members of APB had played together for years as the back-up band for The Impressions, and then Tyrone Davis.

The band was anchored on bass by Grammy-nominated artist Paul Richmond, who not only inventively plays the pocket, but is a successful songwriter, having co-written, with Producer Leo Graham, Tyrone Davis’ 1978 hit “In The Mood,” which peaked at No. 6 on the Billboard R&B Chart.

“In The Mood” https://youtu.be/p2N7WFKwiaQ

Paul and Leo Graham also co-wrote “Shining Star” forThe Manhattans, which peaked at No. 4 on the Billboard R&B Chart, No. 5 on the Billboard Hot 100 Pop Chart, and resulted in a Grammy for The Manhattans.

“Shining Star” https://youtu.be/6Uz6JzYAPi4

These successes preceded APB, but Paul’s songwriting and bass playing became part of the driving forces of APB.

Paul started playing bass in high school, and his influences include Verdine White (Earth, Wind & Fire), Larry Graham (Sly & The Family Stone and Graham Central Station), Stanley Clarke (solo and Return To Forever), Jaco Pastorius and James Jamerson (Motown).

Check out Paul’s fluid playing on APB’s “Make Up Your Mind” and “Share Your Love.”

“Make Up Your Mind” https://youtu.be/Z7LWLgU-tMo

“Share Your Love” https://youtu.be/Oe1W5msHn_U

Both of these songs are from their first LP, released in 1982, which also included another fine song written by Paul: “Do You Still Love Me.”

“Do You Still Love Me” https://youtu.be/-HSXQe_iaHQ.

Watching APB live in the clubs was a real treat, they were either creating a dance party, or putting the audience in a trance with the soulful songs like “Do You Still Love Me.”  APB had a follow-up LP in 1984, All Points Bulletin, produced by Hawk Wolinski of Rufus, that was released on Atlantic.

The single “No” from this LP was also a Richmond composition.

“No” https://youtu.be/ISmCz6a7RRI

After APB, Paul has played in multiple bands, and produced many musical acts.  One of his current projects is playing bass with the band Champaign, who had hits in the early 80’s with “How ‘Bout Us” and “Try Again.”

Paul played bass on those hits, as well.  Some of Paul’s recent production activities include Amuzement Park Revised, a tribute to deceased former members of APB.

 Also, Monkey See, Monkey Do, which is a tribute album to the great Johnny Guitar Watson where Paul, playing guitar and bass, combines covers with originals written in the Johnny Guitar Watson style.