kurm this is what happened...
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I've been playing music since the age of five. My father was a professional musician. He started me with piano (as it should be). I remember enjoying it and having a good ear early.
It became difficult taking lessons from my father as he got angry with me early (unjustly, no doubt). I stopped playing piano and played trombone in 5th; I played until high school but stopped when marching band conflicted with ice hockey (winner for me every time).
On the way around 12 years old I picked up an acoustic guild lying around the house. I made myself color-coded dots, and with the help of mel bay I taught myself some first position chords. My father soon after gave me the best advice ever - learn to play bass and sing and you'll always have work. My dad had a 1973 Fender Jazz bass and a sweet Ampeg B-15 flip top. While 98% of my friends were banging drums (with no time, feel or sensibility) or screeching distorted guitar, I mostly played bass.
I played with everyone - and I mean everyone - who could hold a guitar, rest their fingers on keys or abuse a Tama kit. I mostly subjected myself to torturous weekend afternoons of loud, obnoxious guitar riffs by players who couldnt play a complete song. I stumbled across some good musicians. I joined tons of bands and played everywhere for nothing.
For some reason, everyone kept playing the same 20 songs and the same five chords. I was bored out of my mind. I went to college (more like the 13th grade) and took a lot of theory (mostly forgotten now, thank you). I'm not sure why but I was pre-law. I hated lawyers (insert irony here: I deal with them almost daily now). I knew I would wind up traveling the world and playing music. I gigged around with more average bands, recorded and played a lot of blind gigs.
I joined an original classic rock band - which truly sucked - although I loved playing. The drummer and I left after a cold winter and we played the Philadelphia music scene through college. That was a good time. We got signed to do a nine venue gig opening for a Sheena Easton tour in Canada over the summer. It got cancelled before it started. That was not in the plan. I was in my early 20s. That was the end of music I guess. No job, no direction - people told me it was time to join the real world - no one ever told me there was no such thing. So there I went, getting married (*fail*) but having four fantastical children. I got rid of just about all my equipment and stopped playing for probably 10-15 years. The kids got old enough for me to crack a window and leave some food and water in a bowl, so I started playing again.
I played an acoustic duo for a few years and recorded some stuff. I played full bands, duos, jazz trios, solo - whatever I could and as much as my schedule would allow. In the summer of 2006, my good friend Rob Schnell got me a gig at a new venue with Dan Kauffman (their new vinyl under the name 'Glim Dropper' is sick). Goalie and keyboardist Dwayne Keith got me on a Musicians on Call benefit at World Cafe Live in December 2006. I began to think that I really wanted to play a LOT more. I'm not very spiritual, but this was what I was meant to do.
I joined the Barley Boys, a high energy original Irish rock band. I'm as Irish as Chernobyl. We had a couple of nice runs in a dinner theatre show at the Showboat in Atlantic City. I met Tom Hampton on a festival gig and he let me sleep while he drove (like a lunatic). Arty Artimew is amazing. Michael Babick and I are always in competition nightly.
Tom got me hooked up with Dan May in late 2007. My first gig with Dan was a Christmas opener for Crystal Gayle at the Sellersville Theatre. She was a super lady and her hair was still ridiculously long. Dan hadn't known me at all but was kind enough to give me a track on his cd, The Long Road Home. Dan is a great songwriter, a good friend and a better person. I am like his 9th younger brother and am constantly trying to aggravate the shit out of him.
In late spring 2008, I began playing with Lili Anel. Lili and I met in December 2006. I played a few songs on acoustic guitar and she said nice things to me. She liked my chord changes and said that they were different from the usual crowd of songwriters. While I have a good sense of self as a musician - what and how I can play - I just chalked up her kindness as being polite. I had no idea who she was because I didn't have any reference of the local music scene. Lili played her set a little while after I did. When I heard her play and sing, the gravity of what she said to me earlier hit me. she wasn't just blowing smoke up my ass - she was the real deal and I couldn't figure out what she was doing on stage with the usual suspects.
Michael Beeson got me turned on to Christine Havrilla. she moved out to Portland, Oregon but continues to travel back east. I play with her any time she calls. Every time I play one of her songs, I'm like: "Oooh, that's my favorite - for real!" (Gretchen Schultz will tell you so!) I love her because she is relaxed, fun and one of the nicest people i know.
So C'rilla starts up this Gypsy Fuzz project in 2010 and we record a CD in Portland at Jackpot Studios with Larry Crane in June 2011. That is one rocking gig!
And my BFF Rob Schnell gets me this sit-in on bass with the lovely, talented and fantastical chick Tracy Grammer in 2011. I met her onstage at the P.S.A.L.M. Salon in Philadelphia. She took a big risk on me that night. I pretty much sucked from what I remember...but through the use of Jedi mind tricks and the like, I convinced her to let me play some more gigs with her. Tracy just released "Little Blue Egg" as a compilation of her and Dave Carter. When I am lucky, I get to play duos and trio gigs with her.
We have enjoyed some good times and good shows in our short musical lives - but my favorite moment on stage was when she called me her friend...
I'll continue to play with a host of others as time and schedule allows.
I truly appreciate everyone who has helped make my musical journey enjoyable.
It became difficult taking lessons from my father as he got angry with me early (unjustly, no doubt). I stopped playing piano and played trombone in 5th; I played until high school but stopped when marching band conflicted with ice hockey (winner for me every time).
On the way around 12 years old I picked up an acoustic guild lying around the house. I made myself color-coded dots, and with the help of mel bay I taught myself some first position chords. My father soon after gave me the best advice ever - learn to play bass and sing and you'll always have work. My dad had a 1973 Fender Jazz bass and a sweet Ampeg B-15 flip top. While 98% of my friends were banging drums (with no time, feel or sensibility) or screeching distorted guitar, I mostly played bass.
I played with everyone - and I mean everyone - who could hold a guitar, rest their fingers on keys or abuse a Tama kit. I mostly subjected myself to torturous weekend afternoons of loud, obnoxious guitar riffs by players who couldnt play a complete song. I stumbled across some good musicians. I joined tons of bands and played everywhere for nothing.
For some reason, everyone kept playing the same 20 songs and the same five chords. I was bored out of my mind. I went to college (more like the 13th grade) and took a lot of theory (mostly forgotten now, thank you). I'm not sure why but I was pre-law. I hated lawyers (insert irony here: I deal with them almost daily now). I knew I would wind up traveling the world and playing music. I gigged around with more average bands, recorded and played a lot of blind gigs.
I joined an original classic rock band - which truly sucked - although I loved playing. The drummer and I left after a cold winter and we played the Philadelphia music scene through college. That was a good time. We got signed to do a nine venue gig opening for a Sheena Easton tour in Canada over the summer. It got cancelled before it started. That was not in the plan. I was in my early 20s. That was the end of music I guess. No job, no direction - people told me it was time to join the real world - no one ever told me there was no such thing. So there I went, getting married (*fail*) but having four fantastical children. I got rid of just about all my equipment and stopped playing for probably 10-15 years. The kids got old enough for me to crack a window and leave some food and water in a bowl, so I started playing again.
I played an acoustic duo for a few years and recorded some stuff. I played full bands, duos, jazz trios, solo - whatever I could and as much as my schedule would allow. In the summer of 2006, my good friend Rob Schnell got me a gig at a new venue with Dan Kauffman (their new vinyl under the name 'Glim Dropper' is sick). Goalie and keyboardist Dwayne Keith got me on a Musicians on Call benefit at World Cafe Live in December 2006. I began to think that I really wanted to play a LOT more. I'm not very spiritual, but this was what I was meant to do.
I joined the Barley Boys, a high energy original Irish rock band. I'm as Irish as Chernobyl. We had a couple of nice runs in a dinner theatre show at the Showboat in Atlantic City. I met Tom Hampton on a festival gig and he let me sleep while he drove (like a lunatic). Arty Artimew is amazing. Michael Babick and I are always in competition nightly.
Tom got me hooked up with Dan May in late 2007. My first gig with Dan was a Christmas opener for Crystal Gayle at the Sellersville Theatre. She was a super lady and her hair was still ridiculously long. Dan hadn't known me at all but was kind enough to give me a track on his cd, The Long Road Home. Dan is a great songwriter, a good friend and a better person. I am like his 9th younger brother and am constantly trying to aggravate the shit out of him.
In late spring 2008, I began playing with Lili Anel. Lili and I met in December 2006. I played a few songs on acoustic guitar and she said nice things to me. She liked my chord changes and said that they were different from the usual crowd of songwriters. While I have a good sense of self as a musician - what and how I can play - I just chalked up her kindness as being polite. I had no idea who she was because I didn't have any reference of the local music scene. Lili played her set a little while after I did. When I heard her play and sing, the gravity of what she said to me earlier hit me. she wasn't just blowing smoke up my ass - she was the real deal and I couldn't figure out what she was doing on stage with the usual suspects.
Michael Beeson got me turned on to Christine Havrilla. she moved out to Portland, Oregon but continues to travel back east. I play with her any time she calls. Every time I play one of her songs, I'm like: "Oooh, that's my favorite - for real!" (Gretchen Schultz will tell you so!) I love her because she is relaxed, fun and one of the nicest people i know.
So C'rilla starts up this Gypsy Fuzz project in 2010 and we record a CD in Portland at Jackpot Studios with Larry Crane in June 2011. That is one rocking gig!
And my BFF Rob Schnell gets me this sit-in on bass with the lovely, talented and fantastical chick Tracy Grammer in 2011. I met her onstage at the P.S.A.L.M. Salon in Philadelphia. She took a big risk on me that night. I pretty much sucked from what I remember...but through the use of Jedi mind tricks and the like, I convinced her to let me play some more gigs with her. Tracy just released "Little Blue Egg" as a compilation of her and Dave Carter. When I am lucky, I get to play duos and trio gigs with her.
We have enjoyed some good times and good shows in our short musical lives - but my favorite moment on stage was when she called me her friend...
I'll continue to play with a host of others as time and schedule allows.
I truly appreciate everyone who has helped make my musical journey enjoyable.
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