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A bit about me, music & art...

about me & music...


Born January 16th, 1953 in Cincinnati, Ohio USA. I grew up in northern Kentucky in a time when guitar music was exploding all around me. Jimi Hendrix, Led Zeppelin & Cream were a few heavy hitters of the day. Growing up during the 50s & 60s was indeed eye opening. Almost magical for a teenaged country boy who waited with fervor for his weekly dose of "Jelly Pudding". "JP" was a local radio show that presented music from the emerging rock bands of the day for just a few short hours on the weekend, exposing it to my little corner of the world via a transistor radio.


When I was 12, a friend's younger brother, Joe, taught me “Tom Dooley”. I went home & played it for my Dad. (I have no memory of trying to play anything on Dad's guitar before this. Just saying.) The next day, my friend, Dexter, taught me “Wild Wood Flower”. I went home & played that for Dad as well. This inspired him to go out on the third day & buy me a Gibson Melody Maker & an amp from a pawn shop. Not too far down the road, the first song I taught myself mostly by ear was “Purple Haze”. Dad asked, "What happened to the Country music?". The rest is history.


From the time I was 17, I have been involved in bands that focused on original & improvised music. Known mostly as a teacher, which I have been doing on & off since I was 21, I only performed live several times a year, till my stint with a Cincinnati based Irish/Celtic/Folk band known as “the Flock”. I considered myself lucky to be a member of "the Flock" for almost 4 years.

I've had the privilege of hosting several notable jams at some of the tri-state's coolest Blues venues, like Lucille's, Jazzmania & Mansion Hill Tavern. As of March 2020, I'd been hosting the open mic at Mansion Hill on Mondays for 11 years. (On March 13th, 2020, I stopped performing in public events. Just keeping busy with music & art projects.)

Some bands I have shared significant sonic time with are: P.O.E., Dunharrow, LAZER, Latter Rain, Eat at Joe's, Legal Tender, John Redell & the Bottom Line, Sweet Alice & the Unfinished Business Blues Band, 2 Days Away, the Flock, MC Blue, Shepherd's Pi, John Redell & the Company He Keeps, the Hedgehogs, Erin Coburn's Cosmic Chaos, Deb O & Montague.


Before 2020, beyond solo performances & the open mic at Mansion Hill Tavern, I considered myself a "hired gun" & enjoyed the honor of playing in several duos & the occasional band event. A few of the folk I hung out with were Deb O, Erin Coburn, Dixon L. Creasey Jr., Dave Gilligan & James Funk. I also got to ride shotgun with "Deb O & Montague".

I was with the Cincy Blues Society’s "Blues In The Schools” for 22 years, doing presentations & being a mentor to the overall BITS program. 

I've been asked on many occasions who I thought influenced me the most. I decided to compile a quick tally off the top of my head. With no thought of rhyme or reason, I quickly put down the following names as they came to me:

Jimi Hendrix

Phil Keaggy

John McLaughlin

Robin Trower



Chet Atkins

Les Paul

Larry Carlton

David Gilmour

Stevie Ray Vaughn

Eric Johnson

Joe Satriani

B.B. King

Jeff Beck

Eric Clapton

Jimmy Page

Tommy Emmanuel

Almost chronological. As a teacher, I had students bringing in recordings of numerous, unknown to me, guitarists. The waters are deep on this topic. I am grateful to have been exposed to such awesome music & incredible musicians.

(a year later)

With little thought of rhyme or reason, a 2nd pass:

Derek Trucks

Duane Allman

Jerry Garcia

Frank Zappa

Steve Vai

Eddie Van Halen

Sonny Landreth

Adrian Belew

Johnny Winter

Mark Farner

Leslie West

Harvey Mandel

Lenny Breau

Gary Moore

Danny Gatton

Leo Kottke

Roy Clark

Vince Gill

Harry Manx

Since Friday, the 13th of March, 2020, I have been recording instrumental guitar pieces. Some for collaboration & many to be released in suites as part of an ever growing catalogue. A majority of the pieces are from what I call "the world's longest guitar solo". Created in the moment. A continual stream of notes from start to finish. About as fresh a piece of sonic fruit that anyone can pick. 


I just record till there is enough material for a few loops or a single track. Then immediately go to the next track & respond to what was recorded. Most of the solos are the 1st take. Many are a single complete pass. If I slip off the pony, I back up a few seconds, get back on & continue the process until the end. Hence, "the world's longest guitar solo".


Soon after finishing the guitar tracks I add a beat (often just enough to define some parameters). Then a bit of mastering. Very few of the pieces had any pre-thought about key or style. Improv of the purest essence...

“Being a part of so many musical expressions had its ups & downs. The only real downside was loss of leisure time. But since I enjoyed the company of the folk I played with, it was a downside with a silver lining.”

about me & art...

Like with the music, growing up through the 50s & 60s was revelatory with numerous visages of exploding colors & sounds in the midst of paisley prints, blacklights, lava lamps, tie dye, Surrealism, Mod & Pop Art, with psychedelic scenarios in abundance. This perhaps explains why I have an affinity for certain palettes & designs.

I compiled a list akin to the guitarist list, but for artists. Again, with no intent to place them in any order of importance, these are some of the artists I enjoyed or was enthralled by:

Vincent Van Gogh

M C Escher

Salvador Dali

Claude Monet

Gustav Klimt

Alex Grey

Leonardo Da Vinci


Pierre-Auguste Renoir

I have been creating art with a computer, for the computer, since 2002. Love the design tools & palette with this medium. I often thought about sharing it in some form or fashion. Since Friday, the 13th of March, 2020, in addition to recording hundreds of instrumental guitar pieces, I have been going through my archives of computer art with that thought in mind. So far I have 10 collections in the SHOP.

On my current 2023 event horizon are several multi-media showcases. One of them, "the view from nothing", is a thought that came to me shortly after getting my 1st computer hooked up to the internet. Once I saw photos from Hubble, I tried to wrap my mind around what this could look like from outside of all that exists. In my mind, I could imagine shooting out past all that is, beyond all that Hubble revealed. Once out a sufficient way into nothing, I turn around & view all that is, from any number of angles. It is from here “the view from nothing” takes shape.

A large percentage of my art makes more sense if you think of it & see it from this vantage point. Hubble & computer art arrived in my life almost simultaneously. No wonder so many pieces have a bigger than life feel. Immensity in tandem with the minuscule.


One of the suites, “theories & blueprints”, is an offshoot of that thought. Once you are at “the view from nothing”, what diversity awaits as you consider the scenarios, layouts & designs that could transpire out of such chaotic order. Hence, “theories & blueprints”. Nothing to be taken too seriously. Just a way to deal with what Hubble did to my brain.

And with new editing programs, I can now combine the music & art in short videos. What a time to be alive. Onward to what lies ahead. 

Peace & wellbeing...

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