Here are DJ obituaries in the Tennessean and the Los Angeles Times:

Duane Jarvis, famed guitarist and singer-songwriter, dies of colon cancer
By PETER COOPER • Staff Writer • April 1, 2009

Duane Jarvis, the amiable singer-songwriter who commanded stages with what Rosie Flores called a “Keith Richards flair and a honky-tonk heart,” died this morning in his Los Angeles apartment. He was 51 and battled colon cancer for 16 months.

Mr. Jarvis, who recorded five critically acclaimed solo albums, lived in Nashville from 1994 until recently. Known to his friends as “D.J.,” he played guitar on recordings by Flores, Lucinda Williams, John Prine, Dwight Yoakam, Frank Black, Amy Rigby, Giant Sand, Peter Case and many others. He toured with artists including Prine, Black and The Divinyls, and his songs were featured in motion pictures The Horse Whisperer and The Rookie.

He was an admirable conundrum: a rock ’n’ roller known for kindness and gentility, and a shy and soft-spoken man known for his electrifying stage presence.

“D.J. was such an unassuming fellow. He was quiet and sincere,” said Prine. “But he also had this Rolling Stones thing going on when he was onstage, whether he was playing country or rock. (Wife) Fiona and I would go see him whenever I was in town and whenever he was playing. I loved his songs.”

Mr. Jarvis grew up on the west coast, in Oregon, Washington and California. His father — who often played country records around the house — was in the U.S. Coast Guard, and his mother was a nurse. Mr. Jarvis was fascinated by music from an early age. As a pre-teen, he lived briefly in Florida, where he saw blues legend BB King in concert. At show’s end, he moved to the edge of the stage, where King saw him and handed him a guitar pick that he kept throughout his life.

As a teenager, Mr. Jarvis joined a blues band and then became a member of power pop group The Odds.

“I was very quiet, and music was my big outlet which helped me communicate with people,” he told interviewer Shuichi Iwami. “I think I would have been kind of lost without it.”

In concert, Mr. Jarvis would sometimes proclaim “This is what we live for,” before striking a guitar chord and singing one of his self-penned stories.

Mr. Jarvis moved from Oregon to Los Angeles in the mid-1980s, and he became part of an L.A. country scene that included Flores, Yoakam, Williams, Buddy Miller, The Blasters and Jim Lauderdale. Mr. Jarvis wrote songs and worked in Long Tall Marvin, a band fronted by Lone Justice founder Marvin Etzioni, and his session work included playing guitar on Williams’ Sweet Old World album.

He also played club gigs and made demo recordings, and the recordings caught the ear of former Replacements manager Peter Jesperson, who ran Medium Cool Records in Minnesota. Medium Cool released D.J.’s Front Porch in 1994, the same year that Mr. Jarvis moved to Nashville.

“The careening ‘Good On Paper’ and the wistful ‘Back of Beyond’ sound like lost gems that were left off (the Rolling Stones’) Let It Bleed,” wrote Bob Cannon of Entertainment Weekly in a review of D.J.’s Front Porch. “Jarvis seems to spit out these evocative country-soul tunes effortlessly, indicating that Front Porch is built to last.”

For Mr. Jarvis, Nashville offered an opportunity to collaborate with like-minded, left-of-center talents such as Tim Carroll, Amy Rigby, Steve Allen, Joy Lynn White and Dave Coleman. Music City was also a place for him to settle into healthier routines.

“Los Angeles was a fast track, and I was the one driving the car,” he told The Tennessean in 2000. “I’m the eternal optimist. I feel there’s a place for my songs in Nashville.”

One of those songs, a co-write with Williams called “Still I Long For Your Kiss,” wound up in a movie soundtrack and was recorded by Williams on her breakthrough Car Wheels On A Gravel Road album.

He also placed songs on albums by Carroll, White, Greg Trooper, Pinmonkey, Peter Case and others. Mr. Jarvis’ music was a mash of rock, country, R&B and blues, distilled into what is now often called “Americana.” As a staff songwriter for Lieber and Stoller, he scored no major radio hits, but his songs and guitar work were key elements in a street-level movement that offered a creatively compelling alternative to the more sanitized sounds coming from Music Row.

That movement was synthesized on a Bloodshot Records compilation called Nashville: The Other Side of the Alley, an album that featured Mr. Jarvis’ “Cocktail Napkin” alongside cuts from artists including Carroll, Paul Burch, Phil Lee and Jason & The Scorchers.

“D.J. was amazing in his guitar playing and in his whole spirit,” said Buddy Miller, who once hired Mr. Jarvis to engineer a recording even though Mr. Jarvis had no engineering experience. “He didn’t know what buttons to press, but he learned fast and we could show him all that. The important thing when you’re recording is to have people there who bring comfort and a good feeling to the room. He was just the best guy to be around.”

In Nashville, Mr. Jarvis recorded solo albums Far From Perfect (1998), Combo Platter (1999), Certified Miracle (2001) and Delicious (2003). Each album found Mr. Jarvis combining hard-won knowledge with his signature soulful wit.

“It takes a worried man to sing a worried song/ Had no idea I’d be singing for so long,” he wrote on “Spread My Soul Too Thin,” from 2003’s Delicious. On Certified Miracle’s “Broke Not Busted” Mr. Jarvis sang, “I might not be what you bargained for/ I’m a discount bin, not a money drawer.”

In 2007, Mr. Jarvis — who by then had moved back to Los Angeles — was inducted into the Oregon Music Hall of Fame. That same year, he was diagnosed with colon cancer. He endured multiple surgeries and round of chemotherapy, and in March of 2009 he entered hospice care.

Music remained a constant through his final days. Friend Billy Block said Mr. Jarvis offered a bed-ridden but note-perfect version of the Ben E King hit “Stand By Me” last Thursday, and Rosie Flores said he entertained her last week by picking out a song on a banjo.

As news of Mr. Jarvis’ death spread today, friends emailed memories to Web site guest books. They wrote of songs shared on stages and in backyards, beers shared at the old Sherlock Holmes Pub, and of the kindnesses that Mr. Jarvis bestowed upon friends. They remarked on the music that lives on, and of the peculiar grace that passed with the musician.

Peter Cooper writes about music for The Tennessean. He can be reached at (615) 259-8220, or by e-mail at pcooper@tennessean.com.


Duane Jarvis dies at 51; L.A. roots music singer-songwriter and guitarist
He played with Dwight Yoakam, Lucinda Williams, John Prine and others.
By Randy Lewis
10:45 PM PDT, April 1, 2009

Duane Jarvis, a stalwart of the Los Angeles roots music scene whose lead guitar work landed him stints playing with Dwight Yoakam, Lucinda Williams, John Prine, Michelle Shocked and others when he wasn't recording and touring as a respected singer-songwriter in his own right, died Wednesday after a long bout with colon cancer. He was 51.

Jarvis died at his home in Marina del Rey, where he was receiving hospice care after stopping treatment that in recent months had included two major surgeries and three rounds of chemotherapy, according to Kevin Jarvis, a drummer who performed frequently with his older brother.

"Duane passed away this morning at 1:30 a.m. with a smile on his face," Kevin Jarvis wrote in an e-mail sent Wednesday to family members and friends. "We knew time was short by the way things were going that day, although Duane surprised us a little by leaving us quite so soon."

Jarvis' guitar work was prized by some of the most esteemed practitioners of Americana music for its emotive power, musical economy and sonic atmospherics. As a songwriter with a handful of solo albums to his credit, he often sought out the light in even the darkest life scenarios, which he sang in a laconic, reedy voice that fell between the Southern rock drawl of Tom Petty and the bluesy scowl of Mick Jagger.

"The thing I'll always carry with me about Duane is that there was something pure in his happiness about music. I always felt he was just a smile away. . . . He'd give me that sideways look like we were getting away with something, that we'd been let loose in the magic sandbox," Yoakam said Wednesday.

"It's country rock by way of the British invasion," Jarvis told the Portland Oregonian in 1994. "Those guys--the Who, the Kinks, the Stones--were listening to American music anyway. I always felt there was a common thread through all that."

Similarly attuned musicians in Los Angeles drew Jarvis from Oregon, where he'd become a popular club attraction, playing in bands including the Odds, 2 Minutes 50 and Map of France.

"A lot of my favorite music was coming out of there: Rank and File, the Blasters, Lone Justice," he said. Upon arriving in the midst of L.A.'s early-'80s roots-music explosion, he connected with Lone Justice bassist and songwriter Marvin Etzioni, who tapped Jarvis for a band he was starting.

Lucinda Williams and Dwight Yoakam were habitues of the same scene, and when Yoakam's partner and lead guitarist Pete Anderson had to bow out of a tour to Australia, Anderson recommended Jarvis to take his place.

He also won the admiration of Williams, and co-wrote "Still I Long For Your Kiss" that appeared on her Grammy-winning album "Car Wheels On a Gravel Road," which also features Jarvis' guitar work.

Duane Jarvis was born Aug. 22, 1957, in Astoria, Ore. His family moved around the country often, stopping in the Bay Area, Seattle, Huntington Beach and Florida before settling in Portland.

Jarvis appeared to inherit the family's wanderlust, putting in time in Los Angeles, Nashville and Austin before returning to Southern California for the last several years. During the '80s, he also played as a member of the punk-tinged Divinyls, and in recent years had fronted another band, Los Flacos, while he and Kevin also backed L.A.'s Ben Vaughan.

He led a life common to musicians who ply the indie music scene without finding big commercial success, playing clubs around the country and on occasion in Europe. But Jarvis persevered. "You have to keep painting your paintings," he said in a 2001 interview, "because eventually you'll find a gallery somewhere."

In addition to his brother, Jarvis, who was married and divorced twice and had no children, is survived by his mother, Barbara Jarvis, of Portland and a brother, Brian.

Services are pending.

Some of the recordings I've worked on recently include recent or upcoming releases by Ted Wulfers, Dan Krikorian, Brokedown Cadillac, Grant Langston, Anny Celsi, David Serby, Patty Blee, David Johnson, John Vester, Michael Harris, and Eric Corne; as well as Tony Gilkyson's version of Chris Gaffney's "Road To Indio" for a tribute CD to the late, sorely-missed songwriter/accordionist/roots great.
I've also been collaborating on a new instrumental project with Craig Ferguson, Joel Gottschalk and Steve Krugman; stay tuned for further news on that endeavor.
In recent months, I've appeared in performance with Michelle Shocked, Ben Vaughn Desert Classic, Amy Farris, Dan Janisch, Patty Blee, The Sin City All Stars, Nicole Gordon, Melineh Kurdian, Duane Jarvis & The Cinematics, Anne McCue, Claudia Russell, Claire Holley, John Vester, and other sterling artists. During the latter part of 2008, I toured Spain with the Ben Vaughn Desert Classic, and the UK with Michelle Shocked.
As a composer, I'm currently working on some chamber pieces and also collaborating with film/TV composer Stefan Girardet on soundtrack material.
I'm available for recording projects, local gigs, touring and music directing; as well as for consultations on selecting and using classical repertoire in soundtracks. I'm also offering lessons on keyboard playing and on practical music theory for pop/rock performers and songwriters.

Many moons ago, Bo Diddley was booked for a show at the now-defunct Music Machine in West LA. At the time, I was a member of the Rockin' Jimmys--a band that specialized in early rock & roll--and we were hired to back up Bo. We met in the club's dressing room and Bo gave us our marching orders. These mainly consisted of: "Don't do the Bo Diddley beat. Nobody plays it right and if you start trying to play it, and I'm doing it, then it just sounds terrible. You just play straight and let me do the Bo Diddley beat."
As soon as Bo hit the stage, the SRO crowd erupted. We followed Bo through intensely grooving & swampy versions of his big hits for an hour until his road manager, standing in the wings, tapped on her watch and held up her index finger--that was it, he'd put in his contractually obligated one hour. Bo immediately turned to us, emphatically brought his guitar down to terminate "Who Do You Love," waved to the crowd and left. He'd given his fans their money's worth, and more. After all, he was one of the true pioneers of rock & roll and they'd just experienced him in all his glory, live and unmediated.
It was a true honor to share the stage with such a musical visionary.
Bo Diddley was also remarkably sanguine about the music business. In a 2005 Rolling Stone interview he said, "I tell musicians, 'Don't trust nobody but your mama,' and even then, look at her real good."
Rest in peace, Bo. Thank you for creating rock & roll. Your music lives on, even if nobody else plays your beat your way.

If you're flying Delta Airlines, you can listen to classical music programs that I write and voice for that carrier. These programs run 90 minutes (in two 45-minute segments), and play on channel 5 on Delta's in-flight Delta Radio. My playlists feature a wide range of works by composers from the Baroque, Classical and Romantic eras all the way to modern and contemporary styles.
The programs are produced by Soundtrack Marketing (www.soundtrackmarketing.com).
Due to requests about the material I've featured on Delta, below are my playlists for current and upcoming shows: Classical Winter (1-2/2008), Classical Exceptions (3-4/2008) and Classical Chronicles/A Puccini Celebration (5-6/2008). As you can tell, the lead-time for these programs is rather long; in fact, I'm already working on the 7-8/2008 show.
Safe & happy travels to you!
***********************
Delta On-Air – May/June 2008
Channel 05A – Classical Chronicles
Playlist

Symphony No. 43 in E-flat major "Merkur" [1st movement only]
(Franz Joseph Haydn)
Los Angeles Mozart Orchestra; Lucinda Carver, conductor
Rubedo Canis Musica RCM 19602

Sonata in E Major, Longo 430
(Domenico Scarlatti)
Vladimir Horowitz, piano
CBS Odyssey MBK 42534

6 Bagatelles for Piano, Op. 126: [1 only]
(Ludwig Van Beethoven)
Stephen Kovacevich, piano
Philips 426 976-2

Danza Lenta
(Aurelio de la Vega)
Martha Marchena, piano
Musician's Showcase MA1088

Symphony No. 1 [3rd movement only]
(Elliott Carter)
Nashville Symphony Orchestra, Kenneth Schermerhorn, conductor
Naxos 8.559151

Gaillarde d'ecosse, Laroque Gaillarde, Alemande de Liège
(Pierre Phalèse)
The Baltimore Consort
Dorian Recordings DOR-90177

Concertino for Harp and Orchestra [1st movement only]
(Germaine Tailleferre)
Gillian Benet, harp; The Women's Philharmonic; Jo Ann Falletta, conductor
Koch International Classics 3-7169-2 H1

Trio for Piano, Clarinet and Cello in A minor, Op. 114 [1st movement only]
(Johannes Brahms)
Emmanuel Ax, piano; Richard Stolzman, clarinet; Yo-Yo Ma, cello
Sony Classical SK 57 499

Delta On-Air – May/June 2008
Channel 05B – Puccini Celebration
Playlist

Manon Lescaut, Act 1: "Donna non vidi mai"
(Giacomo Puccini)
José Carreras, tenor; Orchestra del Teatro Communale di Bologna; Riccardo Chailly, conductor
London DSPM 5234

Manon Lescaut, Act 3: "Ah! Non v'accicinate!..No! no! Pazzo son!
(Giacomo Puccini)
Luciano Pavarotti, tenor; Neil Howlett, baritone
Decca B000XQ3I96

La Bohème, Act 1: "O soave fanciulla"
(Giacomo Puccini)
Anna Netrebko, soprano; Rolando Villazon, tenor
Decca B000XQ3I96

La Bohème, Act 2: "Quando me'n vo" (Musetta's Waltz)
(Giacomo Puccini)
Anna Netrebko, soprano; Vienna Philharmonic; Gianandrea Noseda, conductor
Decca B000XQ3I96

Tosca, Act 2: Vissi d'arte
(Giacomo Puccini)
Leontyne Price, soprano; Vienna Philharmonic; Herbert von Karajan, conductor
London 289 460 596-2

Tosca, Act 3: "E lucevan le stelle"
(Giacomo Puccini)
Franco Corelli, tenor; Orchestra dell'Accademia di Santa Cecilia, Roma;
Lorin Maazel, conductor
London 289 460 753-2

Madama Butterfly, Act 2: "Un bel dì"
(Giacomo Puccini)
Mirella Freni, soprano; Herbert von Karajan, conductor
Decca B000XQ3I96

La Fanciulla del West, Act 3: "Ch'ella mi creda libero e lontano"
(Giacomo Puccini)
Plácido Domingo, tenor; Sherril Milnes, baritone; Orchestra of the Royal Opera House, Covent Garden
Decca B000XQ3I96

La Rondine, Act 1: "Chi il bel sogno di Doretta"
(Giacomo Puccini)
Renée Fleming, soprano; English Chamber Orchestra; Jeffrey Tate, conductor
Decca B000XQ3I96

Gianni Schicchi: "O mio babbino caro"
(Giacomo Puccini)
Renata Tebaldi, soprano; Orchestra del Maggio Musicale Fiorentino; Lamberto Gardelli, conductor
London DSPM 5234

Turandot, Act 1: "Signore ascolta"
(Giacomo Puccini)
Montserrat Caballé, soprano; London Philharmonic Orchestra; Zubin Mehta, conductor
Decca B000XQ3I96

Turandot, Act 3: "Nessun dorma"
(Giacomo Puccini)
Giuseppe di Stefano; tenor; Orchestra dell' Accademia di Santa Cecilia, Roma; Franco Patane, conductor
London DSPM 5234


***********************

Delta On-Air – March/Arpil 2008
Channel 05A – Classical Exceptions
Playlist

Shéhérazade [1st movement only: Asie]
(Maurice Ravel)
Susan Graham, soprano; BBC Symphony Orchestra, Yan Pascal Tortelier, conductor
Warner Classics 2564 61938

String Quartet in E minor [2nd movement only: Andantino]
(Giuseppe Verdi)
Julliard String Quartet
Sony Classical SK 48193

Serenade in D., K. 239 "Serenata notturna" [3rd movement only: Rondeau]
(Wolfgang Amadeus Mozart)
The Academy of St. Martin-In-The-Fields; Iona Brown, Malcolm Latchem, violins; Stephen Shingles, viola; Raymond Koster, double bass; Sir Neville Mariner, conductor
Philips B0007075-02

Guillaume Tell (William Tell) Overture
(Gioacchino Rossini)
National Philharmonic Orchestra; Riccardo Chailly, conductor
London 400 049-2-10

Symphony No. 15 in A major, op. 141 [1st movement only: Allegretto]
(Dmitri Shostakovich)
London Philharmonic Orchestra; Bernard Haitink, conductor
Decca 425 069-2

Delta On-Air – March/Arpil 2008
Channel 05B – Classical Exceptions
Playlist

Concierto pastoral [1sth movement only: Allegro]
(Joaquin Rodrigo)
James Galway, flute; Philharmonia Orchestra; Eduardo Mata, conductor
RCA Victor Red Seal 09026-68428-2

Suite in G for Strings and Continuo [3rd movement only: Sarabande]
(Johann Pachelbel)
Paillard Chamber Orchestra; Jean-Francois Paillard, conductor
RCA Red Seal RCD1-5468

Sposa son disprezzata
(Antonio Vivaldi)
Cecilia Bartoli, soprano; György Fisher, piano
London 436 267-2

Symphony in C major, WWV29 [4th movement only: Allegro molto e vivace]
(Richard Wagner)
Tokyo Metropolitan Symphony Orchestra; Hiroshi Wakasugi, conductor
Denon D 102370

String Quartet in D minor, Op. 56 "Voces Intimae"("Inner Voices") [1sth movement only: Andante – Allegro molto moderato]
(Jean Sibelius)
Julliard String Quartet
Sony Classical SK 48193

Pleasant Moments (A Ragtime Waltz)
(Scott Joplin)
Roy Eaton, piano
Sony Classical SBK 89886

Overture
(Fanny Mendelssohn)
The Women's Philharmonic; Jo Ann Falletta, conductor
Koch 3-7169-2 H1

***********************

Delta On-Air – January/February 2008
Channel 05A – Classical Winter
Playlist

3 German Dances, K. 605 [3rd movement only: Sleighride]
(Wolfgang Amadeus Mozart)
Academy of St. Martin-In-The-Fields, Sir Neville Mariner, conductor
Philips 416 484-2

Lieutenant Kijé Suite, Op. 60 [4th movement only: Troika]
(Sergei Prokofiev)
Milwaukee Symphony Orchestra, Zdenek Macal, conductor
Koss Classics KC-1016

The Seasons, Op. 37a [1st movement only: January (By the fireside)]
(Pyotr Ilyich Tchaikovsky)
Vladimir Ashkenazy, piano
Decca 28946 65622

Das Jahr (The Year) [2nd movement only: February]
(Fanny Mendelssohn)
Sarah Rothenberg, piano
Arabesque Recordings

Le Carnaval Romain (Roman Carnival overture)
(Hector Berlioz)
Montréal Symphony Orchestra, Charles Dutoit, conductor
London D121494

Préludes [No. 6 only: Des pas sur la neige (Footprints in the snow)]
(Claude Debussy)
Krystian Zimmerman, piano
Deutsche Gramophon D203216D1

Winter Pages [3rd movement only: Around the house the flakes fly faster]
(Ned Rorem)
Todd Palmer, clarinet; Frank Morelli, bassoon; Ida Kavafian, violin; Fred Sherry, cello; Charles Wadsworth, piano
New World Records

Cantus Arcticus [2nd and 3rd movements only: Melancholy and Swans Migrating]
(Einojuhani Rautavaara)
Leipzig Radio Symphony Orchestra; Max Pommer, conductor
Catalyst 09026-62671-2

Delta On-Air – January/February 2008
Channel 05B – Classical Winter
Playlist

Aotearoa - Overture
(Douglas Lilburn)
New Zealand Symphony Orchestra; James Judd, conductor
Naxos 8.557697

Las Estaciones (The Seasons) [4th movement only: Invierno Porteño (Buenos Aires Winter)]
(Astor Piazzolla)
Daniel Barenboim, piano; Rodolfo Mederos, bandoneon; Hector Console, bass
Teldec 0630-13474-2

Bachianas Brasileiras, No. 5 (Aria) [1st part only]
(Heitor Villa-Lobos)
Renee Fleming, soprano; New World Symphony; Michael Tilson-Thomas, conductor
RCA Victor Red Seal 09026-68358-2

Mu KKubo Ery 'Omusaalaba (On the Way of the Cross [1st movement only: Ekitundu Ekisooka (First Movement)]
(Justinian Tamusuza)
Kronos Quartet
Elektra Nonesuch 79275-2

Coffee + Rum
(Ljova)
Ljova, violas
Kapustnik Records 74321 27769 2

Oracle [1st movement only]
(Chinary Ung)
members of Southwest Chamber Ensemble; Jeff von der Schmidt, conductor (Tom Peters, voice; Lawrence Kaplan, flutes; Jim Foschia, clarinets; Lisa Dondlinger, violin; Peter Jacobson, 'cello; Lynn Vartan, percussion)
Cambria Master Recordings 8854

Antarctica (Suite for Guitar & Orchestra) [3rd movement only: Penguin Ballet]
(Nigel Westlake)
John Williams, guitar; London Symphony Orchestra; Paul Daniel, conductor
Sony Classical SK 53361

The Planets [2nd movement only: Venus, The Bringer of Peace]
Gustav Holst
BBC Philharmonic; Yan Pascal Tortelier, conductor
BBC Music BB MM49

Thanksgiving is here and it's a good time to reflect on all the blessings that I've had the good fortune of receiving. In my musical career of late, I'm grateful for the opportunities I've had to make music with so many great artists, including Anne McCue, Nicole Gordon, the Sin City All Stars (and a whole raft of very special guests) during the Americana Music Association (AMA) annual convention in Nashville--more on that below. I've also been privileged to perform recently with Ben Vaughn, Sally Dworsky, Austin Hanks, John Vester, David Serby and Claudia Russell. Recording projects, such as those with Clare Means and Michael Starr, Fiona Kernaghan and Dan Kresco, Samantha Elin, Robin Wiley and Frank Fuchs, and Jean James have also been inspiring experiences.

It's also been a joy performing again with Olivea Watson whose "Way Down Deep" (on which I contributed extensive piano & organ parts) was recently released. In October, we headlined the Hatch Fest in Bozeman, Montana where Olivea received the Gibson Guitar New Musician Of The Year Award. In November, we played her single, "Let Go," at the New Music Awards' gala in Hollywood, where she received the award for A/C Breakthrough Artist Of The Year.

Another major highlight of recent months was the final event of this year's AMA conclave, which featured the Sin City All Stars backing up a star-studded guest lineup in our "Close Up The Honky Tonks" tribute to West Coast country. Jesse Dayton and Greg Spradlin were our featured guitar slingers for the evening. We took the stage of the Cannery at midnight and finally left it at 3:20 AM. Because I was up there for the duration (thanks much to the venue for providing a sweet-sounding Hammond and Leslie for me to play), improvising segues and interstitials to keep the shows going during the changeovers between guests, the evening is a bit of blur to me.

Still, I do recall some especially momentous happenings, such as our great friend Jim Lauderdale honoring us by sitting in for a five-song mini-set, which also featured ever-amazing guitarists Buddy Miller and Eddy Perez joining in; Mike Farris taking us to church with his revival version of "Green, Green Grass of Home;" Anne McCue leading us through a smokin' cover of "LA International Airport;" Raul Malo singing his heart out on "Hot Burrito 1"; Chuck Mead (of BR 149) rockin' through classic Buck Owens; and numerous other stellar appearances, such as those by Laura Cantrell, Randy Weeks, Mike Stinson, Sunny Sweeney, Stonehoney and Elizabeth Cook.

Endless thanks are due to our intrepid impresario and hot mama Shilah Murrow for putting the show together, to our fearless music director Dusty Wakeman for managing the proceedings, and to Bryson Jones for being the fastest MC in the West.

Back in LA, a few days later--with barely time to recover from our Nashville extravaganza--the Sin City All Stars then presented a Gram Parsons tribute at Amoeba Music in Hollywood to mark the release, at long last, of the Flying Burrito Brothers' "Live at the Avalon Ballroom - 1969" on Amoeba Records. Our guests on that august occasion included Chris Etheridge (the FFB's original bassist), Quincy Coleman, Brandi Shearer, Mike Stinson and Dave Gleason. The incomparable MC for the event was our great friend Chris Morris, veteran rock scribe and host of Watusi Rodeo on Indie 103.1 FM; check out his show Sundays 9-11 AM to hear one of most inspired roots playlists on radio anywhere.

During my Nashville sojourn, I also had a grand time recording with Anne McCue again, especially since Dusty Wakeman and Dave Raven were also on hand. The four of us still have a strong musical bond; magical chemistry was flowing between us during the five songs we recorded. The session was part of a Mojave Audio mic demo that Dusty and his colleague John Jennings presented  at 16 Ton Studios.

As far as other music-related activities, I'm continuing to program, write and host Delta Airlines' classical in-flight show; review Los Angeles Opera productions for Opera News, and provide independent A&R services for various music companies. I haven't been as active composing recently, but a couple of upcoming projects should get me back on that creative track.

Stay tuned. More will be reported as time permits. Thanks for reading this. Be well.

Please check out the new photos on my MySpace site taken by Rafael Gayol, including the main shot on the opening page.

Some of you may recall Rafael's excellent drumming over the years; of late he's also been working as an equally fine photographer. I highly recommend him for your next shoot.

Rafael's photo site is: http://www.rafaelgayol.com/photos

Tell him Carl sent you.

My friend Bruce Kaplan often recounts my reaction from many, many years ago when he called me immediately after a big meeting with RCA, which was chasing after our then-hot band. According to Bruce, the following conversation ensued:

"Hey, Carl, good news. They want to sign us."

"Great. How much do I owe?"

That vignette reminds me of one of my favorite observations, oft related to politics but also applicable to the music biz: just when you think you're getting too cynical, you realize you can't keep up.

As it turned out, the band that Bruce and I were in did indeed sign w/RCA and worked with a major producer to make a great-sounding record that went nowhere. End of record deal, end of band, end of story. But the question lives on.

What, indeed do I owe? And to whom? Trying to answer those kinds of questions could be the reason I persist with my musical endeavors; they're part of my humble attempts at repaying my debt to existence and contributing in some small way to bettering our world. Getting signed at this point no longer seems like such a big deal--literally or figuratively.

I'm just back from playing dates with Anne McCue in Nashville (at the Mercy Lounge and Rutledge) and northern Virginia (at the Birchmere) supporting the release of her new record, Koala Motel--if you don't already have it, you owe it to yourself to get it as soon as possible.

The Washington Post reviewed the Birchmere show as follows (a link to the paper's website is appended; on the site you can also enjoy a gorgeous photo of Anne):

McCue, Asserting Herself at Birchmere
Friday, September 29, 2006; Page C02

Engaging a crowd of another artist's fans can be a daunting task, but Australian singer-songwriter Anne McCue showed no signs of timidity during her 45-minute set opening for Erin McKeown Wednesday night.

McCue had a lot working in her favor. The Birchmere's hushed atmosphere gave her the crowd's full attention, and her husky voice is so assertive that it's hard to imagine her not getting what she wants -- especially on the set opener, a booming "I Want You Back."

McCue never held back, from the growling "Driving Down Alvarado" to a screeching instrumental jam with her backing band at the end of "Hellfire Raiser." Even a switch to an acoustic guitar on the mellower "Bright Light of Day" didn't tame McCue's boldness: She balanced the vulnerability of a night spent with a lover with the casually self-assured comment "When I see you again, will I even care?"

On record, McCue has a knack for selecting covers that showcase her bluesy guitar prowess and her commanding roar even better than her own compositions. That skill translated to her live set, as she gave Tony Joe White's "As the Crow Flies" a heavy, thunderous riff with a Jimi Hendrix flair that was matched by her gutsy moan. With such skill and self-confidence, McCue should have no trouble mastering the headlining slots that are surely in her future.

-- Catherine P. Lewis

www.washingtonpost.com/wp-dyn/content/ article/2006/09/28/AR2006092801725.html?nav=hcmodule

Carl Byron was born in Beirut and raised in parts of Southeast Asia, Africa, the Middle East, and northern Virginia. He studied composition with Aurelio de la Vega at California State University, Northridge and has served as composer-in-residence for the Elkhorn Music Festival and the Sun Valley Summer Symphony.

Carl's main instruments are keyboards, including accordion. He has worked with artists and groups including Anne McCue, The Spencer Davis Group, Michelle Shocked, Ronee Blakely, the Young Dubliners, Olivea Watson, Ben Vaughn, Duane Jarvis and the Cinematics, Lynn Anderson, Mike Stoller, Gerry Goffin, Nicole Gordon, Sally Dworsky, Jim Lauderdale, Low And Sweet Orchestra, David Baerwald, Robin Wiley, Sin City All Stars, Bo Diddley, Thelma Jones, Warren Zevon, Mike Martt, Marvin Etzioni, Ryan Hedgecock, Charlie Louvin, Fiona Kernaghan, Walkie Talkie, Leila Florentino, David Serby, Nicky Corbett, Stonehoney, Brittney Elizabeth, The Honey Tongue Devils, Diego Sandrin, Austin Hanks, Merle Jagger, Michael Harris Band, Dawn McCoy, Naked Blue, The Snakehandlers, Travis Howard, Barbara Cohen, Michael Anderson, Angela Easterling, Bobby Joyner, Tina Schlieske, Hawkeye, Anny Celsi, Fisher, Claudia Russell, Village Of Odd Waters, Dave Phenicie, Bruce Burton & King Size, Stephen Rowe, John Vester, Desborde, Pearly Kings, Steve Barton, Dave West, Stephen Rowe, 29 Mules, Kyle Johnson, Rifle, Darius, and others.

He has also been music director, arranger and composer for dance groups and musical theater productions. Carl's compositional works range from contemporary symphonic, chamber and electronic music to various world music genres. Notable scores include his String Quartet for the Elkhorn Music Festival; Birds of Sorrow for the late William Parker's AIDS QUILT SONGBOOK; Arabesques for the California Trio, which gave the work's world premiere at the Carnegie Recital Hall; Musica Festiva for the Sun Valley Summer Symphony; Sola for award-winning violist Karen Elaine; Intarsia for the renowned just intonation ensemble, Just Strings; and Fragments, a song cycle on texts of Rilke for soprano Violetta Polichtchouk. Carls recent output includes Qasida and Haiku Variations for piano; Qantara, for large orchestra, and Colloquy.

Of Carl's music, the New York Amsterdam News wrote: "His is a first-rate talent. Here is a composer who combines intellect with a loving heart."

The San Francisco Chronicle hailed Birds of Sorrow as, "a dramatic metaphor;" and the Village View wrote of Carl's, "deft, harmonically ambitious work, a special treat throughout."

Additionally, Carl has contributed cover stories, features, profiles and reviews about the performing arts to Latin American Music Review, Opera News, Los Angeles Reader, KUSC Listeners Guide, Los Angeles View, Boulevards, High Performance, Virgin Los Angeles City Guide and other publications.

Carl was classical music editor and columnist (Notes from the Underground) for Boulevards, and he wrote and produced arts reports and program notes for KUSC (91.5 FM), southern California's premier classical music radio station. Carl currently writes and hosts classical music in-flight programs for Delta Airlines. He has also served as an A&R consultant for music supervisors, publishers, and other music organizations.

Carl is fluent in French, near fluent in German and also speaks some Spanish and Arabic. He currently resides in Venice, California.

One of my favorite maxims of the Sin City crew is, "you gotta sin to be saved." Based on last night's "Saints and Sinners" - A Gospel-Spirit Revival at the Mint (August 20, 2006), I think it's also fair to say, "you gotta sing to be saved."

The spirit was in the house; the performance resonated with the expanse of beliefs that all of us hold sacred and transcended any single religious identity to embrace the divine in us all.

Special thanks are due to Shilah Murrow for promoting the show, hosting our rehearsal and nourishing us with her soulfully savory gumbo and cornbread; to Jim Lacey-Baker for his intrepid cat-herding (organizing, facilitating and butt-busting); and also to Bryson Jones and his fellow Snakehandlers ("the world's loudest country band") for the 2004 Hollywood Gospel Jubilee--the event that inspired this latest transcendent musical experience.

Blessings to all.