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When Jacobs-Strain (he uses both his parents' names) burst onto the scene, we first encountered him in 2004 at the Falcon Ridge Folk Festival. We decided that we'd do an October interview for a November article in support of an East coast swing. One of the more special experiences David and Walker shared was David's first trip to the Port Townsend Country Blues Festival.
David got a scholarship as a student at Port Townsend and then wound up teaching there while still in his mid-teens. David's July 4, 1997 performance at the Waterfront Blues Festival in Portland, Oregon, was re-broadcast on the Blues Foundation's 'Beale Street Caravan' syndicated radio program. While David's knowledge of the blues forces him to acknowledge a wide variety of players across nearly a century, he shows a strong affinity for a few in particular. David's rendition takes full advantage of modern studio techniques but retains the spirit of the original.
David doesn't learn songs by fastidiously playing along to recordings or reading tabs or books or watching videos.
It's an amazing package: Blazing guitar chops, a deep knowledge of blues history, an intuitive approach, a desire to explore all avenues of his craft, a social consciousness, an articulate writer and an ability to straightforwardly crystallize it all for others. David got a scholarship as a student at Port Townsend and then wound up teaching thereA  while still in his mid-teens. Madonna Is Feuding Over Custody AGAIN With Ex Guy Ritchie — Teenage Son Rocco Does Not Want To Live With Her Madgesty!
As his vocal shot upward into a falsetto whoop, the singer and his song reached their destination and the blues sighed in relief.
Now with my mind in possession of a speeded-up reel of stellar performances, including a main stage appearance at the Northeast Folk Alliance Conference, I approached David before his first workshop at the New Bedford Summerfest. His first big exposure to the direction he wound up taking, was when he saw Taj Mahal at the W.OW. He was then noticed and subsequently invited to perform onstage a number of times at the Eugene Saturday Market (where he also busked).


Ryan, a folksinger grounded in the '60's, who exuded the attitude that music wasn't merely about singing songs. Known by many as the bass player on Joe Walsh's first acclaimed solo album, The Smoker You Drink, the Player You Get, he has also played with Stephen Stills and Elton John. He's never had formal guitar training, doesn't read music and doesn't know a lot of theory, except for the little bit he's picked up along the way.
He'll hear something that catches his ear, moves him a certain way and he'll sit with his guitar and play and play, searching for and trying to re-create the feeling he got when listening. In 1996 he opened the featured show 'Passing the Blues' at the Northwest Folklife Festival in Seattle, Washington, which was headlined by Billy Branch. On the cover of the CD he was selling then, Ocean or a Teardrop, he looks like a 12-year old.
While he changed strings, we conversed briefly about his method for achieving his high level of guitar artistry. His first interest, musically, was 1960's psychedelic rock: The Beatles, Janis Joplin and such. However, when I thought I recognized elements of Elmore James in David's work, he set me straight regarding the foundation set by Fred McDowell. Out of ten tracks on Ocean or a Teardrop, seven are originals or co-writes with contemporaries. However, as David explained in the Sing Out interview, Kenny's first gig was with John Hammond. A strong influence here is Vishwa Mohan Bhatt, an Indian slide player whose Indianisation of the western Hawaiian guitar has gotten accolades from western critics.
Initially, while impressed with the guitar chops, this author fell into the aforementioned trap -- a refusal to believe that someone so young could really know the blues.
During high school, he teamed up with a schoolmate who was into juggling and together they busked on the streets of Eugene.
The tempo and style remind me of Elmore James and even Bo Diddley, but for David, it's Fred McDowell at its heart.


They toured together in 1969-70.A  Then there was the rock 'n roll detourA  before coming back to the blues. I realized very quickly that I was talking to someone who, in addition to being gifted, was extremely articulate and dedicated.
Fred played slide with a pocket knife and a beef rib bone before graduating to a glass bottleneck. Sometime later, also at the WOW Hall, he saw a Bob Brozman performance.A  He listened to Brozman making bottleneck slide guitar harmonics and then, later tried to re-create them himself at home for three consecutive sleepless nights. Ralph springs the master from an old-age home so they can go down south to recapture the old man's mojo and save his soul. In my defense, Both Elmore and Bo had roots in Mississippi, although Bo grew up in Chicago. Not knowing what they were or how they were made, it wasn't until a while later that his efforts met with success. In Ryan he saw the complete package; a bluesman who was not just an accomplished vocalist and instrumentalist, but also a talented writer. There was a whole room full of people and they were all jamming on 'Pony Blues,' an obscure Charlie Patton song.
It wouldn't surprise me if McDowell and that North Mississippi droning style had a heavy influence on them both.
She dumps him and he plays a mournful tune on the guitar, the most passion he's mustered at that point.
It sort of blew my mind because I didn't know that there was this community of people out there. Without a full understanding of David's history, I may have superimposed the Macchio role onto him.



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