I'm sitting in my music office looking at two publications, the Monterey Bay Blues Festival program and the Luckenbach MOON newsletter. I see the connection. I love both places and the events that transpire in each.

First, Monterey. I've just returned from my annual participation in the Young Rhetorician's Conference. I conducted a workshop on the power of stories in learning, using the Past is Prologue material as a model. I returned to visit with Jeanne Slobod on the power of this program at Schreiner University, and went with her as she handed over a donation to the program that was part of her late husband's estate. We live in a community rich with generosity and commited to learning and the arts. I know that!

The YRC celebrates it's 20th anniversary next year, and I've been asked to co-chair the meeting. The Monterey Bay Blues Festival is celebrating its 17th year, and the money raised at this festival also supports learning. Over $100,000 in scholarship money was distributed this year. The list of 2002 recipients is a long one, with grant and scholarships helping out both individuals and groups. One recipient, Milton Fletcher, is studying at the Berklee College of Music in Boston and says, "My purpose is to change people's lives through music." We in Kerrville know about this commitment. KPAS, the Kerrville Folk Music Foundation, and the Texas Heritage Music Foundation also share this commitment.

After the last session of the YRC on Saturday, I headed over to the fairgrounds. I was specifically looking for Big Bill Morganfield, the son of Muddy Waters, but I knew that any aspect of this festival would thrill me. And I did some shopping in the colorful stands surrounding the main arena.

Of course, I immediately saw a Texas connection. The Monterey paper ran a story with the picture of Texas bluesman W.C. Clark (at his performance in 2001). Clarence "Gatemouth" Brown was one of the headliners this year, and Sonny Rhodes was given the Artist of the Year Award. I heard Sonny in 2001. Born in 1940 in Smithville, Texas, he has traveled the world with his music. Godfather to Shemekia Copeland, another Texas connection (her father Johnny was the Texas Twister), Sonny talked of his work picking in the Texas cotton fields and then earning better money playing music in the streets of Austin.

On the importance of music, in the program book Sonny said, "Religion was on of the only things I felt I had true belief in, that, and the Blues."

I wandered around, noticing the brilliant organization of this festival, reminding me of how I felt at the Kerrville Folk Festival, in fact. Not only is the lineup amazing, but the silent work behind the scene that makes everything appear so easy is amazing. I love the row of exciting food choices. I loved the stick of grilled meat I bought at the Thai stand, and I love the beautiful nylon shawl I bought at a booth called "Amazing and Beautiful." Clothing from Nepal, Tibet, Africa and Jamaica adorned the striking men and women attending this festival. A regular parade of beauty walked among the three stages, the food booths and the clothing and art stands.

Back to the music, Big Bill brought Muddy back to us as he performed his own rocking version of "Mojo Hand" in tribute to his dad. Not a place remained to stand at the Garden Stage when Big Bill took over. Stunning is a checkered suit and black bowler hat, he lit up the stage with an infectious smile, and played us the blues.

Big Bill picked up the guitar after his dad died. He wanted to pay tribute to Muddy, and he spend many hours practicing and learning. Time well-spent! After two bachelor degrees and years of teaching, Big Bill Morganfield is now on his own musical journey.

Ray Taliaferro has been Master of Ceremonies on the main stage for the last 15 years. He introduced Taj Majal at 2:10 p.m. on Saturday, the the rest of that hour rocked with the eclectic music of this American treasure. I heard Taj at a Farm Aid program with Willie Nelson one year in Austin. Wearing a big straw hat, he paid homage to this Caribbean roots as well as his American heritage.
The program book says it best: "For almost forty years Mahal has been a major figure in the movement to preserve traditional blues and African-American roots music. Always creative and searching, he experiments with a number of musical genres, including: jamzz, rock, soul, world, and contemporary blues." Sound like he should be playing Luckenbach, where "People can't believe we have such a big moon for such a small town." So said Hondo Crouch writing at Peter Cedarstacker.

The June issue of the Luckenbach MOON contains a story explaining why the Willie Nelson picnic won't be held in Luckenbach this year. And why the July 4th event will be a great moment in Texas music anyway! The Father's Day tribute, written by Becky Crouch Barreles, uses a song by Guy Clark to explain that "most men would just as soon be boys." I see an important piece of Texas literary history being made in this newsletter. I keep all of mine!

The schedule on the back includes a reminder that Wednesday is the time for a Luckenback Irregulars jam (Cowboy Doug, B.B. Morse, Roger Moon, Bart Trotter…..), running from early evening 'til later on. The Thursday night meeting of the Luckenbach Ladies Lynchin' League (LLLL) is now held on Fridays. Pat Green is coming to Luckenbach on August 23. Remember, he played on the Schreiner campus when our university status was announced. Call 888-311-8990 for an update on the schedule. See www.luckenbachtexas.com for more information.  And subscribe to The Moon by contacting editor Maggie Montgomery. Only $15/year sent to Luckenbach MOON, 412 Luckenbach Loop, Fredericksburg, Texas, 78624.

Free Leonard and down the road.

Kathleen
kat@maverickbbs.com

www.texasheritagemusic.org

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