What makes Millennium Blues different?

30 09 2016

One World, Worlds of Music

It has been said that if you are not sure of what makes the Blues the Blues, you will never know. To then base a description of a new style of music or millennium rhythm from what has been called indescribable seems, well, natural. Blues already breaks many of the rules of classical music theory, yet as we know, compels feelings outside of the range of structured symphonic resonance. I’ve mentioned in some conversations about music that classical music is about the notes while the Blues is about the space between the notes.

As a sound wave, classical music may be more about the peaks in the wave, while Blues is the journey from peak to depth and back again, providing a more intimate touch of creation and self. Millennium Blues and Millennium Rhythm then, may be about ripples and ebbing and flowing and riptides in the swirling ocean of emotional reality.

As the traditional structure of thesis, anti-thesis, and synthesis is a foundation for many well known compositions, a similar triangular approach may be used to sound out the distinction between Blues and Millennium Blues. Since the Blues has some roots in being undefinable, or antithetical, the relation of root and tonic, and the cyclic nature of song and season being one of the foundations of folk music, the thesis for Millennium Blues becomes the rhythmic patterns and progressions found throughout the world.

These geographical rhythms, when blended harmonically with the je ne sais quoi of the crossroads, become a nexus of thought, sensation and emotion, or simply, Music. Art. Creation. The fact that these diverging rhythms can be used within the 4/4 framework by musicians suggests the inherent vibration known to all who have swam in the womb: heart. The sonic invocations becoming invitations to identify, clarify and unify amongst those with ears to hear and feet that move to the beat.

As the jesters were allowed to critique the royalty, through humor to provide alternate points of view, so too, do Millennium Blues critique the capitalistic dynasty to unite local and global citizenry with the one theme found in all people’s music – ‘We Who Believe in Freedom.’




The Handbook of Poetic Phonetics

20 09 2016

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These photos represent the cover to my book: “The Handbook of Poetic Phonetics” It contains, thoughts, poetry, and lyrics to some songs that I have written. The thoughts are creative non-fiction, the poetry is awesome, and the lyrics are soon to be legendary! I’m asking for donations, and for all of you in Millennium Blues land, you may choose between an electronic copy, or one you can actually hold in your hand. Available for kindle, if you have matches or a lighter!




What is Millennium Blues?

12 09 2016

Millennium Blues

Millennium Blues, is what I answer when people ask what style of music I play. It is based, of course off of the ‘original’ Blues. Whether you wish that to be Piedmont, Delta, Chicago, or Downhome. The pentatonic scale has always sounded good to me, and speaks to my soul.  The Blues lets me know what John Lee Hooker means when he sings “The Healer” with Carlos Santana playing guitar. His ‘The Healer’ release may well be the beginning of the Millennium Blues. Which still sing from my spirit when I play music.

In the Beginning

I must recognize two friends and musicians without whose help, there would be no Millennium Blues – Scott ‘Maestro’ Peoples and David ‘Rasta’ Hopper. They kept me inspired through tireless rehearsals. And a few key gigs, which we had the fortune to be a part of. Maestro with his regal sense of timing and bountiful creativity. Rasta providing the discipline and drive while adding the most laughter to the soundscape. Whether we were lounging at the ‘Homestead’, or Homeschooling people at a lounge, the guys had the beat. My Brother James Hall, who has appeared on stage with some of Americas greatest rock stars. And has also been my biggest personal inspiration. These musicians are a reason that these Blues exist. Thanks to you all!

Another of the reasons that I play Millennium Blues is that the 4/4 rhythm is not the only one heard these days in ‘folk’ music from around the globe. I was fortunate enough to be able to produce my own radio show on KFAI in Minneapolis. “World Leader Pretend’ and ‘City Drops Dead’ being amongst the titles of my shows. Other DJ’s helped introduce me to styles and rhythms from around the globe, and these intricate patterns caught my ear, sending me home to Nashville, TN. Where the level of musicianship rang out in every twang of the banjo and melody played on mandolin. They say there’s ‘thirteen hundred and fifty two guitar pickers in Nashville’, and everyone seemed to be the best. Someone once asked me who my favorite guitar player was, and my only response could be: “What style of music?”

Another interesting facet of Millennium was brought up recently in conversation with a friend. Most of the challenges that the original bluesplayers faced no longer exist in today’s age of technology. There are a different realm of existential dilemmas facing the Millennial Generation. This generational angst, arising from corporate greed, ecological devastation, political scandal, Machiavellian megalomania, and a hopeless housing bubble. May have possibly found a voice through Millennium Blues. With songs titled ‘Right as Rain,’ ‘The Darkness,’ and ‘Friend of Kahn,’  The Millennium Blues explore societal branding, gender roles, inter-generational financially created conflict, religious dogma and home liposuction.

Finally then, if galaxy spangled cannot be a legitimate form of music, then Millennium Blues is the resilient breath, the irrepressible step, the transcendent scales, that are built into each voice, every song and dance which has existed within the human heart since the very first ‘hAUM.’