Terry Robb
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Terry Robb

Portland, Oregon, United States | Established. Jan 01, 1970 | INDIE

Portland, Oregon, United States | INDIE
Established on Jan, 1970
Solo Americana Blues




"Guitar World Magazine, April 27th, 2015"

"In an online article posted by Acoustic Nation on April 27th, Guitar World Magazine featured videos of "an inspiring assembly of guitar masters really laying it down on acoustic guitar", including Terry Robb amongst the company of Jimi Hendrix, Muddy Waters, Buddy Guy, Stevie Ray Vaughn, Eric Clapton, Tommy Emmanuel and Rory Block. -

"Rolling Stone Magazine, July/Aug 1984"

"What distinguishes this album [Let Go] is Robb’s superb production...Robb is an extraordinarily sympathetic accompanist [to John Fahey]..." - Kurt Loder

"The Oregonian, April 5, 1997"

"Much to the delight of the crowd, [Steve] Miller took the stage halfway through the Curtis Salgado-Terry Robb set and joined in on acoustic guitar. He picked some and grinned a lot but mostly seemed content playing rhythm behind Robb's searing blues finger-picking... Robb is a virtuoso on the acoustic blues guitar..." - Don Hamilton

"Guitar Player Magazine"

"Robb’s album [Jelly Behind the Sun] gets better with each listening." -

"Living Blues Magazine"

"Robb’s version of Chump Man Blues is outstanding [Acoustic Blues Trio]." -

"Billy Gibbons (ZZ Top)"

"I sure love the way Terry plays that acoustic slide." -

"Blues & Rhythm (UK), Aug 2005"

"Robb has a naturally relaxed voice with a slight edge – his beautiful fingerpicking on guitar shows his indebtedness to John Hurt [Resting Place]." - Phil Wright

"Blues Revue, Nov 2005"

"What sets Robb apart is his affection for and deep knowledge of blues music. Whether tinged with the sounds of the Delta, Memphis, California, or other regions, the songs on Resting Place are blues at their heart -- not just the covers...but Robb's own material...The sound is mostly traditional, with simple, fresh arrangements that showcase Robb's guitar skill. Whether sliding or fingerpicking, his technique is clean and articulate; no matter how busy the material gets...it never sounds crowded or overblown. You could almost imagine Robb as a classical guitarist; the soft sound of his acoustic guitar contributes to that impression, as does his remarkable precision. Still, that doesn't rob Resting Place of its energy or spontaneity. It's an unassuming but accomplished piece of work, and another feather in the cap of Pacific Northwest blues. "
Genevieve Williams, Blues Revue, Nov 2005 - Genevieve Williams

"Blues Access"

"An excellent guitarist with a fine touch." -

"Southland Blues Magazine"

"One of the best blues albums of the year! [Hit It and Quit It]" -

"Dirty Linen"

"His guitar playing is at once crisp and conversational, containing licks and phrasing from both jazz and blues worlds...Acoustic Blues with a contemporary edge [Resting Place]." -

"Blues Connection of Central New York"

"A tight group who can deliver the artistry on acoustic instruments with force to go with all that great fingerpicking [Acoustic Blues Trio]." -

"Colorado Blues Society"

"From the opening notes of the CD [Stop This World], Terry Robb’s mastery of acoustic blues guitar genres is in evidence. This release will hold up to repeated listenings..." - Holler

"The Jazz World Magazine"

"This CD [Resting Place] is worthy of repeated listening and the artistic breadth of Robb's playing will amaze guitar enthusiasts. " - Jazz Now


"Terry Robb is one of a small number of American preservationists and a guitar master up with the best." -

"Buko Magazine"

"Robb’s performances are simply arresting. He hooks people who then tell their friends, 'THIS IS THE GUY. Forget what you’ve heard before.' ...Terry is a circuitous Voodoo cluster of magic-mojo. Solid rhythm, staccato chops, impossible note flurries, all with an impeccable timing." - Ty Hitzmann

"Cascade Blues Association"

" [Muddyvishnu] is an incredible recording ...that displays [Robb's] adeptness behind all things guitar... a mostly instrumental album explor[ing] realms far beyond just the blues. It reaches into the heavens on tracks that sound like they have been lifted directly from the solar system. All played with seemingly ease, which always seems to be the case when Terry straps on his instrument." - Greg Johnson, President

"John Fahey"

"Terry Robb can play anything." -

"Acoustic Guitar Magazine, Nov 2005"

"It's the rare guitarist who can whip off a killer 12-bar blues solo, then turn around and fingerpick Travis-style with speed and subtlety. Yet Portland, Oregon, guitarist and singer Terry Robb does just that-on amplified acoustic, no less-on Resting Place, his first CD for Yellow Dog Records. Robb serves up a tasty picnic of blues guitar styles, moving effortlessly from Memphis to Chicago to North Carolina. On Arthur Crudup's "My Baby Left Me," he picks like Scotty Moore on hyperdrive-and adds just the right amount of Elvis to his throaty vocal. He turns Reverend Gary Davis' "Hesitation Blues" into a fmgerpicking tour de force and pulls out a slide for the title track, a funky bottleneck instrumental..." - Ian Zack

"Blues Revue Magazine, 2011"

" [Muddyvishnu] is so complex that you can’t speak of it in such simple terms, but in terms of feel you can be very simple because it feels good. Terry knows how to convey feelings with his tools and through each song he tells a story using each note as a word...Robb is one of the cleanest guitarists with such melodic runs that even when he runs wild, its roots are thick as the redwoods or murky as Muddy’s waters." - Chip Eagle

"Acoustic Guitar Magazine, Dec 2013"

"This festive offering [O, Christmas Three - Acoustic Guitar Summit] is as rich and heady as a rum-spiked eggnog laced with varied spices. There are traditionals, such as the stunning "Oh Holy Night," blues-and-swing variations of such holiday favorites as "Boogie Woogie Jingle Bells," and arresting originals. The Acoustic Guitar Summit is a trio of venerable fingerstyle guitarists - Mark Hanson, Terry Robb, and Doug Smith - each of whom has a solo career, as well as a long history of other projects. The three play together as if they were born to - the tones of their guitars blending beautifully (Hanson and Smith both play Goodall cutaways and Robb plays a Martin 000-28 and 1950 National steel-body guitar), and it is only when they take solo breaks, as on "Blue Christmas," that it's easy to differentiate among them. Arrangements are subtle and sophisticated, with the musicians playing complementary melody and harmony parts as in a chamber group. The gorgeous "Carol of the Bells" evokes the chiming sounds of church bells against rumbling arpeggios, while "God Rest Ye Merry, Gentlemen" toggles between folk-and-classical treatments. The pieces are all standouts, but perhaps the most unusual are Robb originals "Christmas in Istanbul," with its Middle-Eastern, Latin, and swing elements, and "Lowdown Christmas," which drips with bluesy holiday angst. Christmas albums often wear out their welcome quickly. This masterful album, which glows with all the jeweled tones of the season, is not just for the holidays but for any day of the year."
Céline Keating, Acoustic Guitar Magazine, Dec 2013 - Celine Keating

"Oregon Art Beat, Feb 2001"

"Virtuosity and versatility - that's Terry Robb...[he] is steeped in history and has talent to burn."
Tom D'Antoni, Oregon Art Beat, Feb 2001 - Tom D'Antoni

"Acoustic Guitar Magazine, Mar 2006"

"Veteran guitarist [Terry Robb] takes a "more is more" approach by incorporating Django Reinhardt flourishes, Impressionist harmonies, and jazzy modes into his country-blues picking." - Steve Boisson

"Living Blues Magazine, Sep 2005"

" ...a finely crafted CD [Resting Place] that defies categorization. The multi-talented songwriter/producer/vocalist/guitarist is comfortable in a variety of musical settings -- boogie-woogie, country blues picking, Delta bottleneck slide, and jazzy folk music...What sets this CD apart, though, are the instrumental numbers, including Like Merle which is a tasty tribute to country blues guitarist Merle Travis, and a sweet rendition of Hesitation Blues. Robb has a clean soulful style of picking the steel-stringed acoustic guitar, and when Robb plays the bottleneck slide, as on Resting Place, it creates a pure joyous feeling that certainly attests to the healing power of the blues." - Jeff Forlenza

"Yamhill Valley News Register, Dec 2011"

"Robb proudly bears the title of American primitive master... a transitional style ranging between country blues and early 20th century string band. It is distinguished by complex finger-picking, which Robb deftly applies to both popular and traditional genres." -

"The Local Planet"

"His facility is breathtaking, his ideas fresh, the sheer scope of his musical ability mind-boggling." -

"Down Beat, Oct 2000"

" ...Perfectly agreeable solo and duet performances...offering several equally pleasing numbers that have his 'all-star blues orchestra'[Heart Made of Steel]..." -

"Living Blues Magazine, Nov-Dec, 2000"

Terry Robb's singular guitar playing and his ability to both compose and select entertaining songs make "Heart Made of Steel" stand out from its competitors in the crowded West Coast blues scene..." -

"Vintage Guitar Magazine, Nov 2005"

"From the first listen, Robb's guitar playing can blow you away. Check his bio, and you'll see he's a favorite player in the Northwest, and a former buddy of John Fahey. Then it all makes sense. Resting Place is an acoustic guitarist's heaven. While he shines on the blues, he's not afraid to tackle other genres. His take on "My Baby Left Me" is rockabilly heaven... on acoustic! The solo will have you running to work on your flatpicking. There's a lot of that here. "My Mind is Trying to Leave Me" is a slow blues with amazing soloing. "Like Merle" is an instrumental with a ragtime feel. The minor-key "Louise" lets Robb show off his blues chops. "Hesitation Blues"/"Knowing What Blues" is a medley that'll leave your mouth agape. Robb's playing covers lots of ground without skipping a beat. Acoustic blues, old rock and roll, soul ("Lonely Avenue"), even pop ("My Sweet Potato") are all handled wonderfully. Robb's vocals are fine, but his playing will leave you absolutely smiling." - John Heidt

"Acoustic Guitar Magazine, Feb 2003"

"On "Can't Find No Heaven" (produced by and featuring Terry Robb)*, Alice Stuart proves she deserves mention in the same breath as Bonnie Raitt and Rory Block as a blues interpreter. *parentheses added" -

"Living Blues Magazine, May 2003"

"Robb hands in a set of effective playing (When I Play My Blues Guitar)...His playing on Tommy Johnson's 'Bye and Bye', or on Furry Lewis' 'Judge Boushay Blues' is stellar..." -

"The Post-Standard, New York, July 14, 2012"

"The best thing about [Mitch] Kashmar's set was that he knew he had a bonafide blues guitar star at his side. Terry Robb showed off fire and ice in his riffs and licks on the moody instrumental 'Idle Moments.' (At 2012 New York State Blues Festival)" - Mark Bialczak

"Delta Slider, May 2012"

" ...the first thing that struck my mind when I heard the opening title cut of The Terry Robb Band's new album, "Muddyvishnu", was how much the tune reminded me of the guitar savvy of the late Jimi Hendrix...this album deserves high praise. Rock solid from start to finish...Fusion is what defines this effort. And a seamless effort it is....The comparison of Terry's electric guitar playing to John McLaughlin, or Jimi Hendrix for that matter, is in no way a stretch. He's been described as a musician's musician, a guitarist's guitarist, and as evidenced by 'Muddyvishnu,' such descriptions are wholly justified...This is not your average ho-hum blues band...." -

"New York Blues & Jazz Society, July 2005"

"Terry Robb is one of the most heralded acoustic guitarists on the Pacific Northwest blues scene...Terry is also a dramatic vocalist and this comes out here, but it's "Louise" that really shows off the complete talents of Terry Robb. Terry extracts passion from both his vocal and his Martin guitar, as it is the best song on a very good album [Resting Place]. Whether he is performing solo or with a band his tasteful playing and singing should bring him a greater following." - Richard Ludmerer, Vice President

"Northwest Independent Music"

"Both the cover, and the simple, staight-ahead name, belie what is inside, namely one of the finest contemporary blues recordings made [Acoustic Blues Trio]." -

"CD Hotlist, Oct 2005"

"Terry Robb is a jaw-droppingly fine fingerstyle blues guitarist...it's the instrumentals that will really catch your attention." - Rick Anderson, Baker & Taylor

"KFRP Free Radio Moscow, Sep 2005"

"Whoa! This is a great acoustic blues record [Resting Place]! Deft & accurate fingerpicking combines with a lot of soul to make a record that expresses the blues much better than a lot of the showier players out there. Robb handles slide & fingerpicking equally well...This guy is one of the best." - Greg Hughes

"Blues Bytes, July 2005"

"...wondrous acoustic and electric guitar chops...breathtaking to behold..." - Graham Clark

"The Oregonian, Sep 2005"

"Few players can touch his finger-picking abilities. Though a fiery electric player as well, his musical depth and intimacy comes across more profoundly when he's cradling a big-box six-string or National steel." - Don Campbell

"All Music, Sep 2005"

"Terry Robb is something of a regional legend in the Pacific Northwest...Robb's nimble, tasteful and incisive acoustic guitar playing is the star of this album [Resting Place]...emotionally compelling and technically brilliant solos...Blues guitarists should not hesitate to pick this album up..." - Rick Anderson

"WVKR, Sep 2005"

"Mr. Robb is a clean-picking acoustic player with a clear, honest voice." - Nicholas de Leeuw

"Blues Matters, Nov 2005"

"'Guitarist’s guitarist' is an accurate description of the Portland, Oregon’s Terry Robb...truly an accessible guitarist’s study album [Resting Place] for non-musicians to enjoy. This is a contemporary, fresh sounding blues-based disc - a serious contender." - Billy Hutchinson

"Blues Access"

"'Terry Robb's understated production [of "Backwater Blues"] keeps [Sheila] Wilcoxson's quiet presence and wonderful instrumentation at the forefront. Her voice is oh so effective, whether interpreting 'John the Revelator' or the more contemporary 'Testosterone Poisoning.'" -

"The Oregonian, March 23, 1999"

"I got Terry Robb to write the guitar part [for "Cookie Dough (Wiggle Outta This)"] because nobody around here plays John Lee Hooker like Terry Robb - he's got it down." - Curtis Salgado

"Courrier Del Ticino, Aug 15, 2014"

"....an artist who, alone, was worth the ticket price for the entire three-days [Tenero Music Nights festival, Tenero, Switzerland]: Terry Robb, guitarist from Oregon whose hands appear to be equipped with ten fingers each, for this is the speed with which they move with elegant agility, ranging between the genres with disarming simplicity and with a touch that knows how to be precise and delicate...treading the paths of folk and bluegrass, surely the most congenial genres in supporting his enormous talent. " - Mauro Rossi

"Giancarlo De Bernardi, July 2009"

"...Terry Robb, accompanied by Aldo Banfi and by the mighty rhythm section of CrossFires [at the Vallemaggia Blues Festival, Switzerland]. It was an incredible set. Never seen in our latitudes a guitarist as stratospheric as Robb, a true sorcerer of the six strings, with absolutely stunning fingerpicking. What he demonstrated was incredible on both the electric and acoustic guitars, with three tracks ranging from blues to ragtime, with a mastery of the instrument and speed of an execution drug. Listening with their eyes closed the audience had the distinct impression that there were guitarists on stage were at least two! The audience was first incredulous, then rightly burst into rapturous applause. Robb's set concluded with a thrilling interpretation of "Hey Joe" of hendrixiana memory." -

"The Oregonian, Oct 4, 2014"

"That recording [Sista, produced by Terry Robb] inspired Grammy award-winning musician Esperanza Spalding, who called [Linda Hornbuckle and Janice Scroggins] "amazing" and invited them both onstage with her at a Portland fundraiser in 2012." - Jamie Hale

"Acoustic Guitar Magazine, March 2006"

As a producer, arranger, and sideman, Terry Robb has traveled down some diverse musical paths. He has performed the lullaby and finale from Stravinsky's The Firebird with John Fahey; wafted through Django Reinhardt's "Nuages" with Mark Hanson, Doug Smith, and Paul Chasman in the Acoustic Guitar Summit; and most recently produced a CD for experimental guitarist Phil Kellogg. On this particular night, however, while performing solo at a low-key gig in Beaverton, Oregon, Robb is serving up a strict diet of blues-classics from Son House, Gary Davis, and Blind Blake, along with some fingerpicked originals. "I'm a blues player," says the affable guitarist. "I learned how to play the guitar by listening to blues guys like Charley Patton and Mississippi John Hurt. I play other kinds of music, too, but I always come off sounding bluesy." Still, Robb's experience with varied musical genres has enhanced his rootsier efforts. The present case in point is Resting Place (Yellow Dog Records), a collection of 13 bedrock American songs recorded at the Sam Phillips Recording Service studio in Memphis, Tennessee. While the feel of the music is familiar, Robb frequently spices the home cooking with outside ingredients. "Like Merle," a tribute to Merle Travis, combines Travis-style turnarounds with Django-like flourishes. "Cassie," a gently rolling meditation in D, borrows sliding ninth chords from Maurice Ravel's "Pavane for a Dead Princess." ("It's like if you took an old Elizabeth Cotten song and mixed it with Ravel," Robb notes.) In "Knowing What Blues," a Cmin9 chord breaks the ragtime feel and transports the tune to another era. "I came up with that chord and wrote the song around it," he explains. To Robb, these eclectic touches personalize and invigorate the music. "You make things contemporary when you put your own personality into them," he says. "Ry Cooder always sounded contemporary when he did a Blind Blake song. You've got to put your own personality into it, and that means that you learn the stuff and then you do your own things to it. Robb demonstrates this onstage, working a standard shuffle in E into a lather of bounding arpeggios and single-string runs that race along over a thumping bass. At another point, he kicks off what sounds like an easy listening rendition of "Hesitation Blues," only to add increasingly complex breaks as the song progresses. "I play a lot of off-time stuff," Robb says. "I play over the bar, and I play odd groups of notes sometimes. I cram them in. Clearly, Robb is not of the "less is more" school of soloists. "A lot of times, people say that if you're playing a whole bunch of notes, it's not right. Well, I disagree with that," he argues. "I think you can play a whole bunch of notes as long as you mean everything. Charlie Parker played a whole bunch of notes, so did John Coltrane. The best approach is to be honest in what you do, no matter how many notes you play, or how few notes you play. It should always mean something. John Lee Hooker is probably one of the simplest sounding players, but what he does with just two notes is very sophisticated. And he tells an incredible story because of it. That's the most important thing-telling your story." - Steve Boisson


Terry Robb Discography

  • Cool On The Boom (2016, NiaSounds)

  • Hymn (2013, OCP)

  • Muddyvishnu (2012, Pyschadelta Records)

  • O, Christmas Three (Acoustic Guitar Summit) (2012, Accent On Music)

  • Resting Place (2005, Yellow Dog Records)

  • When I Play My Blues Guitar (2002, Burnside Records)

  • Heart Made of Steel (2000, Burnside Records)

  • Summit Meeting (Acoustic Guitar Summit) (2000, Bay View Music)

  • Acoustic Guitar Summit (1998, Accent On Music)

  • Hit It ‘n Quit It (Curtis Salgado & Terry Robb)(1997, Lucky Records)

  • Stop This World, feat. Maria Muldaur & Eddy Clearwater (1996, Burnside Records)

  • Acoustic Blues Trio (1994, Burnside Records)

  • Bethlehem Star (1993, OCP)

  • Sensitive Guy (1992, House Records)

  • Jelly Behind The Sun, feat. Ike Willis (1990, House Records)

  • Nice Try, feat. John Fahey (1987, Tarula Records)

  • Next Window (1986, Tarula Records)

  • Pyschedelta (1982, Outside Records)

Selected Sessionography

  • Curtis Salgado, The Beautiful Lowdown (2016, Alligator Records)

  • The Revenge Of Blind Joe Death: The John Fahey Tribute Album (2012, Takoma Records)

  • John Callahan, Purple Winos In The Rain (2006, Bone Clone Records)

  • Duffy Bishop, Ooh Wee! (2003, Trillium Records)

  • Lay Down My Old Guitar: A Tribute to John Jackson (2003, Centrum Recordings)

  • American Roots Songbook (2002, St. Clair)

  • Alice Stuart, Can’t Find No Heaven (2002, Burnside Records)

  • Return Of The Repressed: The John Fahey Anthology (1994, Rhino Records)

  • John Fahey, Let Go (1984, Varrick Records)

  • John Fahey with Terry Robb, Popular Songs of Christmas & New Year’s (1983, Varrick Records)


  • John Callahan biopic, “Don’t Worry, He Won’t Get Far on Foot” (2018, Iconoclast Productions / Amazon Studios)

  • “In Search of Blind Joe Death: The Saga of John Fahey” (2012, Tamarack Productions)

  • John Callahan biopic, “Touch Me Someplace I Can Feel” (2007, Selfmade Films)

  • “Portland Mojo: How Stumptown Got the Blues” (2010, Loblolly Boy Productions / Second Sleep Specialties)

  • “The Horse Whisperer” (1998, Touchstone Pictures / Buena Vista Pictures)



Unquestionably, Robb ranks right up there with the heavy hitters, a player of dazzling skill and technique. He could go to any guitar festival and show them a few chords.” - Frank Matheis, Living Blues Magazine, Jan 2017

Terry Robb Biography

Multi-award winning fingerstyle guitarist, composer, arranger and producer, Terry Robb is among the top acoustic blues guitarists of our time. His signature fingerpicking style has earned him international acclaim from music critics, peers and fans. Incorporating elements from the Mississippi Delta, ragtime, country, swing and jazz, Robb has built a unique blues sound that has made him a legend in his prolific music career. A dynamic live performer, Terry Robb commands attention from any stage. 

As an acclaimed producer and session guitarist, Terry Robb has contributed to countless award-winning projects. And the multitude of awards he has received speak to his seminal talent as a blues guitarist. Terry Robb has been inducted into the Oregon Music Hall of Fame and Cascade Blues Association Hall of Fame. In 2011, he was honored with the eponymous “Terry Robb” Acoustic Guitar Muddy Award after winning the award for 19 consecutive years, and in 2017 he received the Lifetime Achievement Muddy Award.

With more than 15 releases under his name, his discography features collaborations with John Fahey, Eddy Clearwater, Maria Muldaur, Ike Willis, and Curtis Salgado. He produced Alice Stuart’s album Can’t Find No Heaven, nominated for Grammy and Blues Music Awards. He has toured nationally with Buddy Guy and Steve Miller, and performed alongside B.B. King, Albert Lee, Joe Cocker, Bo Diddley, Leo Kottke, Johnny Winter and many more all-stars. He has appeared on “Late Night with Conan O’Brien,” “West Coast Live with Sedge Thomson,” and as a guest soloist of the NBA Trail Blazers and The Oregon Symphony.


What distinguishes this LP [Let Go by John Fahey] is Robb’s superb production…Robb is an extraordinarily sympathetic accompanist.” - Kurt Loder, Rolling Stone

"It's the rare guitarist who can whip off a killer 12-bar blues solo, then turn around and fingerpick Travis-style with speed and subtlety. Yet Portland, Oregon, guitarist and singer Terry Robb does just that."  - Ian Zack, Acoustic Guitar Magazine

From the first listen, Robb's guitar playing can blow you away...he's a favorite player in the Northwest, and a former buddy of John Fahey. Then it all makes sense.” - John Heidt, Vintage Guitar Magazine

Whether sliding or fingerpicking, his technique is clean and articulate; no matter how busy the material gets...it never sounds crowded or overblown." - Genevieve Williams, Blues Revue

A bonafide blues guitar star.” – Mark Bialczak, The Post-Standard

Selected Performance History

Lillehammer Blues Festival, Norway; Vallemaggia Blues Festival, Switzerland; Jones Beach Amphitheater, NYC; Late Night with Conan O’Brien, NYC; New York State Blues Festival, Syracuse, NY; New Haven Folk Society, CT; Carolina Downhome Blues Fest, NC; Biscuits & Blues, San Francisco; West Coast Live with Sedge Thompson, San Francisco; Freight & Salvage, Berkeley, CA; The Blue Café, Long Beach, CA; Boonville Folk-Blues Festival, CA; Railhead Casino, Las Vegas; The Rhythm Room, Phoenix; The Zephyr Club, Salt Lake City; The Triple Door, Seattle; Bumpershoot, Seattle; Centrum Slide Guitar Festival, WA; Winthrop Rhythm & Blues Festival, WA; Juan de Fuca Festival of Arts, WA; Walla Walla Guitar Festival, WA; Arlene Schnitzer Concert Hall, Portland, OR; Waterfront Blues Festival, Portland, OR; Portland Jazz Festival, OR; Pickathon, Portland, OR; North By Northwest, Portland, OR; Concordia University Blues Festival, Portland OR; Cathedral Park Jazz Festival, Portland, OR; Britt Music & Arts Festival, Jacksonville, OR; Hult Center, Eugene, OR; Newport Performing Arts Center, OR; Walters Cultural Arts Center, Hillsboro, OR; Bronze, Blues & Brews, OR; Boise City Blues Festival, ID; Hermann’s Jazz Club, Victoria, Canada; Yukon Arts Centre, Whitehorse, Canada; Vancouver International Guitar Festival, Vancouver; BC