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Remembering Clay "Junior" Yarbor Print E-mail

In 1962 in Dayton and surrounding communities, there were a number of suburban guitarists that knowingly or not were on the front lines of working to change the relations between the North , South and East sides of Dayton with those that existed within the Gem City's hotbed of R&B activity, the beloved West side.   Although non political, essentially they were musical rights workers.

 

Amongst the ranks up north there were Roger Sayer and his many "mixed efforts" including the mid-sixties Emotions, along with Bill Sonstegard and Donny Smutak.. Way down south Lonnie Mack was hedging his stylistic bets on Daytonian Robert Ward's six string assaults, as was Indiana border resident Rick Zehringer.  Over in lower Dayton view Jerry Bouldman and his neighbor Harry "Bigboy" King and The Knight Ryders were holding forth with weekend gigs trying to pay for their off the rack Harvey's and Ray Bell uniforms. Further up Salem Avenue the late Doug Simon and the bi-racial Citations were knocking down the cultural parameters.  The east side was formidably represented by Johnny Baer and the Cut Outs as well as the Wilbur Wright based Jennings Brothers, Pal and Jim with the late Pal Jennings eventually becoming the most soulful one man band any where north of Sun Records.  Belmont was Kelly Coffee territory.

 

Perhaps the most emotive and stylistically [blueswise] advanced of the lot was Beavercreek Ohio native Clay "Junior"Yarber.

 

Junior, having literally mastered Lonnie Macks "Wham Of That Memphis Man" album in it's entirety, including the legendary cut, not on the album "Chicken Pickin", left this writer stuck somewhere between "Honky Tonk" and "Lullaby of the Leaves".  Now that was not altogether a bad musical plateau on which to be wandering, but Yarber had discovered a drug stronger than Grandpa Meyers Apple Wine AND a Vicks Fix.  His fearless ventures across the Third Street Bridge to see groups with colorful names like Huncy Herky and Lovett, the Egyptians the Imperials, Big Jay Busch and The Houserockers and Lowell T. Jones and the Artists of Music with twelve year old wunderkind Roger Troutman on guitar.  As dynamic as these groups were, and thery were all good, it was transplanted Georgian Robert Ward that became the standard barer.  It was Clay Yarber that came back from one of his many jaunts to the 5100 Club proclaiming that there was a guitarist "over there" that was "where Lonnie got his whole thing."  To paraphrase Junior's inimitable, less than verbose vocal rendering, Robert's playing was a sure cure for E.D.  A sixties musical equivalent to Viagra so to speak.   Junior opened the blues floodgates for this parochial Wyoming street lad.

 

In quick fashion Yarber was able to coerce $489.00 from his parents for a spankable new reverse bodied Pelham Blue Gibson Firebird VII. Stylistically as outlandish as the shape of Mack's Flying Vee. I played bass with Clay on a number of occasions at the 400 Club down on Warren Street, and can personally testify to level of proficiency he possessed.  It seemed as though every time he picked up the guitar he was playing to a continually higher level.  He was a gifted player that addressed with equal aplomb both the technical and emotional approaches to six string prowess.  It was certainly a surprise to hear that he had enlisted in the army during the Viet Nam war - not just the Army but the elite ranks of it's most vulnerable arm, the Special Forces.

 

Upon his discharge he formed the locally successful Grey Imprint Band in the late 60's and it was during that period of time that he headed the house band at the old " King Of Clubs" located at the corner of Third Street and Linden Avenue.

 

The decades of the 80's and 90's found the blues-man operating out of the state of Florida, much of the time working with transplanted Daytonian saxophonist/vocalist Bill Witherspoon.

 

In the music business they say timing is everything.  Good timing always kept Clay Yarber a step, or a beat , perhaps a measure ahead of the fickle hand of fate.  Through 5 decades of the tempestuous periphery that is the nightclub scene, safely navigating the terrors of the jungles of Vietnam, and in many instances the demoralizing mental state that experience permeated.

 

His hand of good fortune folded in the sky above Buffalo New York on the evening of February 5th.  Bringing to a close the career of a journeyman blues disciple who truly tried to shorten the distance between cultures, whether across town or around the world.

 
No High Wind At The Trolley This Time Print E-mail

Our second monthly blues jam, held at the Trolley Stop last September, had the wind knocked out of it by Hurricane Ike. Trees toppled over, power lines down, shingles blown in the wind . . .

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Hendrix Little -firebird - Wing Print E-mail

By late spring of 1970, I had nurtured a decent business relationship with noted New York Musician/inventor/dealer Dan Armstrong. Basically, it consisted of me rounding up lovely, for the most part like new, 10 to 20 year-old Gibson, Fender and Martin guitars, making the 11-hour drive from Dayton to the Big Apple, snaking my way to his shop on LaGuardia Place on the lower east side of Manhattan, and listening to Dan's explanations of why we had to renegotiate the deals.


In retrospect, it was an education I couldn't have bought at any price.  It schooled me in the art of bartering - a skill I (hopefully) continue to hone.  Through Dan's contacts I sold a pair of Gibson basses to the late Felix Pappalardi, played Clapton's Flame top Les Paul (it was in Dan's shop for repair) became friends with Jimmy Ryan guitarist for the Critters and as well the shop foreman, and had several very pleasent conversations with Dan's then current love interest, Carly Simon.  So the field trips had peripheral benefits.  If the majority of the deals seemed to lean a bit in Dan's favor, at least one of the transactions, experience-wise forever changed the balance in my favor.


A deal that took place the third week of June, 1970, in which I'm sure he didn't make a penny, will forever be the transaction of my lifetime.  During one of our many phone conversations Dan alluded to the fact that a certain guitar playing/studio operating neighbor of his was in the market for a reverse Gibson Firebird VII.  Knowing that I had one,  he gave me the call.


With Armstrong acting as agent we "negotiated" the deal.  I was instructed to buy myself, and the guitar, seats on the first jet to New York.  So, off to Kennedy International we went.  Arriving at his shop the next morning with Firebird in hand, Dan called his famous client, informed him of the guitar's near mint condition, and as fate would play out, we were told that the customer was in the "middle of a session" and would have to send someone over to pick it up.  A few minutes later Buddy Miles (these were Band Of Gypsy days) showed up with a check from Electric Lady Studios, signed by Jimi Hendrix himself for the princely sum of four-hundred, seventy-five -  1970 dollars.


Most historians agree this was one off Hendrix's most troubled periods. The possibility exists that the guitar didn't suit his needs or it was simply a gift for one of the many hangers-on that took advantage of his constantly altered state.  From my standpoint it was an exciting transaction irregardless of the motivation. The signature on the check would be worth today perhaps more that the amount for which the check was written.


I have never seen a Firebird listed in any of the guitarist's axologies.  It's doubtful it stayed in his possession for any length of time.  With Buddy's passing last year it will be difficult to ever know what happened to it.


A spectacular enough trip for this Buckeye as it stood, but the events of the afternoon developed lives of their own . . .
In New York making the airport at 6p.m. to catch a flight is always a roll of the dice.  Consequently,  I didn't make it on time, and the airline went beyond the call of duty to accommodate me.  There was one flight left that evening from Kennedy to Dayton International but it was a privately chartered flight and for me to get a lift back they would have to get permission from the gentleman that rented it.  The airline asked and the man consented and I flew from New York to the Gem City with James Brown and his Famous Flames en route to to a recording date at King Records on Brewster Avenue in Cincinnati.


I wonder if label owner Syd Nathan, got a tax write- off from my ticket?
Certainly not just an average day in the life of this fledgling guitar dealer from Ohio.
Shortly there after, Dan moved to England to work at Orange amplifiers. I told him I probably wouldn't be able to ship the stuff to him overseas and asked if there was anyone else in my half of the US that I could sell to, "Well" he replied, "there's this guy down in Nashville that's just getting started", and I-65 South became my new I-70 east.


Thus ending my big city education, the kind that money just can't buy .

 
Be Ware Or Be Square Print E-mail

January’s “Blue Sunday” at the Ware Banquet Center was the place to be to witness some of the finest musicians in the Dayton area!

People started showing up as early as 3:30 and by the time Jimmy Baker and Blues Encounter took the stage at 6pm we were looking at a great turn-out.

Not knowing what to expect with our first venture into a non-club facility, we were pleasantly surprised to see the crowd filled with new faces, many saying “See you at Canal Street” as they left to face the snow and slippery roads.

Thanks to the fine folks at the Ware Banquet Center for being such gracious hosts. And … the pulled pork sandwiches were awesome!

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Last Jam of 2008 at the 'weed Print E-mail

   

Our last "Blue Sunday" Blues Jam for 2008 was held Sunday December 14th at the Tumbleweed Connection and pulled in some of Dayton's finest blues musicans. 

Hosted by Tim Arnold & the Temporary Saints consisting of Tim Arnold, Marty Romie, Rod Bradley, and featuring Jimmy D. Rogers on keyboards, the jam also included free chicken wings and pasta provided by Moe and the kind people of the Tumbleweed.

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What a night!!! DBS at the O.E. Print E-mail

On November 9th the Oregon Express, normally closed on Sunday's, opened it's doors to the monthly Dayton Blues Society's "Blue Sunday" . And what a day it was ... filled with musicians and fans alike.

The great Michael Locke and the Repeat Offenders took the stage and turned it up a notch for the packed house.

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Dayton Blues Society Invades J-Alan's! Print E-mail

On Sunday, October 12th, the sound of blues filled the air along Ludlow Street in downtown Dayton as J-Alan’s co-owner Phil Key greeted everyone with a smile and a handshake to the Dayton Blues Societies October “Blue Sunday” Blues Jam while Brownstreet Breakdown took the stage to get the ball rollin’.

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