AJ Belletto aka Mr. AJ, the True Guru of Obscure BlueVital Stats
Age: 63.
Instruments: Guitars and vocals.
Band: Besides as a solo act, just one: The School House Blues Band, with Steven "Funking" Maxcy on drums, Frank Santana on five-string bass and Keith Justice on guitar.
Day job: They say the three widest avenues to get to the Master Spirit are through children, music, and animals. I am blessed to have all three: a career counseling young children at Belle Terre Elementary in Flagler County, playing guitar, and I am surrounded by pets. Fortunately, I also get to do several "good choice" musical activities for children. If you want to teach children, music is an excellent source for learning.
Since moving to Florida, I have had several successful guitar clinics featuring some great players to inspire many aspiring young musicians. Barry Greene, professor of jazz guitar at the University of North Florida, was wonderful at my last clinic. After 20 years of teaching guitar, I now focus on my own musical growth and recording. I still plan to do some more guitar clinics this fall.
Hometown: New Orleans.
Current residence: Palm Coast.
Type of music you perform: Obscure blues. Most of my music, except for a few originals, is mostly from obscure artists who are terrific but not as readily known except by blues aficionados. The School House Blues Band is dedicated to playing hot dancing blues with great lyrics for life.
Repertoire sampler: Originals such as "Think Twice to Be Nice," "Late Fee Fever," "Don't Laugh at Me" and "Stranger Danger." Some of my covers include songs from the great blues artists Chris Cain, Bryan Lee, Matt Smith, Tommy McCoy, Tinsley Ellis, the Meters, Robert Johnson and T-Bone Walker to name a few.
Upcoming area gigs: School House Blues Band, 2 p.m. April 26 as part of the "No Worries Benefit" for area musician Reuben "Lounge Lizard" Morgan, the Coliseum, 176 N. Beach St., Daytona Beach. Information on the benefit: 386-868-7181.
CDs: "Obscure Blue," presently complimentary in exchange for an e-mail or phone number to let people know when and where we will play again. E-mail: tightskins@earthlink.net or go to myspace.com/schoolhouseblues.
Taking Notes
Who or what inspired you to take up music?
My cousin and advisor, Al Belletto, the great alto sax player. When I was 8, I lived across the street from him and he would play that clarinet like eight hours a day. Later when he was with Stan Kenton, Al Hirt and his own 17-piece band, he taught me that it didn't matter what music I played as long as I played it like it was the last song I'd ever play. We're still close. Al lives in Dallas now after losing it all in Katrina.
You're a native of New Orleans. As a guitarist in a musical city known for brass, reeds and pianists, did you ever feel like Rodney Dangerfield -- that you didn't get any respect?
Actually we probably had three times as many guitarists! We would have this circle of dozens of guitarists that would congregate and interact at World of Strings in New Orleans. Harry Connick Jr.'s dad had a record store down the hall and there was always a jam. Wasn't adversarial at all -- just awe at what monster players there were.
Ironically, we looked for respect from each other, from all the other guitarists. Most of us were gigging because New Orleans really supports live music. I mean, they even have bands at garage sales.
Guitars initially were rare in jazz bands and a lot of us were happy to just play commercial and rock venues. I think the reason lies a lot with the tension between pianists and guitarists. Unless you were really humble and could complement what the piano was playing, they didn't want you. No respect there. Can't argue with a piano -- they have 88 strings and we have six.
What was the most unusual or memorable gig you've ever played?
My group, The New Breed, in the '70s opened for Sly and the Family Stone in New Orleans. Sly was over an hour and a half late (which I was told was not too bad for them) and we had to entertain thousands of fans who were impatiently waiting for Sly.
We had prepared only a 30-minute opening act. We started playing some funky grooves a la the Meters and Dr John and the music just sucked up the crowd. All of sudden you could feel the hostility just fizzle away and everyone had a great time. Even Sly dug it.
What musician/celebrity/historical person would you most like to have dinner with?
Lauren Ellis, blues guitarist, because she knows how to fix guitars, understands Buzz Feiten tuning, and can play slide guitar. None of which I can do.
For dessert I'd like to invite the members of the Mars Volta band -- probably the most progressive rock group doing incredibly innovative ideas, carving new roads for modern music, much as Miles Davis did for jazz.
What was the last book you read?
"Jazz in the Bittersweet Blues of Life" by Wynton Marsalis. An incredible journey that interfaces music with living. Really helps one to appreciate humility and how it helps humans grow.
What CD/tape/music is in your car/home stereo/iPod right now?
CD -- "Best of the Bayou Blues" by Tab Benoit from Baton Rouge, La. DVD -- Pat Martino's "Creative Force" instructional video. Has so much information on chord substitutions, it will last me three lifetimes.
What is your favorite movie?
The documentary "Standing in the Shadows of Motown." Mandatory for any musician who wants to know about the nuts and bolts of making a living as a musician. So many people have never heard of the Funk Brothers and the dozens of No. 1 hits they played. They were a family institution of music, an icon to what it's like to be a working musician or just anyone who does his/her job well, with effort and cooperation and NO recognition.
Although obscure for sure, the Funk Brothers" were a force that shaped music for decades later and even today.
What was the best concert you ever attended?
In the '70s I was part of a light crew for an Iron Butterfly concert at the St. Bernard Civic Auditorium in Chalmette, La. Iron Butterfly tore the house down and became a testament to playing one song tirelessly for over 45 minutes -- "In-A-Gadda-Da-Vida." One great show!
Another was an Al Di Meola concert in Orlando. It's not human what he does on guitar.
"If I didn't play music, I would ... ":
Be a much better husband.
"I'd sell my soul for ...":
Can't, because I have too many questions for the Master Musician. Like why does a major seventh scale sound so angelic against the b5 of a minor 7th b5 chord?
Who or what inspired you to take up music?
My cousin and advisor, Al Belletto, the great alto sax player. When I was 8, I lived across the street from him and he would play that clarinet like eight hours a day. Later when he was with Stan Kenton, Al Hirt and his own 17-piece band, he taught me that it didn't matter what music I played as long as I played it like it was the last song I'd ever play. We're still close. Al lives in Dallas now after losing it all in Katrina.
You're a native of New Orleans. As a guitarist in a musical city known for brass, reeds and pianists, did you ever feel like Rodney Dangerfield -- that you didn't get any respect?
Actually we probably had three times as many guitarists! We would have this circle of dozens of guitarists that would congregate and interact at World of Strings in New Orleans. Harry Connick Jr.'s dad had a record store down the hall and there was always a jam. Wasn't adversarial at all -- just awe at what monster players there were.
Ironically, we looked for respect from each other, from all the other guitarists. Most of us were gigging because New Orleans really supports live music. I mean, they even have bands at garage sales.
Guitars initially were rare in jazz bands and a lot of us were happy to just play commercial and rock venues. I think the reason lies a lot with the tension between pianists and guitarists. Unless you were really humble and could complement what the piano was playing, they didn't want you. No respect there. Can't argue with a piano -- they have 88 strings and we have six.
What was the most unusual or memorable gig you've ever played?
My group, The New Breed, in the '70s opened for Sly and the Family Stone in New Orleans. Sly was over an hour and a half late (which I was told was not too bad for them) and we had to entertain thousands of fans who were impatiently waiting for Sly.
We had prepared only a 30-minute opening act. We started playing some funky grooves a la the Meters and Dr John and the music just sucked up the crowd. All of sudden you could feel the hostility just fizzle away and everyone had a great time. Even Sly dug it.
What musician/celebrity/historical person would you most like to have dinner with?
Lauren Ellis, blues guitarist, because she knows how to fix guitars, understands Buzz Feiten tuning, and can play slide guitar. None of which I can do.
For dessert I'd like to invite the members of the Mars Volta band -- probably the most progressive rock group doing incredibly innovative ideas, carving new roads for modern music, much as Miles Davis did for jazz.
What was the last book you read?
"Jazz in the Bittersweet Blues of Life" by Wynton Marsalis. An incredible journey that interfaces music with living. Really helps one to appreciate humility and how it helps humans grow.
What CD/tape/music is in your car/home stereo/iPod right now?
CD -- "Best of the Bayou Blues" by Tab Benoit from Baton Rouge, La. DVD -- Pat Martino's "Creative Force" instructional video. Has so much information on chord substitutions, it will last me three lifetimes.
What is your favorite movie?
The documentary "Standing in the Shadows of Motown." Mandatory for any musician who wants to know about the nuts and bolts of making a living as a musician. So many people have never heard of the Funk Brothers and the dozens of No. 1 hits they played. They were a family institution of music, an icon to what it's like to be a working musician or just anyone who does his/her job well, with effort and cooperation and NO recognition.
Although obscure for sure, the Funk Brothers" were a force that shaped music for decades later and even today.
What was the best concert you ever attended?
In the '70s I was part of a light crew for an Iron Butterfly concert at the St. Bernard Civic Auditorium in Chalmette, La. Iron Butterfly tore the house down and became a testament to playing one song tirelessly for over 45 minutes -- "In-A-Gadda-Da-Vida." One great show!
Another was an Al Di Meola concert in Orlando. It's not human what he does on guitar.
"If I didn't play music, I would ... ":
Be a much better husband.
"I'd sell my soul for ...":
Can't, because I have too many questions for the Master Musician. Like why does a major seventh scale sound so angelic against the b5 of a minor 7th b5 chord?
