journal

January 18 2008: BIOGRAPHY--"Every once in a while you come across a young musician who impresses you with their style and potential. Dougherty is just such a musician." (Folk & Acoustic Music Exchange 2006). The music of Mike Dougherty has been slowly developing over the past twenty years, and it has been a fun-filled journey. He has a diverse musical background, but has focused exclusively on instrumental fingerpicking and slide guitar over the past five years. His original guitar compositions display a strong love for the fingerstyle traditions of the past, and for many contemporary and world influences in the present. However, his music is primarily American, and an organic mixture of blues, folk, country, ragtime, jazz, rock, and gospel. Mike Dougherty was born on October 30, 1969 in Framingham, Massachusetts. Shortly thereafter, when Mike Was two, the family moved to Alexandria, Virginia. Growing up, Mike was exposed to a wide variety of music, mostly country, Irish, rock, R&B, classical, and folk music. Still, there were no musicians in the family. His father played a little piano, but mainly as a hobby. Around the fouth grade, Mike joined the school band on clarinet, but the instrument didn't stick. He then moved on the the electric guitar by the time he was twelve, under the influence of the popular music of the day- Pink Floyd, Led Zeppelin, the Who. He played regularly, took lessons, and jammed with other aspiring musicians, but his interest in playing began to decrease around 17 years old. According to Dougherty, "other priorities began to surface, such as friends, college, exams, and career choices." But he continued his musical education by colllecting old records and tapes, listening to public radio, and taking advantage of all the free performances at college and around the nation's capitol. This proved to be a crucial music education because the Washington, D.C. area had a very vibrant and eclectic music scene in the late eighties and early nineties. After graduating from Mary Washington College with a Bachelor of Arts, Mike bought a new acoustic and a new electric guitar and has been playing ever since. He resumed guitar lessons, and began playing open mikes and sitting in a various blues jams throughout Maryland, D.C., and Virginia. Around the same time, Mike worked in the Hotel and Restaurant industry, and the Savings and Loan business before deciding to become an elementary school teacher. He eventually earned a Masters Degree in Education, but he still played out on acoustic. In the late nineties, Mike joined a short-lived blues/rock outfit called the Last Nickel Blues Band, before forming a folk/acoustic blues duo named Too Blue. They mainly played around the Maryland, D.C., and Virginia area, although they did venture to California and West Virginia. A couple special gigs were the Alexandria First Night celebration in 2001 and the Arlington Tax Blues Festival in 2002. Around the same time, Mike decided to become a full-time music teacher. It was a successful venture, and to this day he carries around 40-50 students a week. Also, he decided to continue his fingerstyle guitar education, and journeyed to Southeast Ohio to Jorma Kaukonen's Fur Peace Ranch. There he studied with slide guitar whiz Steve James, and took an intermediate and masters level course with fingerstyle guitar legend Jorma Kaukonen (Jefferson Airplane, Hot Tuna). It was a great experience, and he even got to perform. Jorma's playing has been a big influence, as well as musicians like John Fahey, Leo Kottke, Peter Lang, Chet Atkins, Merle Travis, Blind Blake, Rev. Gary Davis, and Miss. John Hurt, just to name a few! Dougherty remembers, "I discovered Jorma's QUAH cd around 1995, and that led me to search out all the great pre-WWII blues guitarists. so it was a real treat to be able to study with him. A little bit later, around 2002, I rediscovered john Fahey's LEGEND OF BLIND JOE DEATH, and that motivated me to begin composing." In March 2003, mike moved to Fredericksburg, VA, to become a homeowner, and to raise two children. At the time, he decided to take a break from live performance. Musically, it was the right thing to do. Shortly thereafter, he began to compose his own original material, which he couldn't quite grasp previously. Although he never has had formal instruction in composition, he learned by assimilation and example. His new material was all instrumental, and written for the solo guitar. this was a major departure considering he had spent so many years singing and playing traditional material. His first cd, BETTER SLOW DOWN (2005), contains eight original compositions for solo acoustic guitar, mainly in open tunings. It received glowing reviews in Sing Out!, the Folk & Acoustic Music Exchange, Indie-Music.com, and Download.com. His second cd, SOUTHERN COMFORT (2007), is a very personal effort, in that it was performed and composed after his son was diagnosed with Autistic Spectrum Disorder. The disc, generally more upbeat, contains 14 instrumentals, mostly played in standard tuning, except for the slide guitar. Mike is now ready to begin performing again, and he feels he has so much more to offer. He says, "I strongly feel that the music will just get better with time, and I look forward to sharing." ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ AUGUST 11 2006: Here it is! My first journal entry. It has taken some time to get around to wrtiting. Back in March my son was diagnosed with Autistic Spectrum Disorder. We're also getting ready for the birth of our first daughter this Fall. It'is going to take some juggling, but I'm going to make this an interesting column. I promise. Today I want to recommend some music that has gotten me where I am today. Where to start? Hmmm. How about Rock and Roll? And then I will discuss Folk, Blues, Jazz, and Country. These are some of my favorite artists or recordings that opened up new doors for me, and had a major impact on my musical development. The Band: possibly my favorite ensemble musicians. They helped to spark my interest in Roots/Americana. It doesn't really get much better. The Allman Brothers: At Fillmore East. Remarkable improvisation. Helped me discover dicover blues, jazz and twin guitar parts. Hot Tuna: these guys helped me discover acoustic fingerstyle blues, rags, and intrumentals. Outstanding counterpoint in a small group setting. Introduced me to the various piano-style blues guitarists. Booker T. and the MGs: these guys can really lay down the groove and demonstrate the power of simplicity. Dr. John/Allen Toussaint: incredible syncopated, funky music. Through them I got heavily into New Orleans R&B and the various piano professors. Velvet Underground/Television: raw, hypnotic, expressive, primitive music. Made me realize that technique isn't the most important musical skill. In Folk music, I can name Leo Kottke, John Fahey, Bob Dylan, and Joni Mitchell as major influences. Kotkke for his amazing chops, rhythmic interest, and fingertyle innovation. Fahey for his wonderful imagination, compositions, and unique perspective. Bob Dylan for his eloquent, personal songwriting and his primitive singing. Joni Mitchell for her unique open tunings and personal music. Also, Dave Van Ronk and his incredible fingerstyle guitar playing. Through him and Fahey I discovered the Harry Smith Anthology of American Folk Music. This is an amazing overview of early 20th century American music. As a sound innovator I'd have to include Michael Hedges as well, although he's categorized as New Age. Whatever. He's an amazing composer and acoustic guitarist. In Blues I'd have to name T-Bone Walker, B.B. King, Albert King, and Freddie King as major influences. Back when I was mainly playing electric, I studied there styles for years, and really learned the value of economy of phrasing. Later I got into the early pre- WWII acoustic guitar styles. Here I discovered Charlie Patton, Robert Johnson, Rev. Gary Davis, Blind Blake, Bill Broonzy, and Blind Willie McTell. All amazing guitarists, and I really got into the fingerstyle approach. At the same time I discovered slide players such as Blind Willie Johnson, Tampa Red, and Fred McDowell. Also, growing up in Alexandria, VA, I used to see guys such as Bobby Parker, John Jackson, Warner Williams, and John Cephas playing locally. The Washington, D.C. area definitely exposed me to the Piedmont fingerpicking guitar style. Jazz has also been a strong influence. I have to name Mose Allison as one of my favorites. Amazing songwriting, point of view, piano playing, and a very distinctive singer. I love Miles Davis, especially Kind Of Blue, Miles Smiles, and those quintet albums he did for Prestige in the mid-1950's. I also love Stan Getz, Thelonious Monk, Bill Evans, and Charles Mingus. On guitar my favorites are Wes Montgomery and Joe Pass. But my all-time favorite has to be Jelly Roll Morton. Self-proclaimed inventor of Jazz and wonderful composer. It just doesn't get any better to these ears. I highly recommend the recenty reissued Library of Congress recordings. Incredible stuff! In Country music I love Merle Haggard, Hank Williams, Willie Nelson, Buck Owens, Johnny Cash, and the Louvin Brothers. I think Merle Haggard is my favorite Country songwriter and had the best band. Just my opinion. On guitar I love Sam McGee, Merle Travis, Chet Atkins, Doc Watson, and Roy Nichols. Also, I've been inflenced by Bluegrass music, especially the local band The Seldom Scene. These guys are progressive, traditional, and just plain outstanding. Through them I discoved Bill Monroe, Ralph Stanley, Tony Rice, you name it. And finally, I don't know where to put him but a local guy named Danny Gatton used to and still does blow me away. Through his music, I discovered Roy Buchanan, Link Wray, Les Paul, and Bill Kirchen. From there I got interested in the Washington D.C. music scene and its history. Obviously, there are all kinds of other types of music that I listen to: Cajun, Zydeco, Hawaiian, Classical, African, Flamenco, Afro-Cuban, Calypso, Reggae, etc.. But Rock, Folk, Blues, Jazz, and Country are the most significant influences-- the major stepping stones. So feel free to check some of these musicians out. It is worth the effort. You could say some of this music changed my life! [Also, speaking of life changes, if you ever have any questions related to Autism, don't hesitate to contact me. I'm serious. I'm turning into a valuable resource in that area as well.]

Mike Dougherty and Dave Alvin

At Club Iota 2004

Cephas and Wiggins

Local Heroes