"Key Master" Paul Connors Interview
www.PaulConnors.com
Interview by Roger Zee (04/20/23)
Special thanks to Michael Di Leo
Roger Zee: Who inspired you to pick up the keyboards?
Paul Connors: At four or five years old, I began messing around with my family's piano. Since I associate tones with colors, I used crayons to mark certain keys on it. That didn’t go over very well... The combination of access to a piano and four older siblings with a good, varied record collection inspired me early on to play music.
Music accompanied me from my earliest memories – especially certain musicians. My sister’s collection in the mid to late 70’s covered everything: The Beatles, Stevie Wonder, Jethro Tull, The Band, Grateful Dead, Fleetwood Mac, The Crusaders, Jackson Browne, Bill Withers, Blood Sweat and Tears, Simon and Garfunkel, Bob Marley, Elton John, CSN, Rickie Lee Jones, Steve Miller, The Jackson 5, Steely Dan, and on and on. She also bought a great collection from K-Tel Records of assorted artists from the 60’s and 70’s.
This five star diet, coupled with the incredible music on The Electric Company and Sesame Street as a toddler in the late 60’s and early 70’s profoundly imprinted me. Lucky too that the radio played great music back then. Even the "AM Gold" radio broadcast gems.
Watching re-runs of The Partridge Family and The Monkees, I saw some of the best musicians on the planet play. We would all watch Soul Train and do the dances, poorly, in the Soul Train dance line. An incredible abundance of great music!
When I turned seven, our parents told my older brother he would begin piano lessons. My folks thought it would do him good. I think he felt ambivalent about the situation. Anyway, this cranky old piano marm who reeked of witch hazel came to the house and gave him weekly piano lessons. I would watch carefully and stay out of her way.
One afternoon, my brother came home late because of a little league game. His teacher grabbed me, saying "I’m not going to just wait around – YOU: COME HERE," and began teaching me. When my brother arrived, she looked up and told him, "You don’t have to do it anymore. She pointed at me and said, "He's going to do it from now on." My brother felt quite relieved, and the marm proved right. I did it from then on.
In terms of artist influences, Stevie Wonder comes in at number one. His music stayed with me my entire life, literally since my earliest memory. In terms of Hammond B3 organ, countless groups featuring the B3 lured me with their "siren song" since my earliest days.
One major moment came in seventh grade when I watched Woodstock for the first time, and saw Greg Rolie play his solo on "Soul Sacrifice," That did it for me. I knew that I wanted to play B3. Gregg Allman soon followed. So many organists that I love, but Dr. Lonnie Smith stands as my absolute all time favorite.
RZ: Do you sing or play any other instruments?
PC: Piano opened me up to other instruments. I made drums out of plastic Carvel containers, putting popcorn kernels in one of them for the snare and using the fat end of the drumstick on the mattress as the kick drum. It produced a super compressed sound when I played along to the clock radio.
I found a couple of old guitars in our attic left over from my brother and sister’s past guitar lesson attempts and began messing around with them. I tuned the strings to an open chord and again played along to the clock radio. Eventually, a guy taught me standard tuning, a few chords, and that started me off and running.
While performing drums in the school band, I played around with a double bass perched in the band room hallway. The orchestra teacher walked by and said, "Hey you – you’re playing in the orchestra now." I told him that I already played in the band and he said, "Don’t worry – I’ll take care of that." He made a deal that I would still play drums in the marching band but could also play double bass in the orchestra.
Playing these other instruments came in large part thanks to the foundation that piano gave me. I began singing late. When I started playing in bands in junior high, vocals didn’t come naturally to me so I didn’t work at it. Many of the songs that we performed featured high ranged vocals such as Stevie Winwood or Led Zeppelin. Despite all of the knowledge that piano gave me, I never thought to transpose to my range. I didn't even know I had a range. I didn’t come into my voice until adulthood.
These experiences with drums, guitar, and bass paved the road to the B3. When I play organ, I’m playing bass, I’m playing percussively at times like the drums or congas, and I get to play sounds very similar to the electric guitar which I can’t get with piano, Rhodes, or clavinet.
RZ: Tell me about some of the musicians and groups you gigged and recorded with.
PC: I met Brian Harrington, my lifelong friend, at age four. Closer than a brother to me. We played music together since we turned thirteen. An incredible guitarist and composer, we played together until his passing in 2019. I cherish every single memory and note. His influence and memory presents itself every time I play and listen to music.
I've played with Al Hemberger for a very long time as well, dating back to 1987. He's a bassist, producer, engineer and owner of The Loft Studios in Bronxville, NY. He's played with or recorded a huge list of well-known and legendary artists. Long before I played with Al, I served as the little Finster who would show up at the studio wanting to learn what goes on there, or play with a group, completely uninvited. Patient and cool. Still is.
Some of my fondest memories with Hemberger include playing with him, his drummer brother Ted and the great Bob Mayo. The very cool Mayo encouraged me a lot. I loved talking music or movies with him while driving to gigs or in between playing. He also taught me how to properly wrap a cable.
I played countless gigs with Kevin "Doc C" Crutchfield, another cherished friendship and musical partner through Hemberg. We finally wrote and recorded original music for Doc. Unfortunately he passed soon after the recording. I still listen to that session of great music, and feel grateful for the time with him.
Hemberg put me on a ton of recording sessions at The Loft through the years and I loved all of them. He ran a private event band as well for a number of years, a great experience which led to some lifelong dear friendships with Mark Barden, Baron Raymonde, and Lisa Cibelli. Hemberg and I still play every once in a while, most recently with the great singer-songwriter, Dan Zlotnick.
I went to college in New Orleans for a couple of years before coming back to New York. I moved to the city and I began roaming around and showing up to jam sessions at Manny’s Car Wash, Dan Lynch’s, Downtime, Mondo Cane, Mondo Perso, Small’s, etc. and met a ton of great musicians, and total characters, as well. This period, 1990 – 1996, proved a real learning experience of what to do, and what not to do when playing music.
I worked writing jingles for a brief time in the early 90’s and enjoyed a ton of cool experiences and opportunities playing regularly at night with great players including Michael Powers, and The 4th Floor. I recorded with them as well. I also lucked out and found myself in the right place and time to jam with countless greats including Jimmy Vivino, Waddy Wachtel, Stephen Stills, Charlie Drayton, Roy Hargrove, Drew Zingg, Arvell Shaw, Bill Sims, Jr., Delmar Brown, Al Kooper, Elliott Randall, and a ton more.
After moving out of NYC in the late 90’s, I went back to college, earned an English degree and leaned towards finding a steady, financially stable job. I still played with Brian Harrington and did solo piano gigs. I also worked with an original band named "Mr. Sparkle" with lifelong friend and drummer Dan Martin, and NYC cats David Ullmann and Evan Gluck. During this period of time, I tried my best to not be a musician. It didn’t work out. No matter how I tried, I couldn’t do it.
In the early 2000’s, I still played gigs with Brian Harrington, and began doing events with Al Hemberger as well as steady, solo piano gigs. I began freelancing with different artists and musicians that I still work with today including Blue Roadhouse Orchestra and A Decade of Soul. In addition to a ton of private events, Blue Roadhouse Orchestra has played fun residencies at Garcia’s. We also played either warm up or after-show sets for a bunch of great artists at The Capitol Theatre/Garcia’s with this group. Due to scheduling, I play less with them now, but when I do, we pick up right where we left off.
Guitarist Will Van Sise got me the gig with "A Decade of Soul" back in 2012 when we played at B.B. King’s Lucille’s Grill every weekend as well as the main room a couple of times a month. With one-year-old twins when this began, I couldn’t do every one of the Lucille’s gigs, but I did a bunch and all of the main room gigs. We played fun casino gigs too, like Foxwoods, WSR, etc.
Always a blast with his crew, some of the best in the biz and going on the road's always hilarious with plenty of stories afterword. I’m doing some with them this summer, and I’m really looking forward to it. They already warned me that I’m the designated Den Mother.
Oh boy. Around the same time I began working with A Decade of Soul, I met Pat O’Shea and, like Mark Barden and Will Van Sise, became instant friends. I began playing gigs with O'Shea and signed on to record with his Pat O’Shea and The Honest Men project. But juggling the family and teaching schedule put a stop to that. I still play with him on occasion and keep in touch. Last spring’s Patterson Blues and BBQ Festival with him proved a blast.
I did a number of recording sessions with Ken Eichler at his Sliding Door studios in addition to playing gigs with his Hip Pocket Band with the late, great Kevin "Doc C" Crutchfield. Eichler composes for TV and movies and I played a number of sessions for him which landed on TV shows and national commercial spots. Even though "commercial" dates, we always had a blast and it never felt like work.
After a lifelong love for the Hammond B3 organ and wanting one since thirteen, I finally invested in the genuine article in 2014. I finally got it with help of friends Will Van Sise and Pat O’Shea who introduced me to someone who sells them. They took the trip with me to get it on Superbowl Sunday 2014.
I began studying it seriously and taking lessons with some of the best living organists. That same year, I formed my first organ trio with Will Van Sise and Jon Doty on drums. We played Lucy’s in Pleasantville, and places in the NYC like Silvana and The Shrine. We then held a steady Thursday night gig at the landmark organ parlor Showman's on 125th Street. That once in a lifetime experience helped me get it together on many levels and lasted two and a half years. Sadly, the Pandemic closed it down.
I play every Thursday in Ossining now at Jazz at The Lodge starting in February 2018 and it's amazing. It’s an Elks Lodge with a great music series curated by John Codman. Jon Doty plays drums most Thursdays and I invite a third member of the trio as a featured artist each month. Here's some of the people who did the Thursday Organ Groove with us: Will Van Sise, Brian Harrington, David Ullmann, Greg Skaff, Matt Garrison, Wali Ali, Mike Dopazo, Jenny Hill, Jesse Lewis, John Basile, Chris Vitarello, Doug Munro, Dave Kain, Matt Chertkoff, Al Orlo, Jay Azzolina, Tony Jefferson, KJ Denhert, Vin Scialla, John Tendy, Andy Farber, Pete Valera, Wayne Jeffrey, Richie Giorgianni, Thierry Arpino, Mark Barden, and Matt Dickey.
RZ: What instruments/string/amps/mics do you currently use?
PC: My gigging organ's a 1957 Hammond B3 with 1968 Leslie 122 guts in a new tone cabinet made by the Valhalla Woodworking Company. I use 2 EV 58 mics on the top horn of the Leslie and one Shure 57 on the bottom drum of the Leslie. I use a Trek II direct out on the organ and use only the low pass output to pump out extra bass into a Roland KC-600. I also installed a Hamptone EQ, as well as a Trek II effects out for the top manual of the organ. Occasionally, I use a Line 6 digital delay.
My home organ's a 1958 C3 organ with a 1950 HR-40 Hammond tone cabinet containing nine 10-inch forward facing speakers, with two 12-inch speakers facing up at the top! It’s a beast and not as loud as one would imagine, but the roundest bass tone you've ever heard! The necklace reverb doesn’t function, 1954 Leslie 44W, smaller cabinet than the 122 model and huge bass tone in huge.
For gigs with a lot of stairs or small cramped city gigs, I use a Hammond SK2 digital organ and Leslie 3300 with Hammond SPK200 foot pedals. Since 2008, I've done hundreds of gigs with a Nord Electro 3 and it’s a fantastic workhorse –- so versatile and light.
I also owned a bunch of Yamaha workstations. The current one's the S90 ES from 2010. It still works great and gives most of what I need. I keep an old 1998 Alesis QS88 and it still works great as well. I play through a Roland KC600 on any
keyboard gig.
I use a Samick 52" upright that I’ve owned since seventeen and own a bunch of great guitars. My two favorites, 1988 Epiphone Sheraton and a gorgeous, fretless parts bass built by Eric Klaastad -- butter in the pan.
RZ: Talk about your home studio.
PC: I keep a beautiful practice and recording space in my basement. I already mentioned the gear. There's a set of Roland V-drums, nice condenser mics, and ProTools. However, as soon as our twins came in 2011, I stopped using ProTools for a bunch of reasons.
Mostly, anytime I recorded, I did it at other folk’s places. Extremely busy with the kids and redirecting my teaching career, I opened ProTools up around 2016 and it wouldn’t even load because so out of date. I then updated it and touched it maybe twice. Asked a couple of times to track organ at my place, now's probably the time to get it back. so this summer may be the time to get it back.
RZ: What and how do you practice?
PC: From 2014 through 2016, I received this very unusual opportunity to gig with a B3 in the backline -- actually the first time that life gave me consistent access to a B3. Previously, I always used a Korg CX3, or a digital Hammond. I began to get used to feeling the air moving those sound waves behind my back.
I experienced a very intense transformation. I always loved the B3, but now it became a driving obsession. I researched and purchased one; took lessons to learn the bass pedals, study the history, and the various drawbar sounds and techniques from all of the masters. I began a very deliberate regimen. Not a decision simply riding this wave.
Besides teaching and the occasional piano gig, I rarely played piano -– only B3. I began practicing at 10:30p when my family went to bed, and continued until about 5:30a. I would grab a couple of hours sleep and then take care of the babies until I went to work in the afternoon. I would nap when they napped, and practice for another three-hour stretch in the early afternoon.
During this period I would practice for about nine hours a day. I mapped out a plan and notated my progress in detail complete with challenges, and data about how long on a specific goal, the BPM, the groove, etc. Through the advice of a teacher, I sat on my right hand for one year and played left hand bass, and left foot bass pedals, learning patterns and songs in twelve keys.
Through this, I gained the independence to play any bass line that came to me, just like with the electric bass, while also playing melodies and improvising with my right hand. I also bought any and every organ album I could find to listen to when not practicing.
After that first year, I continued with this detailed practice regimen until sometime in 2016. We moved twice. My Dad started going through the final stages of Alzheimer’s disease and dying. I began teaching music in schools. A lot of life changes happened.
But that foundation sustained me. And when I continue to practice, which occurs most days, I put a specific goal in place. It takes my family between five-ten minutes to leave the house for anything. I used to impatiently pace, but for the past several years I quickly run to the organ or piano with a five-minute goal and relish that time.
Mindful practicing, like the help and insights I gained from Kenny Werner’s "Effortless Mastery," became the key to my continued growth and fulfillment. Anyone who's a parent understands about time not being our own anymore. For me, careful and clear goals for short periods, and doing it with no self-judgment works the best. It’s not always what happens, but it's more than not and I'm grateful for that.
I also try to sight-read something everyday. I need that to remedy a poor foundation in sight-reading. Totally better now, but that’s only because I worked at it. The key came from getting my hands on anything relatively simple and read it ONCE, and then never again like a magazine on a check out line. I learn it by reading it more than once, I’m not working on the sight-reading goal. Today, I’m practicing songs for my Thursday gig, sight-reading, and I’m also learning pieces from JS Bach’s "Inventionen und Sinfonen."
RZ: Do you teach music privately?
PC: I used to teach a few different instruments privately but stopped a couple of years ago. Now I teach at a school. With my children’s schedule and age, I don’t have time to give private lessons anymore. I look forward to doing it again at some point. Really, I never desired to teach even though I enjoyed amazing teachers.
In 2002, a guy approached me at one of my trio gigs and wanted piano lessons. I told him that I didn’t teach. He asked for my card and began calling me asking for lessons. A nice enough person, I didn't get terribly annoyed or freaked out. But he wouldn’t stop calling.
I finally told him, "If you give me your word you will stop calling me, I'll give you one lesson. One." He agreed, and much to my surprise, I really enjoyed it. Felt pretty natural to teach. I soon began teaching his son, his son’s friend, etc. That happened twenty years ago and I make a living in large part to teaching ever since.
RZ: How has the Pandemic affected you? What's on the horizon?
PC: My family and I have all been fortunate. I know friends and colleagues who suffered terribly or died. I feel absolutely nothing but gratitude. Hard for sure. More than ever before, I held grief in one hand, and incredible gratitude in the other. Cheesy but very true.
I taught kids in a school from Kindergarten through eighth grade for the first 2 years of the Pandemic. What a challenge.
Wearing a mask while pushing into their classrooms, not letting them sing, but trying to engage them in fun activities.
I found remote "learning" abysmal. But thank goodness for technology and colleagues networking and sharing ideas. We got through it. I liked it when I went from a total "taker" in these meetings to sharing out some of my helpful stuff to other teachers. It felt amazing.
In terms on gigs, well, they didn’t happen for months at a time. I did a solo organ virtual show as a fundraiser for The Jazz Foundation to benefit legendary musicians who lacked the luxury of a school teaching gig and a wife’s job to keep them afloat.
During the warm months, we kept Thursday Organ Groove going, consistently playing Thursdays at Jazz at The Lodge. For the moment, we do it every week, playing outside if it's dry. It seems that most folks I speak to do something again, but who knows what our full recovery will look like. I share hope.
RZ: Describe your most special and/or unusual gig.
PC: I feel very lucky in my experiences playing music. Performed at so many clubs and private events, and saw so many crazy things. So it’s difficult to narrow them down or categorize. I truly have a book in me with just those gig memories alone. So here's two...
(1) I went to see McCoy Tyner when in my early 30's with old friends Geof Smith and Dan Martin, both of whom I’ve known since the fourth grade. They brought along their wives Linnea and Saskia. They delayed the start. As time went on, it became clear something went wrong.
I saw the promoter show and asked if everything was ok, and he answered, "Not really." My friend Dan turned to me and suggested that I offer to play with McCoy’s trio. I laughed and turned to see his serious face. So, I went back to the frantic promoter and offered my help. He thanked me and moved down the aisle. The crowd began to shout and stomp.
A few minutes later, the promoter came back to my seat and asked me to come with him. My friends’ faces lit up with astonishment and I waved goodbye in complete terror. He brought me back stage where they introduced me to the bass player and drummer who did not appear pleased to see me. One of them told me that my suggestion to fill in and bide time seemed "tacky."
I apologized and explained I just wanted to help. As a complete unknown, not even close to existing in the same stratosphere as McCoy Tyner, made it kind of not a big deal. Actually –- who didn’t get this logic? The two musicians shuffled out onto the stage to do a duet for a few minutes. The crowd didn't like it.
The wife of the promoter signaled them back in, and yelled "THE CROWD IS NOT REPONDING WELL TO YOUR DUET! GET THIS GUY ONSTAGE. NOW!!" The next thing I know, I walked out onstage in a long-sleeve T-shirt, jeans and a pair of Wallabees, waved through the lights to my friends in the cheap seats, and took to the piano.
One of the musicians came over to me, thoroughly disgusted, and asked what I wanted to play. I suggested "God Bless The Child." So I counted it off and away we went. I don’t remember much, but when we finished, the crowd went crazy. I couldn’t believe it -- nor could the band members!
One looked at me like, "Wow. Ok. Alright." The other was not having it. He slowly walked over again, and asked what I knew and I suggested "My Romance." I knew this one well, and at the end the crowd gave us a standing ovation. This drove the disgruntled band member crazy, while the other just closed his eyes and smiled at the surreal moment. The band members looked towards the wings for McCoy, but they only saw the promoter’s wife pointing back to them with a "‘keep it going"motion.
Again, they didn't appear pleased. I even began to feel the pressure. This felt cool and all, but how long would have to call tunes to a partially irate band at a McCoy Tyner concert? The guy came over again, and asked if I knew some standard. I didn’t. He asked about another, I apologized, and said I didn’t. I suggested "Stella By Starlight." "I hate Stella." Ok...
He then turned to me and simply said "So What" and walked back to his spot and began playing the intro. We got through it and I look up towards the wings and there, with his gig clothes over his shoulder in dry cleaner plastic, I saw McCoy Tyner.
He just stood there, squinting, trying to comprehend what was going on. "Join the club," I thought. I then waved goodbye to the crowd and the promoter came out to very nicely thank me and introduce McCoy Tyner. I passed Tyner and shook his hand and introduced myself. He just said, "Hello, Ok..." still looking like he was trying to understand who I was and what I was doing playing with his trio.
I went back to my seat and joined my friends for the rest of the show. They spoke no words. I had no words. McCoy Tyner played his ass off. The next day, I called my mother to tell her of this wild and once in a lifetime moment. Her response: "Well did you get paid?" Waah-waa...
(2) One of my most fulfilling came playing a Saturday night at Jazz at The Lodge last November. They called it "The Bright Size Life Project." Two of my major influences include Pat Metheny and Jaco Pastorius. The album "Bright Size Life," along with a lot of their other work served as a soundtrack to my teenage and young adult years. Still does.
This project aimed to reimagine this album -– a watershed guitar trio album -– with a B3 organ, bass, and drums. This meant very little bass pedals from the organ and no guitar at all. What Metheny did with the tuning –- in particular the 12-string guitar work –- we would adapt using various drawbar settings on the organ.
The first set consisted of a performance of "Bright Size Life" in album order. The second set contained a selection of Metheny and Jaco compositions, along with additional musicians: tenor saxophone, trumpet and percussion. I had tried this project once before and it work out as hoped. In fact, it proved a big disappointment.
It took me a few years to try it again -- and I’m so happy I did. So deep and meaningful. Everyone played their asses off! Such a joyous night, incredibly emotional and cathartic. Jon Doty: drums, Marshall Toppo: bass, Todd Isler: percussion, Matt Garrison: saxophone, Ben Acrish: trumpet. I did the show again this past winter with the same line up, but adding Jesse Lewis on guitar for the second set. This show also felt incredibly meaningful and fun
RZ: How do you see the future of the music business?
PC: Oh man, I don’t know. I hope that musicians continue to discover how to do it on their own, and earn something for their art and for their effort. More and more people speak to me about monetizing the live feeds of my performances and merchandising my site. It’s strange to live through the technological revolution that has gone from the existence of a record industry to watching it crumble.
I don't think that live performances will ever go away, but they may change in their presentation. Venues may change form, and maybe more house concerts, and so on. I do know that there's at least part of the population that needs healing by going out to see live music. There's no substitute for the back and forth between the performers and the audience. It’s primal, it’s ancient, and it’s sacred. I know this sounds corny, but I don’t care. With the continued evolution of technology, recorded music's anyone’s guess. I really don’t know.
RZ: What advice do you give up-and-coming musicians?
PC: First, I would suggest that anyone at any age who's looking to make music out there protect their passion and love for it. So many reasons someone wants to engage in music. I’ve seen interviews with performers of a certain period in Rock where they joke that when they saw and heard girls screaming for the Beatles, they knew that’s what they wanted to do.
These statement seem at least partially true, but I refuse to believe that they represent the whole story. We play music because it gives us so much. People describe it as "magic," "universal," "spiritual, and "beyond description" because it is. If you play music, then you know what I’m saying.
In my opinion, the goal's to form a life-long, deep relationship with music. The biggest mistake happens after a bad experience when one says, "Ok, that didn’t work out so I will not play music at all anymore." Also, if someone wishes to dedicate their life to earning money writing, or performing music, some sacrifices can only be hinted at, but not fully understood, unless you actually experience it.
I read a Charlie Haden interview in which he said, I’m paraphrasing, that if you're a good human being then you will be a good musician. I site this because success in artistic endeavors, relationships, and so many things in life, requires authenticity. You are what you play.
There's so much compromise, hustling, stress, rejection, dysfunction, and self-doubt you face as a performing artist. Think of an iceberg. People believe that the glamour everyone sees above the surface represents the whole story. But the majority of the mass of an iceberg lies beneath the surface -- the hustle, the practice, the non-artistic business side of the grind.
It takes an emotionally mature and healthy individual to last in anything, especially in the performing arts. It’s up to you for your success and happiness. And you must define those categories yourself. Keep yourself emotionally and physically strong.
Go after the music you love, not what you think you should know, learn, or play. You will kick ass in the music that moves you and for which you feel passion. If you go after a specific genre because it's considered to "legitimate" but you don’t feel it in your heart, forget about it! It won’t happen.
Play what you love. Study it and get to the point where put your own fingerprint on the music. Strive to be yourself in the music. It’s a life’s work. And last, I want to address how to define yourself in music.
The title of this publication, "The Working Musician," suggests an audience that includes performing musicians and those in some way engaged in the business end of music. I have been close to truly gifted artists who struggled with the notion that unless they earn their living solely by performing music, they can't really consider themselves musicians. I think that a majority of people reading this can identify very strongly with what I described. I've lived long enough through these situations.
Life's incredibly short and for many, part of it's one’s relationships and family. Events in life happen in which one needs to pivot and adjust, and the best way to do so's to invest diversify with degrees, skill sets, and an adaptable attitude in order to make things happen for wellness and survival.
I won't cite specific artists, but many monumental musicians did what they needed to do to make life for their family and themselves work. Life goes in chapters. If you support yourself and family by earning money outside of performing music, but you still play music, then you’re a musician. The key's to never stop playing, and never lose sight of your art and love for the music. If you have that, then you’re a musician and always will be a musician. Period. We get to do this until the end –- how lucky is that?
RZ: Do you live with any animals?
PC: In February, just before the Pandemic, we adopted two dogs from a rescue shelter. Brothers from Tennessee, Frank and Eddie came with their names. They’re Jack Russell Terrier and Chihuahua mix -- Jackhuahuas. They are the greatest and we love them.
For the past six years, we also lived with a goldfish named Splashy. The other goldfish just passed the other day. RIP, Emma.
RZ: Anything else you'd like to add?
PC: I appreciate you asking me to do this. I love talking music. I hope we all continue to get out there and keep doing what we do.
YouTube - "Bright Size Life" - Paul Connors live at Jazz at the Lodge 03/24/22
YouTube - "Too High" - Paul Connors Quartet live at Showman's 12/23/17
©2023 Roger Zee
