Blues Jam Mama Shiela Klinefelter

Everybody knows what happens at a blues jam -- they can happen at most any time and any place. A small group of musicians and wannabees get together to play and sing. Sometimes planned and sometimes by chance. It can happen on a street corner, in someone's basement, on a stage, in a country field, or even in a bar or restaurant. The resulting sounds can be awful, mediocre or great - or all three at the same time. The point being to encourage and allow players of instruments and vocalists who sincerely want to learn how to get better, to have that opportunity through working and sharing with others.

It has been my good fortune to have lived long enough and been in the right place at the right time over the decades to witness music jams by the likes of Louis Armstrong, Sonny Terry & Brownie McGhee, Les Brown's band, Billy & Deedee Pierce, and others. While there have been some pretty awful experiences at times, it is quite impressive to witness the music itself bring amateurs in sync with the more experienced; among which is usually an acknowledged leader. That's where, in the Piedmont of North Carolina, Blues Jam Mama comes in.

In her 40's now, mother of three, married to a famous blues musician, Shiela Klinefelter (and her Traveling Circus) is the consummate blues jam leader. When your local fan walks into an established blues jam at a club with a decent sound system (they are getting ever more complex and sophisticated), that fan may very well focus on just three things -- the bar, the stage, and the best available seat. Then they notice the music. When the music goes well, and it always does when Blues Jam Mama is running things, an established set of rules is being followed. What that blues fan may never notice is the leadership responsibility that Shiela carries out so well.

It doesn't hurt to have a leader who is an attractive woman with a great figure and a no-nonsense approach to the rules. Rules that spell out who gets to play, when, and with whom. It probably doesn't hurt either to have a husband/tutor who is six-foot-six, 240 lbs., and an established blues guitar and mouth harp player and vocalist in his own right; aptly known as "Big Bump."

So after Blues Jam Mama deals on the phone with details concerning the right venue (how many people can safely get in and is there enough parking, etc.), deals with all the various problems of artists who will or cannot attend that night; then after settling conflicts between children and making sure homework gets done; Shiela cooks and serves supper to a family of five, arranges transportation and a babysitter, gets hubby off to his own separate gig, and finally finds time to get to the gig well ahead of most everyone else. There's lots of work ahead.

The deal with a venue has been pre-arranged -- usually a bar with her own sound system already in place or easily set up; and hopefully either a flat fee from the club or a piece of the door charge. Tip jars may or may not be strategically placed around the stage. It's always good to find a venue that serves good food. Now the rules really kick in!

First, the sign up sheet. Name, instruments played -- that's all. The rest is up to Blues Jam Mama. Those musicians signing up to play know that while they may express some preferences, it is Shiela who will determine who is available for which microphone at what time; who is sober and who isn't; who is more experienced and who is still at some learning stage; who is known to be willing to work with newcomers and who just wants to show off; and a thousand other decisions that have to be made. You can grumble all you want -- her word is law. You play when and with whom are you assigned. Both Shiela and the players can get a pleasant surprise at various experimental combinations.

Next -- sound check. First arrivers usually get more time and attention -- a useful strategy for discouraging those rushing in late, disrupting the flow of things. The sound booth person is her responsibility too -- carefully chosen. A lot of money goes into all the electronic technology and no matter how talented a given performance (even at a blues jam!), the sound is only as good as that technician. Already Shiela has walked back and forth, back and forth, making sure every microphone is tuned and positioned just right.

Different genres of music require different sound systems. A common example (not a criticism) would be that a rock concert has to be LOUD. A single acoustic performance such as a guitar player both singing and playing a mouth harp slung around their neck needs only two microphones and their own amp. A blues jam, however, involves anywhere from four or five to twenty individuals invited up to play before the usual six to eight mikes. And Shiela never forgets -- the vocals must never be drowned out by the instruments. The most desired goal of the blues jam sound is to have each microphone set for a common position and sound so they don't get grabbed and moved around in the heat of the moment. Shiela takes her time making sure the set-up and sound check go as they should, because all this time those who signed up to play are sizing each other up (have they gotten any better than when we heard them last? Or not!!). Mama is also checking out how best to put things together during this time.

Let's start the jam! While the sign-up sheet usually determines this, most first sets involve four or five performers doing four or five numbers. Then a similar set follows with different people, and so on until everyone has had at least one set under their belt. If the original sound check went as it should, the actual performing should be "plug and play." Both audience and artists have a reasonably continuous flow of blues that evening. This is the place to quick-learn tuning your electronics to accommodate fellow players. And we all thrill to as yet undiscovered advances in technique and style, and the growing stage presence of even seasoned performers.

Meanwhile, Blues Jam Mama stays busy dealing with personality quirks and conflicts, electronic failures, pumping up those in need of ego support and deflating over-aggressive egos; and getting everyone on and off efficiently without damaging instruments -- the cases for which are always placed next to the stage where everyone can keep an eye on them. Most blues jams around the world are evening events because not only do some of the more seasoned performers have a paying weekend gig, most players have to get up early the next morning to go to their day job. Blues jams usually start around 8 pm and continue until at least everyone signed up has one turn, the more experienced spending time with learners who need guidance and support. Yes, you can do this while the music plays.

"I always try to make sure everyone gets up there at least once, even if we have to go overtime," says Shiela. "But you know, sometimes we're all having so much fun, some kind of blues chemistry takes over. When the formal time is up and informal groups take shape on the stage, we keep the blues alive into the wee hours (or as long as the venue is willing to stay open)."

"You've got your heart on your sleeve when you walk through that door as a first-timer," she says. "I want each one of them to know that even if you're an amateur you have a responsibility to show kindness and support toward every single person signing that sheet of paper that says you came here to play. When everybody looks out for the other guy and gal in my blues jams, kindness is the key." New bands get started in blues jams.

Now it's time to pack up, load the van, go home and kiss the kids in their beds (maybe Dad too!), and Mom can finally grab some sleep before getting up the next morning, fixing breakfast for five, and getting the kids off to school on time. Blues Jam Mama -- keeping roots music alive, one blues jam at a time.