Drew Sterchi and The Blues Tribe perform from 8:25-9:30pm.įor more information on this FREE community concert series, call 423.304-5835 or visit for a complete, interactive website that includes music samples by each headliner, as well as other important information for first-time attendees. Specifically for this Nightfall performance, Sterchi has reunited with some longtime bandmates and some new ones to create a memorable blues experience, including backup singers and horns, to showcase their blues history along with new material that tells a musical story a personal way.
John, Sterchi honed its unique style of blues -a blend of old-school electric and acoustic blues, R&B and some classic rock. While opening for artists like Johnny Winter, James Gang, Bonnie Bramblett, Sea Level and Dr. After he heard Chicago blues icon Michael Blumfield's blistering solo on "Texas," his playing began to lean more toward an expressive blues style. They released their self-titled EP in 2020.ĭrew Sterchi, one of Chattanooga’s most respected bluesmen, started playing guitar at the age of 14 doing covers of Steppenwolf, The Rolling Stones, The Doors and Kinks. The trio comes loaded with familial harmonies accompanied by acoustic guitar and bass, with banjo, mandolin, ukulele, glockenspiel, harmonica, accordion and ‘trashpercussion’ punctuating their bright and playful sound. Opening the night with an hour’s set starting at 7pm is the pop-folk band of sisters Amelia, Rachel and Rosalie Graber, Call Me Spinster. Sometimes it’s hard to beat what’s in your own back yard, and this week Nightfall will be highlighting two uniquely talented bands, giving them equal sets beginning at 7pm. Volume at 8 and Tone at 5 (using the front panel’s 1-12 designations) works best.Celebrating its 35th season of amazing free music at Miller Plaza, Nightfall continues this Friday, July 29 with a special showcase of two unique Chattanooga bands: Call Me Spinster and Drew Sterchi & The Blues Tribe in a co-billed show.
TONE TIP: The Pro Junior IV is bigger and louder than a blackface Champ, so don’t overdo the controls.
Having compared the sounds of a tweed and blackface Champ when playing the song, I can attest that it’s definitely a blackface, as the tweed’s midrange is too prominent and the bass is too loose, while the blackface has the perfect treble sparkle and low-end spank. Walsh’s Tele tone on Funk #49 sounds particularly raunchy and percussive due to the guitar’s lowered action and Walsh’s use of a light-gauge nylon pick. Teles featured either a 'blend' circuit until 1952 or a neck bass/neck with tone control/bridge without tone control circuit from 1953 until 1967, so the Tele was most likely from 1959 or earlier as Walsh prefers Teles with maple necks - and he referred to it as “old.” Perhaps it was actually a 1964-’67 Vibro Champ, which is identical to the Champ with the exception of its added tremolo circuit.ĭetails about the exact year of Walsh’s Tele are unknown, although in the 1972 interview he said it was “old” and he had modified the pickup wiring to provide “modern” bridge/both/neck settings.
Walsh’s Tele tone sounds particularly raunchy and percussive due to the guitar’s lowered action and Walsh’s use of a light-gauge nylon pickĤ0 years earlier, in a 1972 Guitar Player interview, Walsh said he used a 'Vibroplex', but this was probably an inside joke as Walsh is a ham radio enthusiast and a Vibroplex is actually a Morse code key.