Dear Friend: Do you have any idea how valuable this knowledge is

Maximum claim up to the value you insure the item for.
*** Subject to an approved claim.Our Musicguard insurance offers a range of covers suitable for home, studio or gigging musicians, sound and lighting engineers, music teachers and entertainers.

Indianapolis Musical Instruments | Musicians’ Repair & Sales

John Cafferty & The Beaver Brown Band - Rhode Island

Musical Creativity and the Brain | The Creativity Post

The new approach helped them rapidly expand their fanbase and by the end of 1973, they’d acquired the services of one of the most powerful booking agents in southern New England, Kenny O’Brien. O’Brien was fully taken with Beaver Brown’s potential and put all of his resources behind them. He filled their calendar with lucrative club dates and college appearances and expanded their geographic territory into Massachusetts and Connecticut. By the end of the year, Beaver Brown had become a full-time job for the young musicians.

Behringer Musical Equipment | Musician's Friend

The band continued on through John’s and Kenny’s college years, moving away from its Top 40 roots, and were recognized as one of the best young bands on the club scene. But by 1972, the two friends had committed to pursuing careers as professional musicians and decided to stick together: they left The Luvin’ Kynd. They began searching for the right people to help them on their quest through a series of jam sessions and soon came up with the musicians who would become the basis of Beaver Brown: they brought back John’s old pal Paul Bugielski from The East-West Blues Band, and then they singled out Bobby Cotoia of North Providence on keyboards and Pat Lupo from Mount Pleasant to play bass.

Calendar & Events - Festival of the Sound

John credits Hank Clark with introducing him not only to the original blues recordings on which much of their listening – Rolling Stones, Animals, Yardbirds – was based, but also to the concept of musical improvisation: making up their own solos instead of learning the solos played by the recording artists. Early in the band’s run, Clark was informed by his parents that his family would be moving to another state, but he assisted the band by bringing in a friend as his own replacement, guitarist Paul Bugielski. With a rhythm section consisting of Billy Lupo on drums and Junior Box on bass, The East-West Blues Band began performing at the usual venues available to teenaged musicians at the time (school dances, CYO mixers and youth clubs).

Home of Victor Wooten's Center for Music and Nature at Wooten Woods

In the basement of his apartment in Watertown, MA, he had constructed a studio (spending everything he made over the course of 6 years), and was recording a demo tape that would go down in the history books. Working with Jim Masdea, a drummer that he met when he answered an ad in the paper for a keyboardist in Barry Goudreau’s band, Tom, created the tunes that would eventually land a contract with Epic. Ironically, Tom never picked up a guitar until he was 21, but when he did, he was self-taught, was a very quick study, and mastered his craft by listening to his idols, Jeff Beck, Joe Walsh, Jimmy Page and Ray Davies. Todd Rundgren was the first musician that Tom heard that utilized lead guitars in harmony, and was the spark that compelled Scholz to create his trademark harmony guitar solos.

Gary Pihl. Raised in the suburbs of Chicago for the first 12 years of his life, Gary Pihl relocated to the San Francisco Bay area and has led a musical life ever since.

Mike Antunes was the perfect choice for the the Beaver Brown band. He was a brilliant and intuitive musician, capable of playing in any style required, and his showmanship would provide an on-stage foil for John. (Like Gary, Tunes’ nickname had little to do with his musical prowess: during his time in the armed forces, his name was simply “shortened” in the time-honored tradition of military service.)