We gave him a Robert Johnson book for Christmas of 98. He told me how he loved the old Delta blues and the open tunings used for slide and finger picking. He created his own version of that, somehow keeping it pure and simple, yet complex and thorough. Like Bob said, I could play all my life, (which I have, since I was 5) and not attain the level of understanding that came so natural to Nathan. I think few musicians, in fact very few people, in all walks of life, have that level, or capacity, of understanding and passion about what they are doing. Nate took it to a level that allowed him to flow artistically, and naturally.

I can easily picture him jammin' with Honeyboy Edwards, Earl Scruggs and Sam Bush. One of the meanest versions I ever heard of "Dueling Banjos", Nathan soloed, flipping a bandana over the strings at the bridge of the guitar, making it sound like a banjo. He proceeded to play both parts of the song, flipping the bandana back and forth, and then blended into a "foggy mountain breakdown" mode and ripped that up for a bit and then ended the song traditionally. That was the first day I heard him play guitar. He was playing the keyboard with Bob's band when I first met him, and I assumed he was a talented keyboard player/vocalist. Then he played the guitar, holy crap, impressed is an understatement. He played "Anchortowne" next, and I realized then what an amazing talent he was. I am a way glad motor scooter that I got to witness that, and play with him on stage at the "Bald Eagle" (Moosequitos). I'll never forget that night.

It was a big deal to those who heard him, and more to us that knew him, that he was up here. He added a whole new dimension to our local music scene that has continued since his time up here. What started with a jam at Veronica's Coffee Shop has grown into multiple, similar type, open mic, jam nights, from Nikiski to Sterling, down to Homer and beyond I'm sure.

dave nunley— sterling, alaska