Musician Spotlight: Jenna Von Oy

This installment of our Musician Spotlight series features the beautiful, talented and genuinely sweet Jenna Von Oy. Like many of you, I first saw Jenna during her work as Six on the hit television show Blossom. Jenna has been an actor since the age of 6, appearing in numerous television shows and movies.

Harry and I first met Jenna in 2009 when she won our silent auction donation for Nashville's Arts Immersion event. A few months later we were shooting Jenna and Brad's engagement photos, which was a fantastically fun session. During that session we learned of Jenna's songwriting career and when we extended to her the invitation to particiate in this series of Musician Spotlight interviews we were thrilled that she agreed to participate.

Jenna currently has two CD releases, Breathing Room and Coffee and Men: An EP for Childish Adults, both available via itunes.

Friends, meet the lovely Jenna Von Oy...

MA: You are quite well known for your work in the arts, especially television and film industries. After we first met we were pleasantly surprised to learn of your work in the music industry as well. Having spent a great deal of your life in LA, how did you arrive at the decision to move to Nashville?

I can’t honestly say that Nashville was initially on my radar. Having grown up so close to New York City, the bulk of my childhood exposure was to musical theater. I was convinced I would be singing and dancing my way to the Broadway stage... Which I was actually a hair’s breadth from accomplishing on several occasions! Nashville didn’t come into the picture until much later. A dear friend, who is in a Grammy award-winning pop music group, was the first person to really shed some light on the Nashville music scene for me. He was producing a country act out of Nashville at the time, and traveled back and forth frequently. This was back in 1997, when I was in a bit of what I’ll kindly refer to as a transitional phase in my life. (In other words, I needed guidance of all forms at the time - spiritual, emotional, you name it... The fact that I was just turning 20 should make that fairly self-explanatory.) My friend had flown his artists out to Los Angeles for record label meetings, and brought them over to my house for dinner one night. He must have told them about my musical aspirations, and they asked me to sing. I’m not generally one for off-the-cuff, at-home karaoke sessions, but I didn’t want to disappoint my guests. After I finished belting out a quick little something or other, they asked if I’d ever considered country music. Laughing (a.k.a. scoffing), I made a declaration that I’d never be caught dead in cowboy boots and a belt-buckle with my name on it, and swore off everything I was certain Nashville stood for. They managed to enlighten me a bit, saying it was more than honky-tonk songs about Whiskey and guns (though I can vouch that I’ve heard plenty of those while I’ve lived here too), and convinced me to listen to the local country station for reference. The following day, while braving L.A traffic, I frugally decided to give country music a one-song chance. Miraculously, instead of hearing some sort of Toby Keith or Billy Ray Cyrus gem, I managed to stumble onto Trisha Yearwood’s “The Song Remembers When”, by Hugh Prestwood. It was soulfully honest, and spoke of loss and heartache and everything else I felt at that time. To this day, it is still a favorite of mine. I promptly pulled my car over, started bawling, and swore I would get myself to Nashville come hell or high water. Two weeks later, I was turning my rental car down music row, heading to writing sessions with some incredible songwriters, and officially eating my words about country music! That was when I first became smitten with this town. I wasn’t able to make a full-time move until 2006, when I had the epiphany that I was desperate to get back to having some grass under my feet. There’s a lot to be said for trading in the palm trees for a dose of good ol’ fashioned Southern hospitality. That idea is really what prompted my first album in 2007, as well.

MA: Your first album release in 2007, Breathing Room, begins with an a cappella six line verse, Little Pollywoggy, written in 1983. It truly makes me smile each time I listen, not just for the precious worth, but for the girl who wrote and sang it; the girl whose voice you honor with your first album release. Has songwriting always been a part of your artistic release? Did you feel drawn more to songwriting or acting? Or, as children often do, did you envision your life honoring both art forms equally?

Songwriting can be one of those magic drugs. I’ve been writing songs since before I could write my own name, so it has always been an outlet for me. “Little Pollywoggy” was one I wrote when I was five, and my Dad copyrighted it a year or so later. My Mom was sure I’d learned it at school, and was surprised (and probably a bit suspicious) when she discovered I’d written in on my own. I don’t think my poor parents knew quite what to do with me! Thank God they had the wherewithal to tape-record it. That my Dad knew to copyright it was icing on the cake. What you hear at the start of Breathing Room is the original version, taken directly from the tape. In listening back to the words, I find that it makes a pretty simple but intuitive statement about growth and metamorphosis. How a five year old manages to sum up the meaning of life and it’s disappointments in a ten second ditty, is beyond me, but I’ve always felt songs transcend from somewhere else entirely. I think the best songs I’ve written are ones where the lyrics and depth surprised even me.

As I mentioned earlier, I was very drawn to musical theater as a child. This was, in part, due to the fact that being on Broadway meant I wouldn’t have to choose between music and acting. Even back then, I was torn between them. They both offer me a form of catharsis, and fill a different dark place. That said, acting is my bread, and singing/songwriting is my butter. I wouldn’t dream of consuming the butter on its own. In the last few years, I’ve been encouraged by the number of films and television shows revolving around music (Glee, Moulin Rouge, Chicago, to name a few). They make me hopeful for the opportunity to combine the two. I would be happiest doing a series that would allow me the chance to sing and perform on a weekly basis. I’ll go ahead and put that out in the universe, in hopes it comes back to me!

MA: You’ve obviously had a tremendous support system throughout your life. You dedicated Breathing Room to your Grandma Anne, whom you stated taught you that life is more beautiful when you color outside of the lines. With your second album release in 2009, Coffee and Men, you playfully and artfully accomplish this. In fact, the tag line to the title, An EP for Childish Adults, provides the perfect backdrop for the album’s songs. Coffee and Men definitely colors outside of the lines musically from your first album. What was your inspiration for writing the songs on this album?

First of all, I have to say: Thank you for taking the time to read the liner notes! I guess I thought only my Mom & Dad would bother to look at those, so I was pleasantly surprised to have you quote my little tribute to my sweet Grandma. That woman was a firecracker, and I credit a lot of my creativity and drive to her. I am fortunate to say that she was one of many incredible people in my life who have supported every move I’ve made. I’m blessed.

My inspiration for writing Coffee and Men: An EP for Childish Adults was trifold. First, I began to realize that Nashville’s music scene was one hell of a lot broader than just country music, and that maybe I wasn’t looking to be a part of the mainstream. I started discovering indie artists, and getting inspired by the left of center stuff. I still get more excited by artists like The Civil Wars, than I do about new country acts. It also reminded me to return to older artists and re-listen as well, such as Tom Waits & Bob Dylan. Simultaneously, I began to take an interest in placing some of my music in TV and film. With my background, it seemed like the natural progression of things. The third reason was an emotional one. As therapeutic as my first album was, because it enabled me to do a lot of purging on paper, it was sort of one-sided in its content. I was coming off of a heavy break-up, rediscovering who I was alone, moving to a new town, and reassessing what life outside of the L.A bubble looked like for me. It was an overwhelming and eye-opening time, and that’s definitely reflected in Breathing Room. But two years later, I was in a completely different headspace. I’d begun a relationship with my now husband, and I started craving a way to express my sarcasm and my goofy side. I needed a hiatus from the sappy, sad love songs. So Coffee and Men was born. I jokingly say it’s the result of what would happen if a really warped version of Norah Jones merged with Betty Boop. It’s kitschy and wacky, and I love it. I had no idea I would wind up releasing another CD when I started. The first song written was the title track, Coffee and Men, and it got such a positive response from everyone I played it for, the idea of a whole album started creeping in. One of my best friends looked at me and said “Breathing Room was a beautiful expression of you, but Coffee and Men is the true artist in you”. In a sense, I finally found my voice on that album. I’ve spent my whole acting career trying various roles on for size, and in a way, the EP is no different - I embody a character in that too. You can hear my love of performing in every song - it has a sort of cabaret, Vaudeville quality to it that I adore.

MA: We understand that Coffee and Men was written for film and TV placement. How does the desired end use of a song impact the way it’s written? Are there guidelines regarding beat, tone and key, etc. between genres or end uses?

If there are guidelines, I certainly don’t follow them! I’m a big believer in “write what you feel”. It may not always fit the next Julia Robert’s film, but it might fit the next episode of Parks and Recreation. You just never know. That said, sometimes I’ll write a song with a particular project in mind, so there are obviously other things to consider. Recently, one of my best friends (Jenn Schott, who is an unbelievable songwriter here in town) and I co-wrote a song for a film I did. The theme was very clear, and didn’t leave room for the zany, uptempo stuff on my EP. Instead, we penned a meaningful ballad, and the producers loved it. Sometimes you have to color inside of the lines too... life is a balance.

MA: Are you more lyrically or melodically driven in your songwriting process? What instrument do you gravitate toward when writing?

I imagine every songwriter would like to think they are equally driven by lyrics and melody... I’m no exception. I can tell you that I always have a lot to do with both sides of the equation, because I’m ultimately the one who has to feel comfortable performing the song. I will admit that I’m not terribly proficient at my guitar playing, however, so I’m probably a bit more influential where lyrics are concerned. Between my two albums, there are a few songs that I wrote every word to, even if I had a co-writer. This was because my co-writer was very melody driven, so we created a melody idea together, and then I wrote lyrics on my own time. Every co-writer has a different method of how they like to contribute, but generally there’s pretty equal input. Oddly, when I create a melody, I generally envision it on piano. This is strange, in that I can’t play the piano to save my life. But I most often hear a fully instrumented version of a song in my head as I am writing. It’s like dreaming in vivid color. The way it’s executed may change later, but I always conceive of a full-blown interpretation during creation.

MA: Do you follow a disciplined writing regimen, such as scheduled, dedicated writing sessions or is it more of a voice that makes itself known when it’s time to write?

Typically, it’s a voice. I have many writer friends who have co-writes five days a week, but they tend to get burned out quickly. For the most part, those folks have chosen songwriting as a career choice. For me, it’s a hobby that I like to indulge, which is why I’ve never put in serious hours trying to hunt down a publishing deal, and why I don’t write every single day. I find that I do need my creative daily bread, however. Sometimes that comes in the form of music, other times it’s in the form of writing a novel, or auditioning for a TV series, or painting, or doing photography. As long as the juices are flowing, I’m satiated. There are certainly moments where the inspiration undoubtedly takes the shape of a song, and I have to grab the nearest notebook and pen. Inevitably, this always happens while I’m driving, so I’ve taken to recording random thoughts and ideas on my cell phone. God bless technology for THAT one, though I’m not always whole-heartedly in the technological advancement camp. I still embrace my 35 millimeter camera, keep a written calendar, and prefer to write music on a notepad when I can.

MA: Work as an actor I’m sure requires study to creatively connect with the characters you portray. It seems this discipline naturally lends itself to creating songs from perspectives that your personal life may not easily relate. There are also avenues of art that act as a type of therapy in exercising issues that we all inevitably encounter through living. Do you find yourself drawing from one aspect of writing more frequently than the other? Which is the easiest source from which to write?

Truth be told, I’ve never been a big fan of intensely “studying” for my acting roles. Don’t get me wrong - I study my lines. However, I generally like to rely on what “feels right”, in terms of my emotional approach. While I admire those who continually exercise their craft by taking group classes and learning various methods, I prefer to tap into characters on my own. I’m a firm believer in following your instincts. I also find that I have a tendency to overanalyze (to a fault), when I’m asked to break down every minute particle of a character’s development. The same is true for my songs. Creativity shouldn’t feel clinical... As you mentioned, art is a form of therapy. When I adhere to rigid rules and discipline, it seems to feel less like therapy, and more like homework. The songs I’m most proud of didn’t require hours of painstaking, forced labor. They were inspired and in the moment. Consequently, they are raw and honest, and I find I am more emotionally invested in them. I don’t often write about subject matters that I know nothing of. The easiest source to write from is always what’s close to my heart. An exception to that rule might be “The Fairytale”, which I wrote the words to in about fifteen minutes. In fact, it arguably wrote itself. Sometimes I have days where it’s fun to channel my inner Dorothy Parker, and write a song from the dark side.

MA: Who or what is your most present muse?

I don’t know if I can pinpoint a single muse. I’ve been listening to a lot of French music lately, artists like Charles Trenet and Serge Gainsbourg, and they’ve definitely had an impact. Sometimes it’s as simple as finding a word I like, and challenging myself to use it in a song. For instance, a few years ago I got a wild hair to use the words “argyle socks” in a song. There’s no rhyme or reason as to why, it just popped into my head and rattled around in there for a while. Ultimately, it landed in the last few lines of Lucky Penny, where it fell into place without a second thought. I refuse to force something into being, so it has to be the right fit if I’m going to use it, challenge or not. I know some songwriters who say if you haven’t slaved over a song, and really worked hard for it, it isn’t a good one. While I respect that their methods work for them, I thoroughly disagree. The songs I’m most proud of all fell out and hit the paper in a torrent. I write from an emotional place, not a technically perfect one. A song may not follow the “correct” measure or phrasing, but if it makes you feel something, that’s the most crucial component... Which brings us back full circle, to that whole coloring outside of the lines thing again.

MA: You are still active in your acting career, traveling frequently between Nashville and LA. Do you have plans to release another album as well in the near future?

I never really plot to release an album; it seems to happen as the right songs are created. I’ve been talking for a while now about doing a new album (or EP) called Diary of A Bad Girl, based on a song I wrote with one of my frequent co-writing buddies, Jon Roniger. We both feel like it’s the perfect follow up to Coffee & Men. But I’m not quite ready to go into production yet; I have a hunch that a few more songs are on the sidelines, waiting to be revealed first. The expense of doing an album can be pretty hefty, so I don’t take the process lightly. I want to know that the album serves a purpose before I start recording. I never place expectations on the album to make money or a name for itself, I just like to know it’s satisfying some innate need for me. I always know when it’s the right time.

MA: Many people use art in one form or another as an outlet from the stresses of every day life. Your every day life is the creation of art. What mediums or activities serve you best as stress reducers?

Cooking. Painting. Daydreaming. Curling up with a good book. Snuggling with my husband & pups. Sipping a glass of good wine. Sipping a second glass of good wine. Buying fresh flowers. Lighting candles. Breathing in a cup of strong coffee. Playing scrabble. Writing anything. Taking photographs. Taking a walk. Catching up with an old friend. Going to an outdoor market. Getting a massage. Singing my heart out while I drive. Playing old records on a Sunday afternoon. Watching the rain fall. Sleeping in. Traveling. Rearranging my closet. Browsing an antique shop. Finding an excuse to speak French. Drinking lavender tea on a chilly day. Creating any project that involves a glue gun. Knitting. Growing vegetables in my garden. Laughing until I cry- usually with my siblings. Perusing the grocery store aisles. Saying a prayer. Loving and being loved... In no particular order.

MA: Your first years were spent in Connecticut, moving to LA during middle school and then to Nashville as an adult. What are the attributes of each location that speak to you most?

A piece of my heart definitely still resides in each. Growing up in a quaint colonial town on the East Coast is something I wouldn’t trade for anything. There’s a lot to be said about being raised in a place that’s rich in history; it instills a sense of pride. You can almost imagine Paul Revere riding down the Main Street on his horse. I spent my childhood climbing trees in our apple orchard, and catching frogs in the pond behind our house. I flew kites in the spring, rode my bike in the summer, swung into massive piles of leaves in the fall, and ice skated in the winter. There was a sense of balance, and humility, and hospitality. The school systems I grew up in were aggressive in all the right ways, and the teachers were supportive. In fact, I’m still close to several of my elementary school teachers, and even got married at a bed & breakfast owned by two of my former middle school teachers. Growing up in Connecticut was a dream. Moving to Los Angeles was certainly a culture shock, but it had its merits. I appreciate the cultural diversity it offers, and I think that the city breeds dreams. Thinking big is never questioned there.

MA: What gets you up in the morning, besides coffee? ;)

My dogs. All five of them. And more recently, my daughter kicking inside of my belly. She's a whole new world of inspiration to look forward to...

Musician Spotlight: The Last Straw

Harry and I have been fans of The Last Straw since 2007. We've witnessed their growth, their growing pains, their transformations and successes. We are fans of their music and musical path. They are wonderful souls, smart minded and truly committed to their craft.

(L to r) Jason Graumlich, Kyle Daniel, Pearce Harrison, Marc Williams

Kyle Daniel brings rocking lead vocals and blazing guitar. Marc Williams provides the perfect undertones with thumping low rhythm on bass and vocals. Pearce Harrison brings amazing engergy with hard hitting drums and percussion. The newest member, Jason Graumlich, brings an awesome compliment to round out the four member band with great vocals and inspired guitar work.

If you're a fan of solid southern rock and roll then you need to treat yourself to a listen. And while you're listening read on to get to know them a bit better...

MA: How did “The Last Straw” band name originate? How long has the band been performing?

TLS: The name originated with a good friend of the band in the winter of 06-07. The band had played one show under another name that we can't remember; it was from a Black Crowes song and that didn't sit well with anyone. After much deliberation and months of beating ourselves up about a name, we finally came to an agreement after a friend who was helping book and promote the band was involved in a phone argument with a girl. After going round and round with the girl he finally hung up on her and shouted "That's The Last Straw!" It was a true eureka moment. Everyone looked around the room at each other and there was no doubt that that was the name of the band. In January 2007 the band began performing as The Last Straw.


(L to R) Pearce Harrison, Kyle Daniel, Jason Graumlich, Marc Williams
Nashville, TN  August 2011

MA: Tell us a bit about you; your history with music...



Jason Graumlich, TLS Studio, March 2011

 JASON: My mother played piano in church and I sang regularly in choirs growing up.  I developed an ear from my parents record collection at home and quickly picked up the '1964 Tesico' electric guitar that was laying around the house (which was my fathers).  My uncle was also a trumpet player in Miami, FL and his musical tastes spilled over to me quite naturally. Most everyone in my family is or was a music lover in some way.  By my freshman year I had quit skateboarding and started my first band.

Kyle Daniel, Exit/In Nashville, TN, 05.28.2010

KYLE: I began playing music as soon as I could walk. From toy instruments, to the violin, saxophone and drums. I finally picked up guitar when I was in high school.  

MARC: My life has been filled with music since my very first memories. It's fair to say that I've been raised with and tuned into pop music first and foremost since the beginning. When I was very young we had a piano and a guitar in my house that I would bang on. However, at the age of 4 on the 4th of July our house was struck by lightning and we lost everything. Unfortunately my parents opted not to replace the piano or guitar. It would be 17 years before my interest in playing an instrument would reawaken. The music I remember the most as a preschooler was my moms music. The Beatles, whom I must admit I hated practically until the time I started playing bass at the age of 21 because my mother wore those records out and talked about them so much (shhh... Don't tell on me...) and Motown were the staples. Temptations, The Miracles/Smokey Robinson, Supremes, Stevie Wonder. 

Marc Williams, TLS Studio, March 2011

 We also listened to alot of Aretha Franklin, The Pointer Sisters, Fleetwood Mac, Tina Turner, Crosby Stills and Nash, The Eagles, Huey Lewis, Robert Palmer. When I got to first grade I was old enough to start gravitating towards my own music. I'm a first generation MTV kid, from when they actually played music. At that point I would wake up hours before I had to leave for school to go in the living room and turn on MTV and wait for my favorites. My early favorites were Billy Idol, Van Halen, The Cars, The Beastie Boys, The Eurythmics, Cinderella, Men at Work and of course Micheal Jackson. Mrs. Davis was my first music teacher in school. Her classes to this day are some of my fondest musical memories. I took to her lessons very naturally and it's always been that way for me with music. Despite my love for music I never played an instrument until my college soccer days started to wind down around the age of 21. Brian Turner, a friend and co-worker, started bringing his guitar around after work and that was the first time I'd been around a guitar player. He sparked my interest in playing an instrument.  With my soccer days over I needed something to fill that gap. After hanging around for some time I expressed interest in learning to play. Around that same time he happened to find a broken "3 string" fender squire that an old bassist friend of his left in a closet years earlier. He gave me that and a broken guitar amp and off I went. The bass had a broken truss rod so the strings pretty much laid flat against the neck board. The amplifier was blown. It made the worst sound ever. It did, however, introduce me to bass strings and frets which is all that really mattered at the time. He taught me "Hey Joe" and I haven't stopped since. 



Pearce Harrison, TLS Studio, March 2011

PEARCE: Music has always been one of the few things that make sense in the world. I knew as a kid that music wasn't just a bunch of sounds, it was feeling.  It was unconditional, a drug I couldn't get enough of; from blasting Genesis cassette tapes I had stolen from my mom to marching on a field 6 days out of the week at 6 AM with a 40 lb drum on, it was all therapeutic.

MA: When did you realize music was going to be your life’s work?

JASON: There wasn't a set moment when I knew this was gonna be "life's work".  It was an almagamation of experiences.  Most likely jump started by the marriage of my first "live" experiences seeing music and my first experiences playing in front of receptive people.  It was also quite addictive to play music constantly, as I picked up the guitar fairly quickly.

KYLE: Placing in the finals at the International Blues Challenge when I was a senior in high school gave me a strong sense of accomplishment. Having the motivation to push myself even harder to be a better musician, it was at this point I was certain that I would have a career in music.


The Last Straw performing at Exit/In, Nashville, TN 04.08.2011

MARC: I never started playing with the intent of going for a career in music. My first and only goal was to play one show at the Boro Bar and Grill in Murfreesboro, TN. At the age of 23 I decided I needed more work experience in construction so I joined the Air Force to do just that. My secret ulterior motive was to play my bass every night after work and join my first band and see what I could become. I joined my first cover band in the service at the age of 24. In two years I went from being the weak link in the band to bringing forward songs that the other guys had a hard time playing. At that point I began thinking I may have the ability to move back to Nashville and try joining an original band. I still never dreamed of a career in it though. Before moving back home I had to put my bass down for a while as I was shipped off to Iraq in March of 04. Camp Anaconda/Balad AFB is where the fire to go for it as a musician was ignited. One day there had been a particularly heated mortar attack. That attack had been my third close call while there. I'll never forget the moment the next day sitting in that big red dump truck reflecting on life and deciding I was going to do something for myself and make a real go at music. 

PEARCE: When I quit baseball to devote more time to drumline, I knew it was a move to set off my career in music.



The Last Straw, Nashville, TN, August 2011

 MA: Who are your musical influences?



Jason Graumlich, Mercy Lounge, 08.09.2011



  JASON: There's not enough time in the world to answer this question. I have always been a sponge. My brain soaks up music from everywhere.  I am influenced by musicians, artists and authors.   I am influenced as a player as a writer and as a performer.  I am influenced by the region I live..."The South"... The Beatles radically changed my life early on.  Revolver and so on, as well as the British Blues invasion, the Yardbirds, John Mayall, etc.,  which led me to the blues and Muddy Waters, Son House, Howlin' Wolf , Little Walter and on up through the Mississippi Hill Country men like RL Burnside, and Junior Kimbrough.   Whatever my father listened to was what I grew into.  His ear was very tuned in to everything. He taught me to hear it all. Bob Dylan "The Times They Are A Changin'" "Positively 4th Street' and "Blonde on Blonde" set me up for focus on poetry, musings and raw lyricism. The Stones "Exile on Mainstreet"  kept me grounded. "American Beauty" by the Dead got me into the Byrds and Gram Parsons and the whole California roots scene.  This led me to country music like Haggard, Cash, Hank Williams and Willie Nelson. I am a lover of Jeff Tweedy. I am influenced by Texas troubadours like Townes Van Zandt and Guy Clark. I read a lot of Kerouac growing up and his writings and poetry always set me free and helped cultivate my wandering eyes and ears.  This has gone on too long... see?!  I constantly search for new music and new influence, as it is never-ending.  Right now I am being influenced by coffee and Lucinda Williams.  I could write a book on my influences.



Kyle Daniel, Exit/In, 04.08.2011



KYLE: My influences: Gregg Allman, Warren Haynes, Derek Trucks,  Chris Robinson, Jonny Lang, Carlos Santana, Jack Pearson, Greg Martin, Joe Bonamassa, Lowell George,  Paul Rodgers, Van Morrison, Joe Cocker, Duane Allman, Jim James, Audley Freed, Jimmy Herring.  

MARC: My biggest influences in any musical setting are the people I'm playing with first and foremost. I try to check myself at the door when first entering a jam and let the situation show me the way. I've tried to not copy any one player in my time as a bassist. People constantly tell me I sound like so and so or ask if I listened to this guy or that and they rarely get it right. I've striven to develop my own style and think I've done well in doing so. I've never copied solos or learned tons of songs by any one player. There's only two guys that I've learned more than 3 songs by; Dirk Lance of Incubus from my old cover band days and Phil Lesh of the Dead because the straw did a Dead tribute show one time.  

Marc Williams, Mercy Lounge, 08.09.2011

 That being said my short list of favorite bassists is: Old school - James Jamerson, Noel Redding, John Paul Jones, Paul Mcartney, Family Man Barrett. Newer school- Flea, Les Claypool, Dirk Lance, Eric Wilson, P-Nut.

PEARCE: I used to jack cassette tapes from my mom starting as soon as I could walk and put the tape in a player, especially Michael Jackson and Genesis. Those two really set the foundation for me. Then when I was about 10 years old and starting to actually learn how to play grooves behind a kit, I discovered my dad's Led Zeppelin records. 

Pearce Harrison, TLS Studio, March 2011

When I was 12 or 13 I really got into the heavy hitting "nu-metal" scene (deftones, Korn, etc.) that had a lot of hard hitting drummers, which got me to a 311 concert. Chad Sexton was very influential in my drumming... such a groove machine.

MA: How do you bring your individual influences and originality to your current role in the band?

JASON: I don't really think about bringing my influence into a band.  It's subconscious. I find the "Jason" shaped hole and I squeeze in there.  I'm just myself.  Hopefully it works like I want it to or to best serve the music.

Kyle Daniel, Jason Graumlich, Nashville, TN August 2011

KYLE: My personal influences permeate the bands sound, because I perform a majority of the vocals. I try to take all of the influences and combine them to shape my own sound. I started playing by ear, imitating these players and their styles. That was my way of learning the guitar. So, in a sense, they all teach me a little bit more about playing, each time I dive into their techniques.

MARC: When I joined The Last Straw it was a very roots/blues based band. With my rock/pop heritage all I've tried to do all along is add my bounce to the music. If you can make the music bounce you'll make the heads bounce. 

PEARCE: When I joined the band, people were coming up to me every night after shows and telling me how much my heavy hitting past has brought new life to this band. I didn't really understand until after the first album was put out and you can hear the difference between that first album and our current music; how much heavier the drums are in their presence in these recordings. I consider myself a straightforward rock drummer and that was something this band needed I feel.

MA: Do all of you participate in songwriting? What is your songwriting process?

JASON: We all participate in some shape.  Sometimes more than others.  I find there is no set way to writing or process.  When the muse hits, I go with it.

KYLE: I do participate in the songwriting process, however there is no true “process” for me. I feel as though I write from every angle. I write from a melody, a hook, a single lyric, music, or any point in between. This all depends on what mood hits me first. I try not to limit myself in the process, it is usually apparent when a certain component is screaming to be elaborated on. I try to follow my instinct when songwriting.



Marc Williams, TLS Studio, March 2011



MARC: We have co-written a few songs with this line-up. We are still trying to find our method as a band. Personally, I write alot of poems and throw them out or stuff them in folders or save them on my phone. Writing a song in large part should be an organic process. I believe that songs reveal themselves to you as much as you create them. The music gods have no set method and neither do I.  Sometimes a song idea comes from a groove or riff. Sometimes it comes from a melody I can't get out of my head. Sometimes a phrase sparks the melody.  Ultimately what you're trying to uncover when writing a song is a mood. Then you try to make a point with the hook. From there everything else must fit into the sonic landscape to support that. I'm more concerned with the over all sound of a song than the actual lyrics. There's nothing musical about a word or letters alone, unless you spell the word musical with them. That's why I believe the strength of a song lies in the melody first, then music, then the lyrics. What order they come about doesn't matter just as long as they do. That is perhaps a very opposite line of thought from the singer songwriter folks here in Nashville but that's just me. I typically don't understand or pay attention to the words of a song unless the whole soundscape draws me in anyways. 

Pearce Harrison, Mercy Lounge, 08.09.2011

PEARCE: Participation in songwriting comes and goes. Lets say I’m not around when Kyle and Jason are hanging out and come up with a lick or a verse or a hook, it doesn't mean I’m not going to have my hand in the process somewhere.  The songwriting all comes together when WE all come together and play it for the first time. But Kyle and I have written songs together that were finished before I even touched a drumstick. Its all about how our ideas and influences come together that make a song.

MA: How do your strongest musical influences weave into your songwriting? For example, in your new song, Rearrange, we hear some Stone’s influence in the tones, but it is uniquely a TLS song. How do you allow influence while maintaining your originality?

Jason Graumlich, Exit/In, 04.08.2011

JASON: I can't tell you how my influence makes its way into a song.  It happens.  It's either a natural flow or it's forced.  If it's forced, I don't do it. When I came up for the riff in "Rearrange" I didn't think, "Hey, I need to play this Stones thing here", it just happened and I let it come. It was only after that when I realized what it was. It works beautifully in the song. Thank you Keith Richards!

KYLE: It’s a slippery slope when adding components in which you want to be “in the style of.” It can either tag you as a rip off, or a great success. I think we allow those sorts of feelings/ influences to come into play when it’s appropriate. Before, we were notorious for putting too many elements into songs, and putting parts in unnecessary positions, but I think we’re passed that. I think an influence/feel is one thing, as long as you make it your own.

(L to R) Pearce Harrison, Jason Graumlich, Kyle Daniel, Marc Williams
TLS Studio, March 2011

MARC: I think your influences come out naturally. If you intentionally lean on your influences when creating a song or part you're going to wind up copying that influence. I've already done the cover band thing so I'm not into that so much anymore. When a song comes forward there are parameters that are set for that piece. The key and tempo give you the boundaries for that song. Your soul, hands, and tools give you your personal sound. When you combine with other musicians in an honest open way what comes out is an original sound. Unless you're all leaning on the same exact influences. Then you may as well go find some wedding gigs and make some easy money.

PEARCE: That’s funny you mention it because I’m not even thinking Rolling Stones when were playing that. Granted the guitar tones and licks are Stones influenced, the drums are almost doing a heavy metal beat. One of the ways we played it when we wrote it originally, it was a double bass pattern. But we trimmed it down to fit the vibe of the rest of the song. I find myself using less and less double bass these days because its not always called for. But that’s a big step considering I grew up playing in punk/metal/hardcore bands.

MA: How do you feel your music has changed since the formation of The Last Straw?



Kyle Daniel, TLS Studio, March 2011

KYLE: We are a completely different band. It’s been a hell of an evolution with this group, but I truly feel blessed to be in the position we are. We came out strong, but I feel as though we left room for a lot of improvement. In our case, that’s a great thing. We have been able to blossom over the years, dissecting every component of what we do until we find what works best.  We are a very critical band, and although some of our songs are more intricate than others, it’s all about the basic core of what’s going on. I feel as though we are on a rise out of the “jam-band” genre, and moving into the rock-n-roll arena. We love to “jam,” but we have realized certain aspects of our abilities that allow us to be more impacting as a rock-n-roll unit.

Marc Williams, Exit/In, 04.08.2011

MARC: Before I joined, the band was very roots/blues based; very classic rock sounding. There was alot of jamming and solos and what not. When I joined I wanted to push the sound forward a generation or three. As we've gone through line-up changes I've always leaned towards players that have their heads into more modern music. A few years later I think we are starting to get to that place that I imagined when I was first asked to audition.  We are focusing more on songs these days. We have taken a turn towards a more modern straight ahead rock-n-roll band and I'm excited about the future.

MA: Do you prefer large shows or more intimate shows? How much does the audience affect your performance? What do you feel brings on the music transcending the environment to take on its own rising energy?



Jason Graumlich, TLS Studio, March 2011

 JASON: Audience/artist connection can make a performance magical or dead in the water no matter the size.  If energy is being transferred between the stage and the audience odds are things are going in a positive direction, big show or little.

KYLE: We definitely like to play bigger shows. The audience is a vital aspect of our performance. The more energy they provide, the harder we go and the more dynamic we become. Intimate shows are fun if they are stripped down and not as high energy, but The Last Straw is all about energy!

MARC: Large shows are amazing in their own right and everyone dreams of playing to a stadium crowd. That being said, my roots are in the down dirty rock clubs. I'm a CBGB's guy at heart. I love a small dingy club with a packed house right on top of you. Sweat, heat, and tension. LOVE IT! The audience is as crucial as the band to a good show. The crowd is like one being. If you're talking and the other person isn't listening then it's a bad one way conversation, downright awkward. It's a circuit that you are creating with the crowd. They feed off of you first then you feed off of them then the whole experience rises. Letting go is the only way for the transcendence to occur. If you're too in your head on stage a crowd can feel it, then they get in their head. 

Pearce Harrison, Exit/In, 04.08.2011

PEARCE: The shows can only get bigger. We feed off of the crowd as if it were a buffet and we haven't eaten in 3 days. It’s a cyclical movement of energy that we throw at the crowd, the crowd throws back at us, and it continues.

MA: Your new release ‘This Is’ is due out soon. Will it contain rearrangements of your first release ‘Brought to Life’ or only previously unrecorded music?

KYLE: We have flipped the switch on this album. I am very excited for this release, as I feel it is our best studio effort yet. There is a little bit of it all on this album, but it is mostly brand new material. We have rehashed some songs for this album, because the songs have turned into completely different material at this point. “This Is” is the working title for this project, which may change by release date in January 2012.  Follow our website for updates.

MA: Where do you envision TLS in five years?

Kyle Daniel, Mercy Lounge, 08.09.2011

KYLE: I would like to see The Last Straw as a nationally and internationally touring act in 5 years. We don’t have to be headlining, but constantly touring with a nation-wide headliner would be a great chance to break out in the entertainment industry. I want to see us continuing to grow as a band of brothers, and sculpting this sound we have been working on for the last 5 years. 

MA: We know it’s a bit like asking to pick your favorite child, but what is your favorite TLS song? What makes it your favorite?

JASON: "Little by Little" is one of my favorites.  Lyrically it is different than any other TLS song.  It's more narrative and visual in that sense.  Has more landscape and atmosphere.

KYLE: I am a huge fan of “Rearrange.” I think it speaks to the times, without being too preachy. We all know that we need to change as a people, but it’s just harder than we realize sometimes. The song is very driving, instead of making you feel bad for not changing, it encourages listeners to make a change and feel good about it.

Marc Williams, TLS Studio, March 2011

MARC: "Bad as You Wanna Be." It's our first TLS co-write and it gives me my best chance to get the CBGB's out.

PEARCE: I'm REALLY moved by "Rearrange" right now. I’m listening to it as I write these answers actually. The message and melodies and harmonies in this song make me so proud to be playing drums for these musicians. The title of the song alone sums up what we are right now. We HAVE been rearranged and we HAVE to walk away with our heads held high and proud of who we are and the music we make. "Its high time we rearrange..."

MA: How do each of you find and listen to new music (i.e., satellite radio, iTunes, Spotify, etc.)?

JASON: I scour blogs for new music daily. I’m a hound for fresh things. I get bored very easily and need new influences. 

Kyle Daniel, TLS Studio, March 2011

KYLE: I just try to keep hip however I can. Usually a friend is showing me something new, and then I go and more. I like You Tube and any other source that suggest similar videos/styles. I also like Pandora; it is the background and sometimes foreground music of my daily life. 

MARC: Again, I'm a pop guy. I'm probably one of the only folks left around that actively listens to commercial radio every day. I let new music find me because if you're out in the world you have no choice but to hear new music. Friends recommend stuff to listen to, when we're on the road we listen to tons of music, festivals, local shows, T.V. I'm weary of plugging in the ipod and disengaging from the world as it happens.

PEARCE: I have a note pad on my iphone that has a page dedicated to band names that people ask me if I’ve heard or I need to check out. That’s how I get my new music fix.

MA: What is the best way to keep up with TLS and purchase your music?

TLS: The best way to keep up with the band is via our website: www.thelaststrawrocks.com  You'll find tour dates, merchandise and a place to buy our music! You can also find us on Facebook.

(L to R) Jason Graumlich, Kyle Daniel, Pearce Harrison, Marc Williams
TLS Studio, March 2011

Thank you TLS! We look forward to the release of "This Is" in January 2012.

That's a wrap for September's Musician Spotlight. October's Spotlight is not far away...

Musician Spotlight: Jules Mastri

Our first Musician Spotlight begins with the promise of the present and the future. We are honored to introduce you to Jules Mastri, a fourteen year old classical celloist and composer in the making. He has music and art in his family genes and his heart. Many of you reading this have first hand knowledge of this most probably without realization.

We met with Jules and his lovely, endearing and artistically gifted mother, Tamelyn Feinstein, on a warm and humid afternoon for a short photo session to accompany his introduction to you. As you will see in his interview below, he is an exceptionally focused and committed musician. We are excited for the beginning of Jules' musical journey, for who he is now and who he is becoming. And he's pretty cool to hang with...

Jules, thank you for leading this series of spotlights. We hope your cello suffered no ill effects of the humidity even though the rest of us probably did... and, we appreciate your attention to detail and the respect you give the art of music.

World, this is Jules Mastri. Jules, meet our part of the world...

MA: We couldn’t help but notice that you are drawn to the stringed instruments. You’ve chosen the cello as your instrument of art, but we’ve seen images of you with guitar and you brought a uke to the photo shoot as well as your cello. What is your first memory of strumming or picking the strings of an instrument?


Jules:  I suppose I don’t have a clear memory, but I’ve always been around stringed instruments. My dad plays guitar and I’ve seen videos from several months after I was born, sitting in his lap, playing his guitar. Granted, I never grew up around classical stringed instruments, but I have definitely been around many others. When I was little, I went through a lot of phases, instrument-wise; I had a guitar, mandolin, violin, and even a sitar. And, I assume, it was through these that I chose to play a stringed instrument.

MA: What is it about a stringed instrument that first drew you to learn to play versus a wind instrument or percussion?


Jules: Believe it or not, I first wanted to play the clarinet. When I was in elementary school, we were in music class the last day of school, and our music teacher asked us if we wanted to play an instrument in middle school.  I had previously been very good at recorder, and I figured transitioning from recorder to clarinet wouldn’t be so hard. My dad even bought me one; but we had always had my sister Brittney’s old school cello sitting around the house. I never actually bothered to play it; I guess you could say I wasn’t very interested at the time. But my mom signed me up for strings instead.

MA: How did you decide the cello was to be your course of formal study?

Jules: In theory, we took a test in our orchestra class at school where we wrote down what instrument we wanted, and then the teacher played some notes and chords on the piano, and we had to write down things like if the note was high or low, or if the chord was major or minor. I was told I did very well, and my teacher let me play the cello; we had one from my sister, when she played cello in school, anyway. I was actually very apathetic about what instrument I wanted to play. I knew all of the instruments, but the method of playing the classical stringed instruments seemed foreign to me.

MA: You attend a school that has a unique structure and is very much dedicated to the arts, but you still have to complete core studies as required by traditional high schools. You basically graduate with more credits. How does the coordination of your traditional study requirements and your arts study requirements flow? Does it seem there is a separation or do both areas of study work rather seamlessly? Are there assignment and/or deadline conflicts between your traditional studies and your arts studies?

Jules: Aside from the arts classes, the core classes are just like a regular high school. Though, I find that most of the teachers seemed to be involved with the arts somehow… and I don’t mean the arts teachers. For instance, the wellness teacher is in a band… but everyone there is cool, and I guess if you want to work at a school of the arts, you have to have at least some sense of the arts.

MA: As your art curriculum is so much a part of your school year, do you perform in concerts for the student body? Family and friends? General public? How do you feel about live performances? Do you have some trepidation or do you feel very comfortable on stage?

Jules: At school, we have scheduled concerts for the general public; but mostly only students and parents of students come. I’ve always loved being on stage -- acting, singing, performing, I love it all. But of course, there is always a little amount of trepidation. Nobody is fearless of performing in front of so many people. Imagine the people who perform on Broadway or in the symphony -- thousands of people every week come to see their shows, and it would be a false statement to say that they are never nervous. I generally am quite comfortable, but I just breathe a bit… and I’m fine.

MA: Are you able to continue your arts studies through the summer with teacher or coach assistance or is it pretty much through personal commitment? How often do you practice cello during the school year and during summer break? Do you also practice other instruments?

Jules: I practice during the summer mostly with my private teacher, Caroline Terranova. She’s a wonderful teacher, and I’ve learned and advanced so much from her. I guess I practice as much as any other time of the year. There are lots of auditions in August for orchestras and such, and with some of the requirements for these orchestras, it’s imperative to practice. I also have recitals during the summer; I think it’s important to keep practicing during the summer, and I know from past experience that it really helps retain knowledge. If you learn something during the summer, you’ll forget it if you don’t practice!

MA: At the age of 14 you are still in the early years of high school. How do you currently think you might apply the knowledge you’re gaining through your arts curriculum to your life after high school? Or college?

Jules: One of the great things about music is that the very first things you learn, you retain for the rest of your career. It’s great to have a head start as well, but sometimes this does not make you better than other musicians. I want to take cello past college; I want for it to be my career. And hopefully, it will take me far --but there’s always the part in my mind that says ‘you’re not going to make it’.  Being a music major is hard -- if you don’t find a career in music that pays well, you’re basically a starving artist. It’s always a good plan to have a fallback degree, but music is my passion and I wish to take it far. I’m going to try my hardest to make it.

MA: Your family is filled with artists. Tell us a little about some of the art you’ve grown up with and how you think each has inspired your own form of artistry.

Jules: For as long as I can remember, I remember knowing my mom was a good artist. Her paintings hung around the house, and she had shown me some of her sketches. And also as long as I could remember, my dad played guitar. This is what I grew up around, so I guess you could say that I grew up in an intellectual and open-minded environment. Unfortunately, I don’t have many early memories of my uncles. When Chris was here in Nashville, I was so young; I wish that I had known him better -- I guess one of the reasons is that everyone says we’re so much alike in a lot of ways.  I remember that I loved going to my Uncle Scott’s house, because he had lots of cool guitars and amplifiers. But I really didn’t grow up in a classical environment -- aside from one thing; my dad works at classical music radio station, WPLN. So every night, my dad would turn on a small radio I had by my bed, and he and I listened to classical music as I fell asleep. I guess that carried over as a good memory, so I decided to go into classical music; also knowing I had many resources for listening and learning.

MA: You brought some of your scored music to the photo shoot. I’ve known a lot of students that are happy to practice and play already written music. Is composing music an assignment in your art studies or is that something you’ve grown to do on your own?

Jules: When you’re a musician, there’s always an aspect of music playing constantly inside your head. When you’re a non-classical musician, it’s easier to get this music out expressively by writing and playing songs in a group or on your own. But, being a classical musician, there is more ‘play this’ rather than ‘write this’. Yes, playing does release a fraction of expressive emotion, but it’s through writing that it really pours out when you make a creation of your own. I guess what I’m saying is, I do it mostly on my own; not as much as a main faction of my music career. This doesn’t mean I’m good at writing music, nor does it mean that it’s playable… but it is a good way of expressing yourself and I think all musicians should pursue trying to write some things.

MA: Composing music for the cello brings to mind classical music. Do you think in the vein of classical / purist composition or do you allow influences of current music to enter your compositions? If you were to allow current influences how might you apply that to music for the cello?

Jules: Oh gosh, I can’t play modern classical, much less write it. When you’re a younger musician as well, you learn more of the ‘literature’, which is old, overplayed classical music. I guess, unfortunately, I have more of a linear view of music; at least writing. If I allowed modern music in my music, I assume that it would take the cello far more than it can go. It’s a very versatile instrument, in that it can play classical and modern, as well as much more. But I prefer the more conservative classical music, but I’m sure as I go along in my career, I will be exposed to much more factions of music.

MA: Many high school musicians create a band to play music outside of the school band or study environment. Are you a member of such a band? If so, do you stick with the cello or play another instrument?

Jules: Heh, no, I’m not in a band. Though I’m not sure if you would consider extracurricular orchestra, such as Music City Youth Orchestra or Repertory Orchestra, for example, a group outside of the study environment. I play other instruments aside from cello for fun, but I wouldn’t take it up as a career. But I enjoy playing music I happen to find or music my friends lend me, just for my own amusement or for the sake of learning.

Pick one:

Peaches or watermelon?

I'd have to say peaches. They remind me of summer in the south, and especially the organic ones you get at the farmer's market; they're the best.

Yellow or red?

I don't discriminate against colors when it comes to art or other things like that, but when it comes to clothes or personal preferences, yellow is evil. Red all the way.

Chucks or Nike?

Chucks, of course! I don't understand why anyone would wear Nike shoes if they weren't running or playing sports (two things I try to avoid doing).

Plaid or stripes?

I think plaid is pretty rockin', but only when it's used well and in the right things. Like, plaid socks? No. No no no. Plaid hat or shirt? I'd be down with wearing that.

Summer or winter?

Summer, without a doubt. I can't stand the winter, everything is cold and dead and gray. It's depressing. Summer is all bright and happy. Plus, I get cold really easily.

MA: If you had a session do-over would you branch out with the hat and the uke, too? We're pretty sure you would have rocked those as well...

Jules: I dunno why I didn't wear the hat! It's a cool hat, even if it's pretty big for my head, which is amazing considering I have the biggest head ever (in a literal sense). But, I didn't use the ukulele because I wanted to portray myself as a classical musician rather than people seeing it and thinking I played ukulele more than cello.

Thank you, Jules! Your answers are indeed very good... ;)

So, that's a wrap for our first Musician Spotlight. Look for our next on 09.14.2011...