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Taylor Nauta

As children, we’ve all experienced one family member that seemed to have more of an impact on us that the rest. Their words, habits, or tendencies are something we still carry with us to this day. For Taylor Nauta, that person was his grandfather. With his dad at work most of the time and his mother having fallen ill, the two spent much time together. Though their generational gap spanned some fifty-eight years, they connected through music. Taylor’s grandfather was a country music fan and shared this passion with Taylor. The needle would drop onto a record, heavy knobs were turned on a vintage Sony stack unit, and the eyes of a child grew wide. Twangy melodies and rustic notions emanated from wood cabinet speakers, filling Taylor with the tenets of those like Merle Haggart, Johnny Cash, Roger Miller, and Waylon Jennings. These were voices that predated Taylor’s very existence; each with a style all their own. In speaking with Taylor about these moments, I could tell they posed more than a simple child-like fascination. Whether either of them realized it or not, his grandfather instilled in Taylor what became a deep-seeded respect for history and a value in sentiment. Those indoctrinated with this are the ones who dissuade future generations from diluting keystones like societal mores and cultural traditions.

Taylor first picked up a guitar at the age of seven under the direction of his grandfather, who also played. Those vinyl sessions began to take new meaning, as Taylor tried to decipher audio that passed through aged tweed. By fourteen, Taylor was playing constantly and even writing his own songs. But he had gotten all he could out of the guitar he was given. The strings sat far off the neck, making it a challenge to both play and keep in tune. One night, he played a song for his father and grandfather that really impressed them both. It was a Chet Adkins styled piece where he plucked an alternating bassline with his thumb while simultaneously playing the melody with his fingers. As he sang along in a Jimmy Rodgers yodeling manner, both realized that he had become something greater than expected. Soon, they would pitch in and buy him his first really nice guitar, a Takamine F-349. That solid wood top and high-quality tone wood so inspired him to keep learning and growing as a musician. It comes as no surprise that by the age of fifteen, you could find him at school playing tunes like Cannonball Rag, a Merle Travis record from 1952. And you could find the girls passing him by to listen to the emo musician down the hall. After noticing this, Taylor chose country radio stations of the time over his grandfather’s records when searching for inspiration. Moving forward, he would come to realize that material born out of the early 90’s was far superior to the pop style country that would come from the early 2000’s. He stated, “The guitar solos and cool intros were common in 90’s country. And now they’ve just about gutted that stuff out. If there’s a guitar solo at all in today’s country, it’s short; real short, like a lick or two and you’re out of it.” Though he explored his sonic surroundings to sample what was out there, he remained true to his roots when it came to musicianship. He considers himself lucky to have experienced both the solid foundation of his predecessors and the remarkable creativity that was characteristic of early 90’s country music. He shudders to think what he might have become if he grew up during the era of pop infusion.

They say hindsight is 20/20, but at this point Taylor was just a kid trying to find his way. We all can recall moments in our lives when perhaps we didn’t know which way to go. He had an idea of where he wanted to end up. He wanted to sing and play guitar like the stars he’d seen as a child on The Grand Old Opry. Likewise, he knew the caliber of musician he wanted to be but may not have known what things landed him below that mark. At one point, he had the benefit of a few months with an instructor. This taught him things like basic theory and the concepts of scales and modes. Although short lived, this helped him immensely. As he was able to recognize when guitarists articulated pentatonic, major scale and arpeggio methods in songs. At seventeen, he was invited to the studio of James Marsden, a man whom, among other things, held several credits for Disney song production. Taylor was able to perform a few songs for James and hear his thoughts. James expressed reassurances, but pointed out that there was room for improvement. He told Taylor to listen to songs by Rascal Flats or Clint Black and ask himself what gives those artists their signature style. Then try writing songs in the vein of those artists; songs that Taylor thought would be performed by those artists. He also suggested Taylor purchase a metronome or drum machine because he found Taylor to be playing along more with his voice than the rhythm signature. Taylor went out and bought a Digitech FX pedal that came with drum loops. Following James’ advice tidied up his right hand quite a bit, cementing this gift in his mind.

The following year in 2006, he moved from his hometown of Baton Rouge, Louisiana to Nashville to pursue his dreams. He arrived with his acoustic Takamine F-349, a Telecaster, and a duffle bag. He would be living in Franklin, a suburb just south of Nashville, in an apartment with Vickie, a church acquaintance of his aunt.  He had thirty days to find a job and start paying rent. One day, he was at the mall and saw a sign with a job opportunity for a karate instructor. He had taken years of Tang Soo Do as a child, but the sign was for Tae Kwon Do. Still, he sold himself stating that both were Korean martial art styles and was given a job as an instructor at the Yong In Martial Arts Academy. With his financial piece being solved, he began to put together more of the puzzle. Taylor frequented the local clubs and bars to get a taste for what was out there. He spent countless nights waiting in line to perform at writer’s rounds. Very quickly, he realized how small of a fish he had become in such a big pool of talent. But his thirst for success could not be depleted. When not roaming the entertainment district, he would practice in a loft above the gym at Vickie’s apartment complex. One of those evenings, a man poked his head up to talk to Taylor. He complimented Taylor on his music and, handing him a business card, asked if he would come play some songs for him at his place. The stranger turned out to be Walt Aldridge, a member of The Nashville Songwriters Hall of Fame and The Alabama Music Hall of Fame. His repertoire included hits for Travis Tritt, Conway Twitty, Tim McGraw, Reba McEntire, Ronnie Milsap, and Barbara Mandrel (And I’m only scratching the surface here).

The night Taylor went to Walt’s place, Walt handed an old Gibson to him and asked what he thought of it. Though it looked a bit old and worn, Walt explained that the guitar used to belong to Johnny Cash. Taylor was frozen, taking notice of how the buttons on his shirt were touching this holy grail of instruments. After playing a few of his tunes, Walt imparted some insight to Taylor. He told Taylor that he thought his songs were good but admitted he hadn’t heard a hit. He felt Taylor needed to trim the fat. “Genius is when big implications are expressed with fewer words”, he said. Walt critiqued each one of Tayor’s songs individually. He would send Taylor off with homework assignments, directing him to write songs meant for certain artists and critique those as well. With his work cut out for him musically, Taylor was able to inch forward occupationally when Vickie tapped on a church acquaintance to land him a job at Gibson Guitars. His pay jumped from $8 to $12 an hour, which was decent money back in 2006. While there, he befriended an ex-marine by the name of Brad James. Brad was a bit older than Taylor, had nice gear, and had an overall cool image. He played in a rock band in the Marine Corps and had experience playing in a touring band before coming to Gibson. Taylor looked up to him. One day Taylor asked him how he could learn to play like Brad. The first thing Brad wanted to know was who Taylor was listening to. When Taylor started naming named like Merle Haggard and Chris Ledoux, Brad began to shake his head and replied, “No, man, you’re never going to become a great player listening to that stuff. Here’s what you need to listen to.” Brad turned Taylor on to musicians like Joe Bonamassa, Kenny Wayne Shephard, Stevie Ray Vaughn, Albert King, and Buddy Guy. The world of blues-rock was an influence Taylor hadn’t considered before. He crawled through the works of these artists and, by the time he watched Eric Clapton’s Crossroads DVD, he was hooked. He even went out and bought a Stratocaster because he loved the blues sound so much.

Technically speaking, the blues were more attainable to Taylor. The licks weren’t as involved as what he had been playing. Taking in the big picture, I’d say it was just what he needed to push himself further at that time. If you recall, James Marsden recommended he pay more attention to his timing, urging him to get a metronome or a drum machine. And with a groove music like blues, timing is everything. With some hard work, the time he spent with Brad would enable him to improve his repertoire. And with all of the work he put in at Gibson, he was able to move out of Vickie’s apartment and get a place of his own. Things were looking up. But so far, the only exposure he had to performing in front of crowds was at writer’s rounds with his acoustic. A local musician by the name of Dustin Wilks was performing one night at Tootsie’s Organ Lounge, a place Taylor frequented. The guitarist, Brad Wolfe, was someone he followed and respected. Taylor would often hit the guy with a barrage of questions about his gear and his technique. So, it was easy for Brad to surmise that Taylor was an aspiring musician. One night Brad needed a cigarette break. He looked at Taylor, pointed to his guitar, then pointed to him with a quizzical look on his face. Taylor eagerly responded. This would mark the first time a teenaged Taylor was in front of a crowd, with a band, and with an electric guitar. The band started running through songs to see which ones he knew and could play. They arrived at something he was ready to play, “Right Where I need to Be”, by Gary Allen. They followed with “Folsom Prison Blues”, by Johnny Cash and “Can’t You See”, by The Marshall Tucker Band. He was able to sing that night as well. And to top it all off, he got the nod from Brad Wolfe. Brad had performed on the famed tv show, The Nashville Star. So, his approval meant a lot to Taylor. It also meant scoring his own gig at Tootsie’s, which would, in turn, lead to others.

Taylor was able to form a band, playing bars, parties, and casinos all over town. He would also eventually meet a girl and fall in love. She happened to be the grand daughter of Merle Kilgore, who co-wrote Burning Ring of Fire, managed Hank Williams Jr., and was the president of the Country Music Awards. The two married and had children. But as Taylor put it, “she was too generous with her affections” and the two would divorce. He reached a point where he needed to put some miles between himself and how flawed his personal circumstances had become. It was time for him to leave Nashville. His musical identity had taken a long time to figure out. Comparing and contrasting while in the eyes of a crowd accelerated this process for him while there. So, his time in Nashville was invaluable. Brad James, his co-worker at Gibson, was what he considers to be one of the pivotal moments in his life. I’d say his meetings with James Marsden and Walt Aldridge had meaningful impacts as well. The two echoed the importance of timing and overall song arrangement. The fact that Walt chose to invest time in him was perhaps something he hadn’t considered during that moment. The man’s background towered over Taylor and nervousness was more prevalent. But during these experiences, a young kid was learning and growing, and shoring up his ego bit by bit. Today, with three singles, two albums, and countless hours performing for crowds under his belt, Taylor still remains astute. His diversity and experiences have enabled him to play throughout the gulf south, Tennessee, Kentucky, the Midwest, up and down the west coast, and Canada. And he continues to stand as a creative force in our music community. In March of 2022, he released his debut album, “Walk of Shame Hall of Fame”. They were followed that same year by two singles, “Shittin’ on Company Time” and “Shrimp Boots”. Then, in January of 2023, he released another single titled “Fuck Everything”. And he followed that with a second album in December titled, “Weather the Storm”.  A flood in 2016 spelled the end for that first real guitar his father and grandfather chipped in to buy him. But his wife had it painted, and it now hangs on his wall. This, along with the words and melodies of Merle Haggard, Johnny Cash, Hank Thompson, and other names of old are some of the things that Taylor carries with him to this day. Instilled within him is a deep appreciation for the family and the music from whence he came. And you can hear it in his music today. The solos still ring true, the origins are carried forth, and his spin on those traditions are what he brings to the table. He is the genuine article. 

Author: David Trahan

Neworleansmusicians.com

www.taylornautamusic.com

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MJ Dardar

Eleven miles from the head of passes on the Mississippi River, Michael Dardar grew up in the small fishing community of Venice, Louisiana with one older sister always by his side. In his house could be heard a wide variety of sounds, as his mother was a Barbara Striesand and Frank Sanatra fan, while his father loved listening to The Eagles, The Allman Brothers, Boston, and Foghat. His first live musical experiences came from the local church, where his mother was a leader in the church choir. Gazing across such contrasting soundscapes, he would ultimately gravitate toward his father’s tastes. And around fifteen or sixteen years of age, he began to experiment with the idea of writing and making music along with a childhood friend. “You know the Fischer Price microphone things? We would go in there; we’d put these little cassette tapes in there and we’d put the scotch tape on top of them. And we would basically tape songs on a different stereo, whether it would be a Beatles tape or something like that. And we would overdub our own lyrics and melodies on top of the tapes.” Looking back, he laughs at the thought of his father popping in one of his favorite tapes only to find his own voice beaming from the speakers. Years of this would eventually culminate in his first album, Rust, recorded in April on 2021.

From his days of experimenting with recordings of his own, the allure of one day making the transition into live performances seeded deep within him. And it never left. And although he rounded up a talented bunch of musicians to pull off the album, his only experience performing it came as an acoustic set with friend and co-writer, Jerry Martin. The two would eventually translate the work into an all-inclusive performance, implementing more band members and instrumental elements to his act. Gradually, guys like Mark Kryvanick and Tim Belanger would join them on bass and drums respectively. And he would implement a rotating roster of guys like Tillis Verdin, Brett Guillory, Teddy Baudoin, and Travis Thibodeaux on keys. Larger shows would even see a horn section taking to the stage. Adding the horns to his live performances, MJ feels, really resonated with himself as well as the crowd. “Adding that horn section is kind of the big one. The last time we did it was an album release party which was early May, May 6th I believe. And every song on our last album had full horn sections. And so, to be able to perform them that way, with the actual horn lines as opposed to transposing keyboard parts and things like that… it’s so much better and is really able to translate what we recorded into the live performance.” These elements were a refreshing change from the previous acoustic performances which had eventually become stale in his eyes. As Jerry Martin points out, “There’s nights, as an acoustic gig, where you’re struggling to hear yourself (above the crowd).”

With Houma and Lafayette being mainstays for the MJ Dardar band, the Tasting Room and Howlin’ Wolf in New Orleans have also played host. But Houma has always marked home base for MJ. Enlisting a full-time manager and maintaining a strong online presence has enabled him to broaden his reach, which he hopes will eventually lead to a venture outside of normal boundaries. Finding value in this, MJ has been sure to engage with fans and followers in the thousands across multiple platforms. I, for one, have enjoyed the personal aspect in videos where he sits down in front the camera, playing acoustic guitar and singing. This ability to connect with his audience was instrumental during the height of Covid back in April of 2020. Along with Jerry Martin and other band mates, he committed to remotely filming forty-one full request, multi-track videos in thirty days. It was through this personal challenge and the resulting encouragement of online audiences that the genesis of the Rust record took hold.

At their core, the songs on Rust feel good. The rhythm guitar strums, tambourines, and shakers keep you in the groove while story lines originate from the heart. And bringing in that brass section gives it a feint departure from your typical country sound. Hammond and reed organ contributions back MJ’s soulful vocals nicely. And he’s got just enough grit in his voice, like the perfect mix of sweet and savory. Track “Leaver” pulls us away from this rural soundscape completely, delivering a surprising R&B plunge. Softer rhodes and sustained piano take the edge off as MJ sings about the value of his family as a child. The overall quality of these recordings is unquestionable. And this is important to point out because it doesn’t take much to pull a listener outside of an enveloping experience due to a distractive distortion or overwhelming level. It’s a delicate balance that MJ and the band maintain very well. And their ability to cross over from country to R&B seems completely natural.

MJ recorded his debut album at Audiosmith Studio in Prairieville, Louisiana under the guidance of owner Robbie Smith, a long-time friend and associate of his band mate Jerry Martin. As luck would have it, this would give way to a host of opportunities for him. Not long after completing his album, Robbie would go on to help form Redstick Records, a label out of Baton Rouge, Louisiana. And he asked if MJ would be interested in signing a recording contract with the label. Travis Thibodeaux, whom I mentioned earlier, would also do work for the studio on keys. Bringing his experience as the keyboard player and vocalist for Journey, and writing credits for “Take My Hand” recorded by Grammy winner Wayne Toups, Travis would prove a valuable asset. Through Redstick Records, MJ would have the pleasure of working with Brignac Lane Studios in Saint Amant, Louisiana while still reaping the benefits of Robbie’s production skills. He would also go onto be featured in several works by Jambon and Company, a band that had also recorded at Audiosmith Studio. Taylor Nauta, another artist on the Redstick roster, recorded guitar on MJ’s upcoming record “Caught Up In The Middle Of The Rain”. And Deanna Scott, MJ’s manager, would be taken on as Artist Management at Redstick Records. Being within this circle of musicians, recording studios, and labels has enabled MJ to implement things like strings into his work. The extension has also accommodated him in his quest to expand across country, blues, R&B, and pop genres. And being in the room with some of his personal heroes while soaking in the camaraderie and confidence of others has really inspired him to push the envelope.

With album number two, “The Reason Why”, nearly complete. And his third album taking shape, MJ am Jerry still intend to release stripped down, acoustic versions in the midst. The impact of growth through their journey, first with Robbie Smith of Audiosmith Studio, then Redstick Records and manager Deanna Scott continues to propel the two forward. Over 100 shows this past year and so much time logged in the studio is proof positive of their drive. I couldn’t be more delighted to have the privilege of sitting down with MJ and his team, and discussing how things took shape as well as where the band hopes to find themselves in the future. Below you will find relevant links to the players mentioned in this article. The full interview can be found on our podcast where MJ, Jerry, and myself go on to discuss navigating festivals and venues, chord structures and story lines of previous albums versus upcoming ones, and much more. Special thanks goes out to Kevin Sevin in Houma, Louisiana for the use of his beautiful home during the filming of this interview, which you will soon be able to see on our youtube channel by subscribing today.

https://mjdardarmusic.com

https://www.audiosmithstudio.com

https://redstickrecords.com

Author: David Trahan

Neworleansmusicians.com