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fans of live music, and they still make it to quite a few of my shows. Blues music was one of the
primary styles that was played in our home, among other popular music varieties.

One album that has stayed with me from my dad’s pile is David Bromberg’s “How Late'll Ya Play
'Til?” (I’m still captivated by the showmanship of ‘Bullfrog Blues’).

Pittsburgh was where I had my first
introduction to the concept of a blues
society, which really helped me focus my
early career through blues competitions
and special events.

LL: When did you start playing music and
how did that come about?

CY: I guess I picked up guitar a bit later in
my life, starting to take it seriously when I

was around 17 or 18. Soon after I started
playing, I found fingerstyle blues. I loved the
way it felt to separate the thumb and
fingers, playing a rhythm part and then
building up chords and improvisations with

the other fingers. I definitely spent a
significant amount of practice hours
learning that skill. I think it took about a
solid year of practice to be able to keep a
consistent quarter note thumb bass on the low E string, while truly improvising a melody in real
time on the first three strings. Once I had that, I just built from there.

LL: What genres of music did you listen to growing up and who were your musical heroes?

CY: Finding fingerstyle blues was really what changed me from a casual listener, to someone who
seeks out music with an intent to learn and truly listen. A few of the first records I remember
really liking were Sonny Terry and Brownie McGhee, “Live at Sugar Hill” and a Blues at Newport
compilation, (in ​addition to the previously mentioned Bromberg album). Ha-ha, it has actually
taken me until this moment to realize, all of these favorites of mine are live.

Maybe the idea of making a live album has been in my head for longer than I thought.

Of all the great blues acts I’ve been able to see live, I would say that the two I’ve spent the most
time trying to emulate in terms of playing style are John Hammond, and David Jacobs-Strain.
These two are very different in terms of approach, but both have the unique ability to turn an
acoustic guitar into such a powerful force, that’s a fun way to create music.

Also, as I’ve dived deep into the world prewar Delta originators, here’s a few that are always on

my mind: Robert Johnson, Blind Blake, Kokomo Arnold, Casey Bill Weldon, Clifford Gibson, Blind
Willie McTell, and Lonnie Johnson.

Finally, I wanted to mention a couple of guitar players that I’ve met over the years that impress
me immensely, and that I am fortunate to be able to call friends, Little Joe McLerran and Noah
Wotherspoon.

LL: Who’s music are you listening to nowadays?