"I hope my music is some mixture of that; I hope at least some of my songs make people want to move, and that some of them cause listeners to have an authentic emotional response. People tell me they cry when listening to some of the songs, and while I’m not happy to think of anybody crying, I have to say it’s rewarding to know that I successfully tapped into the emotional pathway that causes a person to respond on that level."

Pat McDougall: In The Keys of Blues 

Pat McDougall has performed with a long list of bands and artists, including his own blues/R&B outfits Runaway Train and Tall Static. He was the musical director for the Portland-based band supporting Tony Coleman (B.B. King’s drummer for many years), and a member of the Muddy Award-winning lineup of Bill Rhoades & The Party Kings. More recently, Pat was the keyboardist and musical director for the Rae Gordon Band for two years, helping to create their acclaimed and award-winning CDs Better Than I Was and Wrong Kind Of Love and coordinating the band's appearances at the Waterfront Blues Festival, Winthrop Rhythm & Blues Festival, Big Blues Bender in Las Vegas, Bronze Blues & Brews Festival, Bonita Blues Festival in Florida and many others.

(Pat McDougall / Photo © by Marilyn Stringer)

These days Pat can be heard playing with his own band Tall Static, Ben Rice & The Hustle, Fenix Rising, Joanne Broh, Lisa Mann and others. Pat has composed music for commercials, independent films, theatrical productions and corporate presentations; his compositions have won recognition from the Portland Music Association and Keyboard magazine. Pat released his all-original CD In The Key Of Sorry (2023), featuring his own original songs and the talents of his Tall Static bandmates, along with several notable guest artists. In The Key Of Sorry is a collection of 12 songs co-produced by Pat McDougall and Jimi Bott at Roseleaf Recording. All songs were written by Pat; two were co-written with others. This eclectic collection has something for everyone: up-tempo blues, melancholy soul ballads, swampy slide guitar blues, ironically humorous romps, even a pop-rock anthem.

Interview by Michael Limnios

How has the Blues and Roots music influenced your views of the world and the journeys you’ve taken?

Blues music is two things at once: a fundamental form that’s more than a century old, and a living, evolving genre with countless branches and tangents. For me, working within the blues world has instilled respect for its history and its founding artists, but I’ve also been inspired to use its key components as building blocks and create my own blues-inspired sounds and songs. Pursuing creative projects in a genre that has such a rich and varied history tends to result in productive interactions with other artists, and helps reinforce the idea that we have more commonalities than differences. There’s so much to be gained from collaborating with others; it opens up a world of ideas and takes you in new directions.

How do you describe your sound and songbook?

I think of myself as a blues artist, but my songwriting tends a bit more toward traditional song forms (verse, verse, chorus, bridge, etc.) than standard 12-bar blues. It’s the Memphis soul, southern soul and classic R&B songs that really move me, so I find myself leaning in that direction when I’m writing too. I also love straight-ahead pop music (Crowded House is a favorite, for example), so that influence sneaks in sometimes too.

Where does your creative drive come from?

It’s not always there! But when that drive is present, I think it’s often because I've just heard some great music made by others; it seems to light a fire under me to start working on my own stuff.                   (Pat McDougall / Photo © by Marilyn Stringer)

"Blues music is two things at once: a fundamental form that’s more than a century old, and a living, evolving genre with countless branches and tangents. For me, working within the blues world has instilled respect for its history and its founding artists, but I’ve also been inspired to use its key components as building blocks and create my own blues-inspired sounds and songs."

What touched you from the sound of B/W keys?

Hmm…I didn’t necessarily choose the piano. I was one of those lucky kids who was told in grade school, “You’re starting piano lessons!” I was taught by nuns and I didn’t like it a lot, but I apparently did okay. I just didn’t feel very inspired, so I quit the lessons when I was in 6th grade. But then I heard Elton John, and everything changed. That was the inspiration I’d needed, and I started pounding out songs by ear. So, I have Sir Elton to thank, as I imagine many keyboard players do, and one of the songs on my album includes a quick musical quote from him.

What's the balance in music between technique and soul?

That’s a tough one. You definitely can’t be all technique – there has to be an element of vibe, feel, attitude in your playing if you’re going to catch people’s ears. That’s not to say technique is unimportant, because it’s tremendously important and I’m always working on mine. Practice and discipline are crucial to getting better. But there has to be intent behind your playing and you have to be conscious of the song itself – are you playing something that helps to underscore what the song is saying? Are you helping to set the mood? Technique and soul are both huge factors in doing that effectively.

Which meetings have been the most important experiences for you?

I realize this question probably refers to meeting famous or influential people, and I have met a few – but really, the most important meetings for me have been the musical colleagues I’ve met here in the Portland music community. It’s a fairly welcoming group of people, and the opportunities for collaboration are plentiful. I’ve made some great friends, like the core band on my album and many of the guest artists.

"Music has always had the power to inspire people, motivate them, bring them together, make them have a shared emotional response. It can bring about action and positive change. That’s the power of songcraft and musical skill. On the other hand, some music just makes people want to move around on the dance floor – and that’s completely valid too." (Pat McDougall / Photo © by Marilyn Stringer)

What was the best advice anyone ever gave you?

This isn’t quite advice, but it has served me as such. When I auditioned with the great blues drummer and singer Tony Coleman to play in his Portland-based band some years back, he told me, “You got big ears.” I hadn’t really thought of myself that way, but it’s true that I’ve always been a good listener, both conversationally and in musical situations. So Tony’s remark made it clear that was a trait to hold onto, and to employ as much as I can. In a way it goes back to what I was saying earlier about listening to the song you’re playing and considering how well you’re supporting it. You also have to listen to the other players and make sure you’re staying out of their way AND providing a foundation for them to play over.

Are there any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?

There’s a story behind track #4 on the album, “Hot Soup And Ice Cream.” I’d been on a tour through Oregon, Washington and Montana with Kara Grainger, and one afternoon we were zooming through the small town of Troy, Montana on our way to Spokane. Looking out the van window I saw a storefront with the sign “Hot Soup & Ice Cream.” I called out to the whole band to look, and we all had a good laugh about what a wrong-sounding combination that was. It stuck with me, and I ended up writing a song that extended that idea to two incompatible people. When we started to plan the recording, I knew that I wanted Kara to play on the track. I called her up, she remembered the sign in Troy, and she enthusiastically agreed to add her gorgeous guitar work to the song. As Kara said, "I’m so glad the moment was forever captured in song…nice one Pat!”

What do you miss most nowadays from the blues of thepast?

I just wish I’d been able to see some of the greats perform live – Muddy Waters, Albert King, Otis Spann, the list goes on. I’m thankful we have their recordings though, and that I know people who did see many of the originators in person and can tell me about it.

What are your hopes and fears for the future of?

I often hear people suggest the blues is dead or dying, but this idea doesn’t get much traction with me. When you look at younger artists like Selwyn Birchwood, Christone “Kingfish” Ingram, Albert Castiglia and even my boss Ben Rice (who also appears on my album), it’s clear the music is in good hands. The music industry overall is changing of course, and it’s much harder for performers to make it pencil out financially, but the dedicated ones still seem to find a way.

"I think of myself as a blues artist, but my songwriting tends a bit more toward traditional song forms (verse, verse, chorus, bridge, etc.) than standard 12-bar blues. It’s the Memphis soul, southern soul and classic R&B songs that really move me, so I find myself leaning in that direction when I’m writing too. I also love straight-ahead pop music (Crowded House is a favorite, for example), so that influence sneaks in sometimes too." (Pat McDougall / Photo © by Debra Penk)

What is the impact of music on the socio-cultural implications?

Music has always had the power to inspire people, motivate them, bring them together, make them have a shared emotional response. It can bring about action and positive change. That’s the power of songcraft and musical skill. On the other hand, some music just makes people want to move around on the dance floor – and that’s completely valid too.

How do you want the music to affect people?

I hope my music is some mixture of that; I hope at least some of my songs make people want to move, and that some of them cause listeners to have an authentic emotional response. People tell me they cry when listening to some of the songs, and while I’m not happy to think of anybody crying, I have to say it’s rewarding to know that I successfully tapped into the emotional pathway that causes a person to respond on that level.

What are some of the most important lessons you have learned from your experience in the music paths?

1) Listen to the other players, like I said above.

2) Write down or record every single song idea that comes to you.

3) Never settle for where you are – you can always get better at your craft.

4) Make an effort to play music with people who are better than you.

5) When the van stops, always use the bathroom even if you don’t think you need to.

Pat McDougall - Home

(Pat McDougall / Photo © by Debra Penk)