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With the quantity of fine musicians in this town, it is easy to get "lost in the shuffle." Phil Wagner (aka Suburban Slim) is one such individual. Here is a performer who steps on stage and grabs you by the collar, commanding your attention the moment he starts to play. Yet, many Blues fans are unfamiliar with this talented man.
Now, I know what really shakes me up when I see a musician on stage pulling talent all the way up from the tips of their toes. Phil's ability is obvious. Yet, as hard evidence, I feel he deserves testimony from his fellow musicians' point of view. Phil explains that his style is "slightly difficult to describe, mainly West Coast Jump Blues. But, I enjoy it all and like to get down and dirty now and then too." Each Wednesday evening provides an opportunity to see Phil in action when he plays the role of jam host at Duff's Garage (3877 Main Street), billed as "Live American Roots Music in Portland's Industrial SE." Be there for the first set at 9:30 pm. Otherwise, Phil courteously steps down to provide an opportunity for the other guitarists who show up to play.
Marco Savo is one of the regulars with the host band each week. Marco started with Phil through his friendship and connection with fellow musician Jim Wallace and simply "drifted into the same camp." Marco, another incredibly talented guitarist in town, describes: "He doesn't have any fear, apparently. He never chokes – I've never seen him choke in front of an audience. He's relaxed but never lacks for intensity. Even when playing quietly, he has that intensity going. For me, the intensity has to be there to enjoy a musician's performance."
Other than the weekly engagement at Duff's, Phil performs somewhat sporadically. Like most musicians, he has a part-time job to make up for slow times. In the past, he would push continuously and had gigs more consistently. Though recently, he has loosened up a bit and takes it more casually. He enjoys the jam session and declares his love for playing. It's clear to see. Occasionally, he will travel to perform in other locations within the Northwest.
The role of a jam host appears to be quite a delicate undertaking: one that requires a good deal of diplomacy and tact. It's a fine thing to see, this choreography of dance on which no toes are stepped. It helps that most of those who show up seem to be quite considerate of each other. Phil has gained their respect and has the ability to joke with the other musicians.
Marco adds: "He is patient and considerate. Almost everyone always gets the opportunity to play." Marco reminds that: "Phil is a killer drummer too – one of the best shuffle drummers around. Phil and I also switch off between guitar and drums – sometimes even during a song. Another great thing about Phil is that he takes chances – he doesn't just play what he knows – he tries other things. And, then there is the voice. Coming from a guy who doesn't look like he is able to, he sings real Blues – fairly classic Blues singing. He works at it. I think he is the best unknown guitarist in Portland. He's toiling in obscurity – he's not a ‘climber'. I'm always eager and proud to be performing with him."
The Wednesday night jam has been going on at Duff's for many months now. There are a few "regular" musicians who show up: Brad Ulrich on sax, Possum (Dave Stephens), Vyasa Dobson and Jay Lewman on guitar and drums. An occasional guest is local harp artist, Jim Wallace. Phil explains: "He is a good supporter and friend. We performed together weekly in Eugene 12 years ago as the Ham Hocks."
I spoke with Jim Wallace, a fine Portland harp player, also from Eugene. (Is it something in the water?) He confirmed performing with Phil in the late 1980's. "The scene in Eugene was pretty good at the time; at least there were a few venues there to play." Jim describes Phil: "He is a monster. He sings great and plays amazing guitar. He plays pedal steel guitar and various styles very convincingly, which is fairly unusual." Jim recalls last year's Slam-A-Rama, put together by A.C. Porter, where Phil "pretty much brought the house down." Jim solidly confirms that Phil is a treasure and that more people should be aware of him.
A call to A.C. Porter provided additional affirmation. "I hired Phil as a main focus, a ‘surprise.' People hadn't heard him in that context – performing with local peers at that level of playing, Robbie Laws, Jim Mesi – heavy local hero players. He most certainly held his own. Many people asked ‘Who IS that guy?' I was glad to have him there. Phil has also had a big influence on the playing style of local guitarist Josh Fulero. He has the funk, the grease, the Blues, and that killer tenor voice. Phil definitely mixes it to make his own style and is not a traditionalist in any sense. He sounds very soulful no matter what he plays – that's what's important. When I've rehearsed at his home, I was surprised to see a Western pedal steel. He has other interests as well. Phil may not receive as much recognition or have a huge fan base because of his diversity, but he is well respected among local musicians. Phil is easy to get along with, and more than deserves a feature in the BluesNotes."
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When asked about his favorite guitars, Phil explains: "I usually don't get rid of anything. I like old guitars and think that older amps sound better. I own three electric guitars: the Telecaster and Stratocaster are fairly modern. Then there is the 1962 Kay Upbeat sold by Sears. There was the Sears Silvertone and the more expensive model, the Upbeat. "Slim" is a snappy dresser and explains that he is into vintage. He has a collection of old radios and TVs that aren't worth anything, but are "too cool to throw away." He occasionally hunts around at neighborhood estate sales.
Phil started playing on a ukulele at the age of 10 and then switched to guitar. An older brother by 12 years, whom he worshiped, provided inspiration. That brother currently performs in piano bars in San Jose. Phil attended high school at Hoopa Valley High, located on the Hoopa Indian Reservation in Northern California, as his father held a job at the hospital there. The non-residents of the Reservation were bused in from neighboring towns. Phil recalls a fairly constant rumor that the whites would be burned out of town. Although it kept things exciting and a bit edgy, he recollects having a great time in high school with numerous friends, many of whom were native to the Reservation.
In that community was a musician who had ‘escaped' from the Bay area, one of the founders and lead horn players for the Sons of Champlin by the name of Tim Cain. He wrote songs and arranged horns and was a musical leader who served as mentor to Phil. Impressively, Phil first recorded at the age of 15 with his group, Freewheelin'. Tim Cain is on that recording. Phil graduated at the half-year and wanted to stay in the area and play, but his parents were moving and he had no choice but to go along with them. They resided in San Jose, where Phil lived during young adulthood and performed with his brother. "We played weddings and backed up Elvis impersonators."
Shortly afterward, he started his own band, Lance Romance and the Carousers. After that, it was The Bees, a hard rock band. They did Doors, Hendrix, and many original tunes. Phil describes the band as "a tour of geeks where nobody shows up." Tours through Oregon first brought Phil up to this area some 20 years ago.
Phil decided to return to Humboldt County and rejoin with Tim Cain. He liked the area and was able to be on his own. He also had interactions with the lead guitarist for Fox, Doug Mortenson. "At that time, I just tried to play as fast as I could – all the time. Doug suggested: ‘Slow down a little bit; choose your notes; try to say something.' Tim would have me sing on some of the records and made sure I was feeling what it was that I was singing. I learned from him to think about what I'm singing and to make a statement. Actually, when I first started guitar, it was just something to back up my singing."
He later moved to Eureka where he met Lynne, his partner of 20 years. They formed Lil' Lynne and the Lonely Night. When it was time to move on, they found themselves in Oregon. Phil and Lynne settled in Eugene, where they lived for 15 years. Phil's moniker of "Suburban Slim" came about as a result of a residence located at the corner of Suburban and Dean. Although he loved Eugene, he felt the need for someplace bigger and more exciting. Portland offered more to do, along with more opportunities.
A call to Lynne Wagner revealed her account. "I've known him longer than anyone else and I'm a little closer than most – he's the joy of my life. We've been together 21 years this summer. We actually played music together before we met. I was in the middle of a rehearsal, the song was Midnight Hour, and he walked in and picked up a guitar. I was playing guitar at the time, but ended up on bass; with Phil playing guitar and me on bass, it just made life a little easier getting sidemen. The two have evolved over the course of time. They have done some writing and recording, performing together fairly consistently all these years. "There is a real familiarity and telepathy – we look at each other and know what the next song will be."
"Phil knows music so well that the guitar is like an extension of his body. He makes up chords and does inversions that some of the other musicians don't recognize. He also plays trumpet and was first chair trumpet in high school. He still brings it out once in awhile, especially when recording. Performing together comes naturally; it's strange to play without him. There is real pride when one of us is in the audience watching the other on stage."
Phil describes his performance with their current band, Lil' Lynne and the Smoking Soles, as a "package deal" and enjoys performing with Lynne. "She knows the songs, has good tone and knows what I like."
I was impressed to learn from Lynne that their three CDs contain all original songs. "So Good for You" was released in 1995 with Phil, Lynne, Doctor Joe Blow (sax), and Jeff Strawbridge. The following year, that same lineup released "Smokin' Soles Strike Again". The third CD, "Troubled Soul", was released in 1999. Phil describes the recordings: "Although they seldom pay for themselves, it is a rewarding experience to see songs come to fruition. It gives you a promotional piece, something to sell, and separates you from just anybody."
As far as influences, Phil says that "Everything I have listened to has been an influence. I started with old Rock and Roll and Little Richard. When I researched where that music came from, I discovered the Blues." A truly memorable event in Phil's life was the first time he saw Muddy Waters, around 1980. It made quite an impression to further develop his appreciation for the Blues. Phil has also especially enjoyed the several times he has seen B.B. King.
So, now you know Phil. Check local publications for Lil' Lynne and the Smokin' Soles' gigs. Or, just show up at Duff's next Wednesday. There are especially good crowds after the monthly CBA meetings, with the Melody Ballroom just a few blocks north.
Many thanks to the local artists who contributed to this article.
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© 2003 Cascade Blues Association