SYDNEY BLUES SOCIETY

 HALL OF FAME INDUCTEE 

 DEDICATION

VITO PORTOLESI

Vito Portolesi, an almost mythical figure of electric blues bass in Australia. He was absolutely unique, no one like him before or since, completely untouchable in his field. As a boy growing up in Adelaide, I had heard about this man who was as good as, and even friends with Jaco Pastorius from Weather Report... But he was one of our own, from Adelaide just like me, and he was in the Big Smoke playing in the Mighty Reapers. There were stories, not only about how amazing he was on the bass, but about how tough he was on other musicians if they didn’t meet his standards, especially with drummers.

I had heard rumors about his dangerous reputation, he was obviously dangerous on the bass but he was apparently also dangerous in a street fight, so I was almost petrified the first time I met him. I would soon learn however that beneath his frightening exterior was a kind and generous man.

When I moved to Sydney in my late teens, the very first gig I went to was the Mighty Reapers and Vito totally blew my mind. He played very busy lines but not so much to be in the way of others, he still played supportively and for the song. His timing was so strong that he was definitely in command of the collective groove of the group. He was the time keeper! His choice of notes were so inventive, often not playing the root notes but finding substitutions that enhanced the chord progression. I didn’t understand it yet but I certainly wanted to.

About a year later I joined the Mighty Reapers and was lucky enough to play with Vito regularly, I got to experience first hand the feeling of him driving the band so hard that when you were playing a solo, and he was right there behind you, it felt like you were levitating over the groove and could saw off into the stratosphere.

I wanted to know everything he knew and I think he enjoyed teaching me. Just being near him was exciting, I looked forward to long car trips so I could ask him how he played things, then he would show me on the gig when we got there. It was a period of intense learning for me. Vito was my friend, mentor and teacher for many years. I owe him so much, and I like to think I still carry some of his knowledge and try to pass on some of what I was lucky enough to learn from the great man.

I think about him often, remembering him not only from his recording but sometimes when my own left hand bass playing reminds me of him, and I say to myself, “Hopefully that’s how Vito would have played it”.

Clayton Doley

 RAY BEADLE

We first saw Ray play with the Foreday Riders as a callow youth at The Empire hotel in Annandale in the 1990s, where he’d been snuck in by his dad Ray Snr, a rocker in his own right who was well aware of the talent he had on his hands. We were curious about this shy young guitarist and were blown away by the first few notes. We made a point of looking out for his name at gigs.

Soon others were lining up to get this kid as much publicity as possible. Family friend and one-time local blues scene impresario Peter Khossein made sure Ray didn’t miss an opportunity and he quickly earned his place on stage and recording with the blues greats of the day. In those early days he played in many bands, always bringing that something extra and becoming an audience favourite. Ray impressed international visitors no less, and his first CD, Moving On carries a fine testimonial from San Francisco legend Chris Cain.

From his days playing with Bridie King at The Bridge, to his dance hall jive days leading his first great band The Vipers, Ray became more accomplished and confident, his playing and songwriting going from strength to strength. His audience appeal has grown as he shares standards and his own growing store of compositions. We’ve been equally impressed with his band and his acoustic work, and have become dedicated fans, having more than once being taken for “the parents.” The Good Life remains one of our favourite songs.

One heartwarming memory is of the time several of us were on a celebratory night out a good few years ago with Mandy and Ray, having dined out in Chinatown in Sydney, and ambled after dinner past the famous Covent Garden Hotel, home of perhaps the most notorious karaoke bar in the city. There quickly developed a sense that we might cause a sensation or two here, and walked in, got drinks and sat down. In short order, Ray had been elbowed onto the stage and selected My Girl from the book. As the song was coming up, Ray invited all the women in our group onto the stage to back him up. The stage was full, and after the song the MC was quick to note “the bar’s been raised tonight folks.”

Ray has become one of the pre-eminent musos in Australia, and has made several highly regarded steps on the international stage. It’s been an honour and a privilege to be a part of his journey.

Jean and Bernard.

CLAYTON DOLEY

Clayton started playing piano at a young age, around 6 or 7. The Doleys had a family piano in the house, but no musicians in the family at that time. Clayton would just sit at the piano and tinker, but he didn't really have any direction, until he found some movies on VHS tape.

One was 'The Girl Can't Help it'; that featured an amazing Little Richard performance, the family also had some Marx Brothers movies with some amazing piano scenes.

His mother took him to see BB King at the Thebarton Theatre, in his hometown of Adelaide, when he was about 10 years old. This was a turning point for Clayton, and he started to get serious about his music. He discovered Muddy Waters albums and started trying to play along with Muddy’s piano player, Otis Spann, Clayton identifies this as one of his biggest periods of learning.

He also credits Booker T Jones as being a huge influence, not so much for his actual playing but more for his sparse approach to music in general. Clayton loved the way Booker T thought about what was just right for the song and didn’t play anything that wasn’t needed. And of course, when Clayton heard ‘Green Onions’ for the first time, that was the start of a whole new journey discovering the Hammond Organ.

At age 16 Clayton joined the Adelaide blues band Double Whammy. Before moving to

Sydney, Clayton had seen The Mighty Reapers on TV while he was still in school. He

thought that they were the best band in the world!

Shortly after moving to Sydney in 1992, when Clayton was 18, The Reapers asked him to join the band, this was the highest honour anyone could have given him at the time, as he was still a teenager. 'Continental' Robert would introduce him as 'The Teenage Genius of The Hammond Organ', over time Clayton simply became known as 'The Teenager'. During his time with The Reapers, he was introduced to another very influential musician in his journey, Vito Portolesi, who helped Clayton understand more about the intricacies of music and music theory.

The highly respected bass player and singer Jackie Orszaczky was another one of Clayton’s musical influences. Jackie mentored young Clayton in his early twenties with an 'on the job' apprenticeship like no other. He threw Clayton into the 'deep end' with the incredible Jackie Orszaczky Band, full of amazing older musicians.

Since those early days Clayton has gone on to play, record and tour with some of the biggest names in the music business including Harry Manx, Joe Bonamassa, Eugene "Hideaway" Bridges, Jimmy Barnes, Renee Geyer, Billy Thorpe, Kasey Chambers, Alex Lloyd, Troy Cassar-Daley, Slim Dusty, Beccy Cole, Felicity Urquhart, Rick Price, Tina Harrod, Mahalia Barnes, Jade Macrae, to name a few.

His current project, Clayton Doley’s Bayou Billabong captures the essence of the New Orleans Blues piano tradition while fusing contemporary Australiana and Americana with all the might and power of a 10-piece band.

Dave Brewer