Skip to Content Skip to Navigation

Pat Moss: Press

Established Artist Spotlight: Pat Moss
Christina Good Voice
Pat Moss remembers the day in 1961 when he was introduced to blues music. He was six years old and was attending a friend’s birthday party, but times were different back then. Moss recalls that year as the year when schools were integrated in Washington County, Oklahoma.
“At that time you didn’t just cross those lines,” Moss said. “His mother came and asked my mother if it would be alright if I came to his birthday party, she said, ‘yeah, I’ll come with him.’ That was the first time I danced.”
Moss remembers dancing with a little African American girl to a Jimmy Reed record and knowing that music was much different than the familiar bluegrass his father and uncle played.
“I really didn’t get into it,” Moss said of bluegrass music. “That Jimmy Reed music, that old slow boogie blues just got a hold of me. When I came home from that birthday party I told my dad ‘I’ll play guitar if you can get me one of them records.’ ”
Even at just six years old, Moss found a passion. For his next birthday his dad bought him a Stellar guitar and two 45 rpm vinyl records – Jimmy Reed and Hoyt Axton.
“I learned to play listening to “Hush Hush” by Jimmy Reed and “Greenback Dollar” by Hoyt Axton.
Moss’ first gig was in a school talent show when he was in the first grade, and he hasn’t slowed down since.
Moss, 54, plays the guitar, dobro and harmonica, and he said blues is unique for different reasons.
“It’s different than other music because it’s the music of real life and all that entails – the good the bad and everything in between,” he said. “I’ve always felt like that’s where it came from. It came from the struggles of people in post-slavery times.”
Slaves weren’t allowed to have bibles or go to church because the doctrine of Jesus Christ was a liberation doctrine, Moss said.
“They began to form songs in code, and even to modern day, a lot of things in blues are said in different ways,” Moss said. “It’s kind of the tradition. It was a time when they had to keep everything clandestine.”
Blues and gospel came from the same type of music, according to elders Moss has spoken to over the years.
“They used to call it ‘jump up’ or ‘reels,’” Moss said.
Moss performs solo but he also performs as part of a group called the Jook Joint Revival.
“I have solo engagements and I played several years with Harold Aldridge as a duo,” Moss said. “We did a recording together at Jeff Parker’s studio at Cimarron (Cimarron Sound Lab recording studio) in Tahlequah. (Aldridge) and I competed in the IBCs in 2006.”
The International Blues Challenge is an annual blues competition held in Memphis.
Moss and the Jook Joint Revival just finished recording a CD, which was recorded in Memphis.
He also recorded in 2008 in Los Angeles with a group called the Van Guards.
Moss is well-known in the area as he’s played all over the local joints in northeastern Oklahoma and northwestern Arkansas.
Moss has also played everywhere from Beal Street in Memphis to Oklahoma City, Dallas, Tulsa, Los Angeles, London, South Australia and Mexico.
Upcoming shows include a May 8 show at Blind Lemons on the River Walk in Tulsa and a double-billing show at Tahlequah’s own Roxie’s Roost June 11. The show will feature Jook Joint Revival and Mason Jar Revival.
“So it’s going to be revival night at Roxie’s,” Moss joked.
Moss is also planning a CD release party in late May or early June, which will be held at the Groundzero Blues Club in Memphis. The club is Owned by Mississippi attorney and businessman Bill Luckett; Academy Award-winning actor Morgan Freeman and Memphis entertainment executive Howard Stovall.
Moss, whose ethnicity is a mixture of Cherokee, Irish and Creole, credits his Native American heritage for being familiar to with natural rhythms.
“Blues is based on basic rhythms and polyrhythms,” he said. “Even a small child or someone who’s never heard it can relate to it. It’s such a natural thing.”
Moss has been involved in Native stomp dances and the Native American church since he was a child.
“The beat in Native music is real natural,” he said. “Blues has a similar type of rhythm and patterns. The expression came from field laborers. They were people who didn’t have sophisticated equipment so they played what they felt not what they were taught.”
Moss’ Creole ethnicity comes from his grandmother who was from western Louisiana.
“She was Indian, African and French, so I consider myself a relative to the world,” he said.
Moss said he received a t-shirt several years ago that states: ‘No black, no white, just blues.’
“I’m very against that,” he said. “I used to make speeches at the stomp ground about how our people suffered and died so we could have this. Native religions were outlawed at one time and that’s why they have them way off in the woods now. They weren’t allowed to do that in so-called civilization.
“I feel the African American people have paid their dues and it is their music, so I kind of get offended. It is a black thing, and they need to get used to that.”
But Moss said he’s just honored that African American people have helped him along the way when others wouldn’t.
“They share their culture so freely with the rest of the world. There’s an opportunity for someone even like me to get up and play the blues and be accepted in that community.”

Share |



In This Story:Pat Moss
Pat Moss And Jook Joint Revival



















Copyright 2011 by Barlow Publishing
Christina Goodvoice - The Current (Apr 1, 2010)
Former Bartian to perform at Osage casino in Bartlesville
By E-E Staff Report
Friday, November 12, 2010 2:30 PM CST

Former Bartian Pat Moss and the Jook Joint Revival will perform Nov. 19 and 20 at the Osage Million Dollar Elm Casino in Bartlesville.

The band features two members of the Oklahoma Blues Hall of Fame — Rudy Scott (keyboards) and Frank Swain (sax). Both of these men played in the legendary Ernie Fields Orchestra, 50-plus years ago, and both played with the late Flash Terry in the 1980s-90s.

“Tank” Jones plays bass guitar with the Jook Joint. He started out in Chicago playing with musicians Mike Bloomfield, Buddy Guy and Junior Wells, before moving to Oklahoma and playing with Flash Terry and forming the “Blue Combo” with Bob Newham and others.

Tammy Ridgeway of Tulsa keeps the beat with fire and soul, said Moss.

Moss learned to play the guitar while living in West Bartlesville from 1956 to 1971. As a successful blues musician, he played all over the world, from Adelaide, Southern Australia to Liverpool, England, and from Anchorage, Alaska, to Oaxaca, Mexico.

He has recorded with several groups and composed several numbers over the years. He recently recorded an album, “Jook Joint Preacher,” in Memphis, Tenn., at the Royal Studio. All of the songs are original and bear witness to his deep spiritual philosophy about music.



The album has several solo songs in the bottleneck style and several others that feature members of the famous “Hi Rhythm” in Memphis.

According to Moss, music is underestimated as a force for good in the world.
staff report - Bartlesville Examiner (Nov 12, 2010)