There is a buzz pulsating from the oaks and cornfields in the Southern Tier of Western New York...

Navar was founded in early 2002 by electric front man, Pat Barry. After a successful run as a solo artist, Pat began jamming with bass clef veteran and brother, Ben. The result was the self-titled debut, Navar. The album is an eclectic musical journey drenched with emotion, melodic poems with sharp guitar and rhythm. The artful Mike "Skippy" Yudichak and thunderous Tim Lindhorne joined the esemble during 2002 where they brought ambitions of awe-inspiring performance.

With a website breaking 36,000 hits, a solid touring base and a major opening for Third Eye Blind, Navar is gathering steam, writing new material, and continuing their assault on the rust belt and the world.

Mission Statement

Built upon a foundation of intergrity and accoutability, Navar is a hard working band with focus and impeccable resolve.
Navar is driven by the hunt for innocence lost, love that is pure, with the perpetual maturation of musical elation. All the while, Navar strives to create a venue for creativity and consciousness...a haven for free thought and expression airmed to educate and stimulate the senses.

Navar P.O Box 131, Fillmore NY 14735 (716) 378-7230

www.NAVAR.net

info@navar.net

Theresa Andersson Bio

Fresh on the heels of her Big Easy Award for Best Female Artist only the week before, Theresa Andersson slammed the 2003 New Orleans Jazz Festival's Louisiana Heritage Stage supplying proof-positive of just exactly why she is deserving of such an honor. With her category-proof concoction of soul-rock vocals, screaming Hendrix-style violin and compelling stage presence, Theresa led her top-notch band of Big Easy players through a repertoire of original material that was as daring as her stunning outfit of string bikini and psychedelic body paint. One moment found tender and plaintive vocal/violin duets seamlessly soaring into rock crescendos reminiscent of Dave Matthews. The next found her careening with abandon, lost in a fuzz of guitar and violin feedback that would satisfy any die-hard Sonic Youth fan. Bluegrass hoe-downs segued into driving rhythm and blues, and classical fugues dovetailed into ecstatic New Orleans second-line marching cadences that kept enthralled audience members up on their feet and dancing.


This is exactly the type of musical amalgam one might expect from a Swedish-born, New Orleans-based, World Youth Choirgirl turned singer-songwriter who's musical sensibilities have been shaped by the influences of both her native and adoptive homes. Indeed, her upbringing on the small Swedish island of Gotland, where an almost Tokyo-style type of isolation lends itself to an off-handed, unselfconscious psyche, laid the foundation for Theresa's collage-like approach to music-making. And so it was that Theresa found herself completely at home in the eclectic world of New Orleans music.


It was roots rocker Anders Osborne who first introduced Theresa to Big Easy natives and national audiences as a back-up singer and violinist in his critically acclaimed band. Theresa wasn’t long on the scene before her astonishing vocal range and accomplished playing garnered her the respect of her peers. Soon she found herself continuously tapped for session and studio work by the cream of New Orleans’ musical society such as The Radiators, Cowboy Mouth and Galactic.


The year 1998 brought Ms. Andersson a new vision and a fresh determination to shape her own sound. Stints in Nashville and Austin allowed her to hone her songwriting skills and resulted in the critically acclaimed 2002 CD release, No Regrets (PoVolt Records). Nominated for Best Roots Rock Album of the Year by Offbeat Magazine, the independently released CD landed on JazzFest’s top 20 seller’s list for two consecutive years in 2002 and 2003 alongside the likes of Bonnie Raitt, Dr. John and Marcia Ball.


With a penchant for improvisational playing and eclectic musical stylings, today finds Theresa with the well-deserved reputation as a bold frontwoman who attracts an ever-changing roster of New Orleans’ finest musicians. Her unconventional mix of heartfelt soul and edgy rock has matured into a new-fangled roots pop that's showing audiences new directions while keeping them dancing. Take it from Galactic’s own Theryl “Houseman” deClouet who said in his Jambands.com interview, “Theresa’s somebody to watch in the future because she has many great original songs…. She’s a great singer and very proficient on violin and fiddle. She knows a lot about American music. And she's just very tasty and very sexy. Be on the lookout for her.”

The Mojo Gurus Bio

"The Mojo Gurus debut CD is a rough and rowdy traipse through some true Suthin 'music. Every track sounds like it was borne screaming from the Bible Belt. This band is soulful....Hotter than a double dipped crawfish, rawer than steak tartar. " - JAM Magazine

The Mojo Gurus were formed by singer Kevin Steele in 1999 in Tampa Bay, FL. The band cut their teeth in Florida's seedier rock and blues clubs and quickly earned a reputation based on their hot and nasty live performances. See, the Gurus play good ol' American hoodoo voodoo, born on the bayou style rock-n-roll with a classic taste that makes most of today's alternative flavor of the month bands sound downright silly.

The band features the songwriting of singer Kevin Steele (who's eclectic influences and sardonic wit have earned him comparisons to a young Bob Dylan) and the raunch and roll guitar playing of Jeff Vitolo. Drummer Tommy Weder and bassist Vinnie Granese lay down a rhythm thicker than mud from a Louisiana swamp. Together they mix all their favorite ingredients: blues, psychedelic, hillbilly, glam and gospel into one goats head soup of a sound served simmering!

The Mojo Gurus released their debut disc in 1999 to great critical acclaim. The bands video "Tiger Lily" received heavy rotation on Canadian music video channel Much Music and helped the band sell over 20,000 copies of their CD. This was quickly followed by "Drinkin' TNT and Smokin' Dynamite" which along with their powerhouse live performances have helped the band build an impressive following. Now the Gurus are back with their third release "Hot Damn! " A disc that has critics singing their praises on both sides of the Atlantic.

Always experimenting with many different musical styles the Mojo Gurus have refused to paint themselves into a corner. They are unique in today's music scene with intelligence behind their unbridled raw power, prolific songwriting and a mastery ofthe live performance that makes them one of America's greatest rock bands.

www.mojogurus.com

"The first time I backed J.T. at a jam at The Rose and Crown in 96, I was very impressed by how well written his lyrics were and how his songs seemed way beyond his years," says O'Dea of the evening he was first introduced to the young singer-songwriter's talents. As fate would have it, both Bruce Adamson and Darrell O'Dea played in the house band that night, but it would be another year before they joined the fledgling group.

"I can write anywhere at anytime, depending on the mood," Taylor counters, before giving a couple of illustrations.

"I've written songs everywhere, from airports to a train that was going from Chicago to Portland. I love writing songs, its just kind of cool," adds the songwriter with one of his typically endearing, but nonchalant responses.

Having been a working live band far longer than a recording band hasn't impeded the growth of Staggered Crossing. Coincidentally, it's a scenario that has certainly benefited many of the great groups of the last fifty years not the least of which is, The Band.

While none of the members of Staggered Crossing would compare themselves with any of their musical heroes, they are fully aware of how time invested playing live continues to yield the kind of artistic results they aspire to.

"Early on we were fortunate to play once a week for a tolerant audience at a place called the Corner Cafe. That was in exchange for the rehearsal space in the basement. Eventually we added a second night a week at The Rose and Crown, J, says O'Dea, who still sounds appreciative and grateful for how the journey unfolded.

He and Taylor both feel that those regular working situations eventually allowed the distinct personalities of all five band members to come through

in the live performances of the songs.

Whether it's as an instrumental force extending and re-shaping a five minute album track into a twenty minute jam, or as they frame one of Taylor's alluring verses and spitfire vocals, it can all be traced back to a unified vision to communicate.

Visit their web site at : www.staggeredcrossing.com