Biography
West Coast harmonica player, vocalist, and composer Paul deLay stands out for his innovative approach to modern blues. Since Robert Cray gained notice in the San Francisco Bay area during the 1980s, no fresher songwriting talent has surfaced on the regional blues circuit. His original material receives support from highly individualized chromatic harmonica work that draws on swing and jazz elements rooted in the Chicago blues harp tradition.
Born January 31, 1952, in Portland, OR, deLay grew up in Milwaukee’s Ardenwald neighborhood within a household that valued music. At age eight, exposure to Paul Butterfield’s recording of “Good Morning Little Schoolgirl” sparked a lasting fascination with blues harmonica. Early models included Big Walter “Shakey” Horton and Little Walter Jacobs; later influences encompassed George “Harmonica” Smith and Charlie Musselwhite. Although he studied piano and attempted guitar and drums on his own, the harmonica became his primary instrument. He first played along with records before forming a jug band during the 1960s.
Throughout most of the 1970s, deLay directed Brown Sugar in Portland-area clubs, then began leading ensembles under his own name in 1978. That year he also spent several months on the road accompanying Chicago pianist Sunnyland Slim and guitarist Hubert Sumlin. Once off the road, he focused on shaping a personal sound with his own group. Original songwriting began in 1980, by which time he had already logged extensive stage experience. He deliberately steered clear of conventional blues lyrics and has maintained that stance ever since.
By 1988 the Paul deLay Band had issued four self-released albums on its own imprint: Teasin’, American Voodoo, The Paul deLay Band, and Burnin’. Constant touring coincided with a severe struggle with alcoholism that gave way to cocaine use, resulting in an arrest for distribution. During a three-year prison term, deLay composed a large body of original material and permanently abandoned both alcohol and cocaine. Upon release in 1995 he quickly resumed activity, documented most prominently on two Evidence releases: Take It from the Turnaround (1996), which paired two earlier Criminal Records sessions recorded in Portland, and Ocean of Tears (1997). Both sets highlight his distinctive storytelling, natural humor, and witty delivery alongside strong singing and harmonica work, supported by accomplished ensembles. These recordings helped extend his reputation from its Oregon base across the United States, parts of Canada, and Europe.
During the late 1980s and 1990s the Paul deLay Band appeared at the San Francisco Blues Festival, the Pocono Blues Festival, the Long Beach Blues Festival, and the San Francisco Harmonica Festival, among numerous other large events. On March 7, 2007, deLay succumbed to recently diagnosed leukemia along with kidney and liver failure. Three months afterward, Criminal Records issued Last of the Best, a compilation of live performances.
Born January 31, 1952, in Portland, OR, deLay grew up in Milwaukee’s Ardenwald neighborhood within a household that valued music. At age eight, exposure to Paul Butterfield’s recording of “Good Morning Little Schoolgirl” sparked a lasting fascination with blues harmonica. Early models included Big Walter “Shakey” Horton and Little Walter Jacobs; later influences encompassed George “Harmonica” Smith and Charlie Musselwhite. Although he studied piano and attempted guitar and drums on his own, the harmonica became his primary instrument. He first played along with records before forming a jug band during the 1960s.
Throughout most of the 1970s, deLay directed Brown Sugar in Portland-area clubs, then began leading ensembles under his own name in 1978. That year he also spent several months on the road accompanying Chicago pianist Sunnyland Slim and guitarist Hubert Sumlin. Once off the road, he focused on shaping a personal sound with his own group. Original songwriting began in 1980, by which time he had already logged extensive stage experience. He deliberately steered clear of conventional blues lyrics and has maintained that stance ever since.
By 1988 the Paul deLay Band had issued four self-released albums on its own imprint: Teasin’, American Voodoo, The Paul deLay Band, and Burnin’. Constant touring coincided with a severe struggle with alcoholism that gave way to cocaine use, resulting in an arrest for distribution. During a three-year prison term, deLay composed a large body of original material and permanently abandoned both alcohol and cocaine. Upon release in 1995 he quickly resumed activity, documented most prominently on two Evidence releases: Take It from the Turnaround (1996), which paired two earlier Criminal Records sessions recorded in Portland, and Ocean of Tears (1997). Both sets highlight his distinctive storytelling, natural humor, and witty delivery alongside strong singing and harmonica work, supported by accomplished ensembles. These recordings helped extend his reputation from its Oregon base across the United States, parts of Canada, and Europe.
During the late 1980s and 1990s the Paul deLay Band appeared at the San Francisco Blues Festival, the Pocono Blues Festival, the Long Beach Blues Festival, and the San Francisco Harmonica Festival, among numerous other large events. On March 7, 2007, deLay succumbed to recently diagnosed leukemia along with kidney and liver failure. Three months afterward, Criminal Records issued Last of the Best, a compilation of live performances.
Albums
