The Desert Swing band was initially begun as a cooperative ensemble by another Boise banjoist and Ray Miller early in 1995. The name Desert Swing was DBA registered by Ray Miller in 1997 and is used by Ray for any group he assembles, even if for just one engagement. Over the years, Desert Swing has taken many forms, from a small duo or trio to an ensemble of nearly a dozen musicians, as shown below.

The pictures above were taken at Satchel's Grill in Boise, Idaho. There are 8 of the finest jazz banjoists west of the Mississippi on stage for this 'once-in-a-lifetime' ensemble called, Desert Swing. Members on banjo include: Miyoko Onishi (Tokyo, Japan), Dave Marty (Novato, CA), Abe van der Meulen (Novato, CA), Keith Presting (Daly City, CA), Bob & Gaylen George (San Jose, CA), Gary Kerr (Concord, CA), John Mumford (Denver, CO), and Ray Miller (Boise, ID). Other members are John Zuerner, reeds, (Sequim, WA) and Dekker Westerberg, guitar, (Denver, CO).

Desert Swing has had a spotty existence, usually being convened only for one-time events. With his musical interests changing focus from banjo to solo guitar and jazz uke, Ray's time is limited to occasional bookings with the band. It seems that duo and trio gigs are the most we can hope to pull together these days, unless - - - we get a visit from our musical friends, like Miyoko Onishi, Japan's Jazz Banjo Lady or Dave Marty.

Definition: Jazz Banjo = usually a four string resonator banjo played by strumming chord melody with a pick or picking single string leads. These banjos are either of the long neck, plectrum style, or the shorter neck, tenor style. The tuning of these banjos can be any tuning the player desires, but centers primarily around Plectrum tuning or Tenor tuning. Guitar tuning is also used by some banjoists. The term jazz used in this context is a broad term involving music of Tin Pan Alley, traditional Dixieland music, and the swing era big band music. Loosely interpreted, the term jazz can be applied to just about any music from classical to modern day tunes, to which many banjo players have adjusted. If a tune can be played on this instrument, it can be called a jazz banjo performance.

May, 2010 ---

Since October, last year, things have waned a bit regarding music. I am teaching more and more and playing professionally less and less. I think I overdid the playing part and it became a chore to get to gigs, although once there and set up, it was always a blast. The teaching is rewarding. I have a few excellent students whom I tutor with glee. They are dedicated to practicing those thing that are making them fairly competent players. They certainly have improved their abilities in listening, blending, and comp'ing. Their lead playing is good and getting better all the time. These few folks are worth the effort in working with them.

As for playing out, I have been doing a lot of single performance things, such as retirement homes, senior care facilities, private gatherings, etc. These are taking place in Idaho, Washington, and Oregon, with occasional gigs in places I visit as I travel on unrelated jaunts. Recently, I appeared on a PTV program with my best friend from high school, Dwayne Gaddie. He and I were interviewed, played lots of music, and generally tormented the program host, Pat Robinson. The program's title is "Talent in the Getto" and was a real kick to do. We did enough for two half-hour shows. The show airs in the Keizer-Salem area of Oregon, but is picked up and broadcast statewide in Oregon by other stations, even into Washington. I think it can be seen on Salem's PTV Channel 22 (call letters escape me at the moment).

I have many family commitments in 2010, so music is taking a back seat to those. Even with a complicated schedule of travel and obligations, I get in a lot of development time for myself and am learning more of the really nice, sweet, swing era music that makes me appreciate the composers. The music of the swing era and before is that music which has lasted for decades, unlike rock which seems to fade quickly. Don't get me wrong, there is quite a bit of music from the rock idiom that will last for years, but no where near the quantity available from the swing era and before.

The big news this year is the induction of our dear friend, Dave Marty, into the Banjo Hall of Fame and the recipient of the coveted Performance Category Award. It is about time Dave has received the recognition he should have gotten years ago. Mr. Smooth is the finest example of good banjo music in the World. Don't believe it? Well, believe it, because it is a fact!

An added bit of encouragement here --- The Ono Hawaiian Grill has been doing very well lately, as has the Boise Ukulele Group. Both are seeing good response from interested folks and this is indeed good news.

October, 2009 ---

Our dear friend, Miyoko Onishi, will be taking her holiday with us here in Idaho. Ray will be setting up some gigs for her in Boise and he & Jane will host a Sunday Jam for her at their place. Miyoko is a pure delight and everyone always looks forward to her visits. The schedule for Miyoko is for her to arrive in Boise on Wednesday, October 14th. On Thursday, Oct. 15, Miyoko will appear with Desert Swing at the Idaho Pizza Company at State Street and Glenwood in Garden City (7pm-10pm). Local musicians are welcome to join Miyoko and sit in for a few numbers. Ray and Jane are taking Miyoko to Sun Valley on Friday and Saturday for the Jazz Jamboree. On Sunday, there is a possibility that Miyoko may perform in a public venue again -- that location will be determined soon and the information will be available at her Thursday performance. We hope to see lots of Miyoko's friends and acquaintances at her performances.

After Miyoko returns home to Tokyo, Ray & Jane will be heading to South Shore, Lake Tahoe for a couple of private performances. Perhaps there may even be a chance at joining some friends at one of the casinos. We shall see...

June, 2009 ---

Ray & Jane will travel east for an extended trip into PA, CT, and NE. There will be lots of music and a boatload of good times for them. Ray has 6 gigs booked and hopes to have a few more added as time grows near. Anyone want to go?

May, 2009 ---

A new venture will be started by Ray this month. It is going to encompass 4-6 uke players and a bass player and will take the shape of a ukulele orchestra of sorts. With some of the best ukists in southern Idaho participating, it will be as professional an ensemble as they can muster. The working title for this group has yet to be determined, but it will include the word 'swing' somewhere in the name; maybe even 'jazz,' too!

January, 2009 ---

Good news from Ono Hawaiian Cafe, they are doing fine in the current economy, according to Mike (Sept. 2009).

Both Ono Hawaiian Cafe and Bug are struggling. The economy has hit Ono and apathy has hit Bug. This is the way it is in Boise, community-wide, as the economy heads for the 'crapper.'

Ray continues to play regularly and is enjoying teaching uke, banjo, and tenor guitar lead to a number of talented and interested folks. A couple of them are really progressing quite nicely and starting to learn tunes on their own. When I say learn, I mean LEARN! They are playing chord melody with some confidence although it will be a while before they have their tunes up to performance quality. Others are becoming more proficient as comp players. We number 9 as of this month.

October, 2008 ---

It is with a heavy heart that we acknowledge the fact that Satchel's Grill has closed its doors for the last time. Dominic and Allison DeLaquil, owners, expressed their never ending gratitude to one and all who supported their establishment. Ray was one of those, and in good company, he might add. Dozens of local musicians, singers, and composers made Satchel's one of their 'haunts' for the past five years, mainly due to the hospitality and generosity of Dom and Allison. We are going to miss the Saturday Jam Sessions, the evening performances of live music and the 'outdoor theater' during the summer months. Satchel's was truly a home away from home for hundreds, and a great place for professional musicians to hang out between gigs... Q.E.D.

March, 2008 ---

A number of musical things happened this month. Archie Kama, a wonderful man and ukulele player and songster, came to Boise with his wife, Jeannie. They live in Salem, OR and travel to Boise to visit relatives a few times each year. Archie and I get together whenever we can and play ukulele music and sing Hawaiian tunes. It is a great pleasure for Ray to have Archie in his circle of friends.

October, 2007 ---

Miyoko Onishi came to Boise and accompanied me to The Sun Valley Swing'n'Dixie Jazz Jamboree. Miyoko arrived on the 17th only to get out of the plane and into my car as we head to Sun Valley. Upon our return from Sun Valley, Miyoko will be joining one of our favorite bands, Stella at Satchel's on Sunday. This is going to be more fun for me than an old man should be allowed to have.

Ray Miller is very appreciative of Miyoko traveling from Tokyo, Japan twice this year to be with us. What a gal! It will be a pleasure taking Miyoko to Sun Valley for her first visit to this fine Jamboree.

UPDATE: We returned from Sun Valley on Saturday, 10/20. Miyoko was ecstatic about the whole experience. We had 3 days of swing and trad jazz from some of the best of the best. Miyoko was upbeat and excited the entire time. Miyoko joined in and played a few tunes during Banjomania (a special session every Jamboree). As expected, she was a success. Audience members were asking where else Miyoko would be playing and seemed quite disappointed when told that she was only a visitor, not a performer. Most indicated they would 'write-in' praises of Miyoko Onishi on the critique form.

In one of the 13 venues, we experienced the jazz music of The Brian Nova Trio. Miyoko thought she recognized Brian and wanted me to ask him if he had ever traveled to Japan. Intending to extend greetings to him from Dominic DeLaquil, the owner of Satchel's and friend of Brian's, I approached and did just that. Then I asked Miyoko's question and Brian said he is in Japan at least yearly and that he was doing a few gigs in Tokyo in December. It was then that I introduced him to Miyoko. Miyoko said that she had played some music with him about two years ago. Brian then said he recognized her and that her piano player, Ohashi-san, is his friend and musician whenever he travels to Japan. This made Miyoko very, very happy. We talked for a few minutes, then listened to Brian and his Trio play some very nice jazz. Brian's vocals are awesome, and his jazz guitar is world-class. Please go to YouTube.com, search for 'brian nova' and experience his music. It is simply awesome. Please visit Brian Nova's Web site at http://www.briannova.com/ -- support this fantastic talent; he deserves it!!!

You can learn more about Miyoko and her piano man, Takashi Ohashi, by visiting Miyoko's Web site at http://tekedmusic.info/miyoko.onishi/ ...

June, 2007 ---

Our delightful friend, Miyoko Onishi, came to Boise for the 5th time in 6 years to enjoy a holiday and play music. She played at Satchel's Grill in Boise once again (see pictures below this paragraph). In addition, she played at the Jewett Auditorium for the 25th Annual Banjo Gathering. Miyoko is an accomplished solo banjoist, but for these events, she enlisted some background musicians. She was billed as Japan's Jazz Banjo Lady and backed up by Desert Swing. Joining Ray in Desert Swing was Jonah Shue (from the Frim Fram Four on guitar, violin, and vocals), James Karl (the James Karl Trio on piano and vocals), and Rob Hill (Stellacoustic on bass). Thanks go out to these fine Boise musicians for joining Ray and doing such a phenomenal job backing Miyoko. Miyoko was a hit everywhere she played and we are happy her holiday was the success she hoped for.

Miyoko played a short set prior to her gigs. Miyoko and a tired old Ray downtown in Boise.

The next two pictures were taken at Pengilley's Saloon in Boise. Ray and Jane took Miyoko out one evening to check out some local music. The band for that evening at Pengilley's was the Frim Fram Four, with Jonah Shue. Joining the FF4 for the evening was recording artist John "Fat John" Nemeth who is a fabulous blues/jazz singer. He entertained in grand style. The next picture is of Curtis Stigers, the great jazz saxophonist and singer. Curtis is also a recording artist with a song that has hit the top ten recently. His sax playing is the best and he is in demand everywhere. What a great night of music we were treated to and a fine example of what Boise has to offer musically. Miyoko never stopped talking about that evening.

June, 2006 ---

Miyoko arrived in Boise for a holiday visit and to play some jazz banjo with us and with the folks who gather in Caldwell, Idaho for a yearly get-together. We arranged to book Miyoko into Satchel's Grill for three dedicated performances. The pictures below show Miyoko in performance at the three bookings and on stage at the Jewett Auditorium in Caldwell.

Miyoko with the Desert Swing Trio Miyoko with Stella

Miyoko with Stella & The Desert Swing Trio for a jam session.

Miyoko on stage at the Jewett Auditorium Banjo Show. Just a couple of good friends.

The background music is "In a Mellow Tone" recorded in a controlled environment. Four takes were necessary.

The Desert Swing Duo is comprised of 71-year old Ray Miller and 82-year old Don Seeber. These two old duffers are the obligatory 'old folks' in most of the jams they attend, and offer a unique genre of music to their cohorts. They also work as the D. S. D. at Satchel's Grill, many rest homes, and some senior centers throughout the Treasure Valley of Idaho. In the pictures taken at a recent jam session in downtown Boise, The Duo is joined by members of Stella, a Boise rock band. Dan Costello, guitar, and Rob Hill, bass, are two of the finest young musicians working in the Treasure Valley. Their musical abilities are amazing, proven by the fact that they make Don and Ray sound much better than they are! Actually, this is what music is all about in the Boise environment. Many genres of music can come together and blend so very well. What a great place to play music . . . Oh, while we were playing a very kind gentleman approached and asked each musician if he could photograph them. His name is Keith Couch and he is a new friend of the D. S. D. Our thanks go out to Keith.

The Desert Swing Duo w/Stella

Dan and Ray yuk it up a bit while performing as a duet on a Saturday jam session.

If you want to hear Desert Swing, visit this site periodically for it's performance bookings. The listing will appear lower down on this page.

For live pictures of Ray's Office at TekEd Music of Boise, Click On This Line . . .

Ray was asked in an interview, "What is best about playing trad jazz on the banjo and nice, mellow jazz on the ukulele?"

Answer? "All the fine friends that I have made through the years. Nearly all are honest, fun loving people; some of the finest folks I have had the pleasure to know and play music with." Examples below . . .

Ray poses with the ZHP Satchel's owner, Dom Delaquil, with ZHP.

The Zoo Human Project? What is that? It is a phenomenal trio from Los Angeles comprised of two singer/songwriters and a hand percussionist/vocalist. What can we tell you about this trio? Hearing is believing - they are the nicest entertainers we have met in a long, long time. Jen Cordero, Derek Martinez, and Kevin Sakamoto are the members of the ZHP. They have one CD out at this writing, but with the talent of this group, there will be more. They appeared in Boise for a couple of weeks while on their national tour. They started with San Francisco, then Sacramento, followed by Seattle, Spokane, Couer D' Alene, and finally Boise. They are off to Chicago, New York, Boston, and Atlanta for the next phase of their tour. If you get a chance to see and hear them, do it, and please send my best regards along when you do. You can go to http://www.myspace.com/thezoohumanproject for more info and sound bites of their wonderful music. Jen Cordero and Derek Martinez can be found individually on myspace also.

Just today, June 29th, Jane and I went to a restaurant (Villa D'Este on Ocean Avenue in San Francisco). We went for dinner and to listen to the Villa D'Este Trio. The piano player, Jim Rousey is pretty good, and the vocalist, Kathy Holley, is also, but the saxophone player is the best. He is Karl Karlton and plays any genre beautifully.

Karl was wearing a beautiful Hawaiian shirt, and I jokingly offered him $10 for it. He said it was not for sale and proceeded to take it off and lay it over my shoulder, saying, "...but, if you like it, you should have it." I was blown away. I tried to gracefully extricate myself from this minor embarrassment, but failed miserably. I now have a new shirt that I will wear proudly at every venue where I play ukulele. What a guy!

The pictures below were taken just before and right after Karl gave me the shirt. Directly below from left to right are moi (in my new shirt), Jane, Kimie (Karl's lovely spouse), and Karl. Karl and I had met a couple of years ago, then again at a street festival on Chestnut Street in San Francisco. Needless to say, I am a Karl Karlton fan -- BIGTIME!

Instruction offered for Ukulele, Banjo, Guitar

Lessons are offered by Ray on an ongoing basis.
Special rates are available for members of organized non-profit clubs, as well as group lessons.

Learn to comp better or even play lead (single string or chord melody). Students learn at their own pace.

Results vary depending on student desire and dedication. Most students play far better within the first 3 months.

[You can email Ray by clicking on this line]

BOOKINGS for January-March 2009:

Desert Swing:

Single date bookings at this time; too many to mention.

Playing at various senior facilities around Boise.

Jazz Uke & Solo Gigs:

Lots of private parties.

To get back to Ray's personal page, click here -> http://tekedmusic.info/ray.miller/ otherwise simply close your browser.

The Jazz Ukulele of Ray Miller

This is a relatively new venture for Ray. Fortunately, in the gigs he is playing currently, the concept of playing swing and jazz on a ukulele is unique enough to almost demand the audience's attention. What Ray is doing with the uke seems to please his audiences. With music from the early 1900's through the swing era, Ray is entertaining his audiences with humor, song, and instrumental favorites.

"My business card is on the left, and the picture to the right is me with the person who allows, encourages, & promotes my music. My #1 fan is my wife, Jane."

Performing regularly at Satchel's Jam on Saturdays is a big deal for Ray. The crowds are OK, with at least 2/3 of the chairs filled; often, there are no empty seats. It helps to have friends and relatives in the audience, but there are folks who claim to be fans of Ray's music. Ray loves it when people with questionable taste in music are in the audience. "They make playing and singing a pleasure," says Ray. Here it is, October 2009 and Satchel's has been closed for a year! We sure miss you, Dominic.

The ukulele shown above is an 18"-scale tenor ukulele. The original design is that of Hank Robinson (amateur luthier from Omaha, NE. The uke that I am playing above has been modified substantially by me into what you see above. It plays beautifully and is a simple pleasure to play. I have used a variety of pickups on this uke, from dual stereo mics installed in the uke (my own design), to boom mics specially designed for acoustic instruments, to transducer mics. The best pickup I have ever used is the Schertler Mandolin Pickup, recommended to me by Brett Dewey, mandolin player with Trio Pinto.

The uke above is constructed of Koa (sides, back, and headstock), Sitka Spruce (top), Mahogany (neck, headstock, and tailpiece), and Maple Burl (finger rest). The uke is bound around the top, back, and headstock, and sides of the Ebony fingerboard. It is beautiful.

For more about this uke, click here ===> HERE

To learn about the Schertler Mandolin Pickup, click here ===> HERE

Ukulele with a strap and pick ? ! ? ! Heresy?

Is the use of a strap or pick proper or appropriate? When you play the ukulele 'mainland style' it is not only appropriate but encouraged, becoming a necessity due to the often complex nature of the music. WOW!!! This sure sounds like it is an elitist statement. Not true! Playing good jazz and swing music on any string instrument can be a daunting undertaking. Why add an additional level of complexity when it is totally unnecessary. More on this later in this article.

Before venturing on with my explanation, there is a difference between mainland uke and island uke playing. For the purist (you know the folks we mean), the ukulele is always held loosely and without a strap. Of course, guitars, mandolins, banjos, and such are strapped most always when standing. [They are near to impossible to control for any length of time without a strap.] When seated, these instruments can be rested in the lap where a secure playing style can be employed, but not the mandolin. The size of the instrument usually dictates how best to secure the instrument while playing. Calling attention to the re-adjustment of the instrument while playing to keep it in the most desirable position for playing, deserves mention. Without a strap, it seems that the player is continually adjusting the position of the instrument. Watch for this whenever you are attending a concert, jam session, or the like. With a strap, the instrument is kept or brought back into a desirable position simply by adjusting one's posture.

Mentioning the size of the instrument in the previous paragraph calls attention to the need for a strap to aid in keeping the instrument in playing position. Soprano, concert, and small tenor ukuleles may not require a strap and are most always played without one in Hawaiian or island style. They are lightweight and can often be securely held between the body and the forearm of the strumming hand. Too often, the fingers of the strum hand are used under the uke too aid in supporting the uke. Additionally, the neck of the instrument is at times cradled in the crook of the thumb and forefinger of the chord hand to periodically assist in keeping the neck of the uke in place. The neck of the uke is not gripped or held in place by the chord hand, as is mistakenly taught by some. The only "gripping" pressure exerted is used to depress the strings to the frets to form chords.

Larger instruments are best held in place by a strap. Most guitars are too large to secure using the method described in the previous paragraph. The weight of the instrument comes into play in addition to the physical dimensions. The use of a strap is of great benefit.

Now the crux of the matter -- use a strap!!! By using a strap, you reduce the complexity of your playing by at least 30%, if not more. Thoughts of how and when to reposition your out-of-position instrument are eliminated. This, as you might realize, gives you more flexibility in thinking through what is coming in the music you are playing. Nearly every top player agrees to the use of the strap for precisely the same reason. In addition to the reason stated above, they explain that the positioning of chords, the accuracy of finger placement, and the ease of sliding from one chord to another is simplified immeasurably by have their instrument always in playing position. Need we say more?

There are many ways to produce sound from the strings of your instrument. All require practice and skill to be performed expertly. Some of the most popular methods are finger-style picking, flat picking, strumming with and without picks, and so on. Island style ukulele uses all of these forms, and the same is true of mainland style uke playing. In the arena of novice playing, the ukulele is most often strummed. The most elemental forms of strumming are just with the thumb, or with the forefinger and the thumb, or with the nails of the fingers on the down stroke and the nail of the thumb on the upstroke. Regardless of the strum used, they are all OK. Each has its place depending on the music being attempted.

The intermediate levels of playing are for those who are experimenting with different playing styles and genres of music. These folks have enough in their arsenal of skills to be able to venture to the limits of their abilities with some confidence. A small percentage of these folks have the will and desire to venture further into music that the rest who are content with doing accompaniment at a mediocre level (meaning playing the simpler songs that are not too challenging).

Advanced players are those who are playing a lot of solo work and using more complex chording for some challenging music. Most swing, jazz, and a lot of pop music is of interest to advanced players. Why? Challenge, is the best answer. It is this kind of music that offers the most selection in advanced music. I am not overlooking classical music, just not mentioning it too much. There are definately challenges in classical music, but these are better left for another time.

Focusing on swing music, light jazz, and good blues is my direction here. The variety of rhythms, techniques, and styles that these 3 areas of music offer is mind boggling. The popularity of these 3 areas of music is never-ending. For the past 70 years, these areas of music have had a following that continues to evolve. Music from the Top 50 charts over the years has had plenty of music that has joined the ranks of swing, jazz, and blues while perpetuating much of what has come before. No matter what my audience, I will play something that is thought provoking and reminiscent to nearly everyone present. This is why I play the music I play.

What method of playing my uke do I use? I use the flat picking style of play because of the flexibility it offers in 90% of my music. Gaining proficiency with the flat pick has been a life long pursuit. These days, the approach for me is within the elementary use of the pick. My style is simple and rudimentary while at the same time utilizing techinques learned from traditional jazz picking and strumming. Some of my tunes are very nice ballads with a jazz flavor -- for these, I employ a finger-style form of playing, more plucking than picking, although both are combined where a musical advantage can be gained. Pure strumming is used also, but judiciously. Too much, I find, is a detriment to the song being played.

Well, so much for my DEFENSE of straps and picks on the ukulele. The bottom line is -- can I play the instrument as an entertainer and please my audiences. The overwhelming answer to that is YES, OF COURSE!!! That is why I do what I do.

New Ukulele Acquired - 2/2007

(Date: February, 2007) Ray has purchased a new ukulele. The builder is Leonard Young of Boise, Idaho. He hand crafts top of the line ukuleles for some of the best players in Hawaii and elsewhere. Ray became aware of Young Ukuleles through a luthier at the Old Boise Guitar Company. Upon contacting Leonard, Ray commissioned him to build a beautiful 17�" scale tenor uke. The reason for Ray to have another tenor uke is that Leonard is noted for building the most beautiful sounding steel string ukes in the world. Take a look at the pictures of Ray's new uke below; paying particular attention to the design of the headstock and bridge which are Leonard's very unique and beautiful trademark signatures:

Woods involved in the construction of Ray's Leonard Young uke are:

Tonewood: Beautiful straight-grained SPRUCE

Sides & backwood: Gorgeous CURLY MAPLE (aka Tiger Maple)

Neck and Peghead: Tight, straight-grain MAPLE

Binding, Backstrip, & Peghead: Rare and beautiful KOA

Bridge & Fingerboard: Dark ROSEWOOD

Note: Leonard Young passed away a couple of years ago and his ukes are no longer available.

[You can email Ray by clicking on this line]

Miyoko Onishi - American Site Miyoko Onishi - Japan Site

John Mumford's Jazz Banjo Magazine

New breed of "Quarter Horse?"

Perhaps of passing interest:

Below is an article written for the Internet and published with these pictures on an early version of this site.

{DESERT SWING in 1995}

"We have returned from a successful engagement at the 6th Annual Sun Valley Swing'n'Dixie Jazz Jamboree. There were 24 of the best of the best in Dixieland bands. We were not one of them, however, we did play the breaks and special venues in the Sun Valley Lodge. We were there as guests of the Idaho Jazz Society and the Jamboree committee. A great time was had by one and all -- especially the public. There was more good music than you can shake a stick at; in fact, if you didn't like one band, you could walk across the street, down the hall, or out by the ice rink and hear something you did like. What a fantastic experience."

<==The Eddie Duchin Room - Sun Valley Musician & Volunteer Badge

From left to right↑above↑:
Mark "Jazz-mo" Seiler, jazz violin, bass - John March, bass, euphonium, tuba - Larry Babcock, piano, vocals - Dean Cerva, banjo, guitar - Ray Miller, banjo, guitar, vocals - Audience Member - Cary Hobbs, banjo, vocals

The Original

Desert Swing Band

From left to right:
Mark Seiler, Dean Cerva, Linda Cerva, Ray Miller, Larry Babcock

Questions/comments regarding this Web site? mailto:mrraymiller@yahoo.com