Michael McDermott has had the privilege of playing with many world-class musicians throughout his career. From the stages of Nashville, Philly, across the sea in Italy and back home in Chicago, these friends have been an integral part of Michael's music for many years. 

Much like the title character from the movie, August Rush, Heather Horton “heard the music…and followed it” at a very early age – and in a place where her belief in it as the most essential form of communication was neither understood, nor greatly encouraged.  By age 3 she was already playing piano, and at 8 began formally studying violin.  Again like August, however, she “didn’t do the homework [properly]” – it took her instructor two years to figure out she was not, in fact, reading the notes, but playing everything by ear.  And, having been adopted into a family wherein music was understood strictly from an intellectual, rather than intuitive, perspective, no framework existed to help make sense of her extraordinary gift. “I was so ashamed,” Horton explains.  “I thought I just wasn’t smart enough to read music.  I had to hide the fact that I wanted to be a singer until I graduated from college and moved to Minneapolis.”

Having made this break to independence, and inspired by a wide and eclectic mix of artists (that includes Mozart, Prince, Elton John, Tracy Chapman and Elvis Presley, to name only a few), Horton set out to, at last, forge her own twist on the words of Martin Luther King, Jr., “There comes a time when one must take the position that it is neither safe nor politic nor popular, but he must do it because conscience tells him it is right.”  To Horton, nothing had ever been so “right” as music, an entity she describes as “the only way I knew how to communicate.”  And, though she calls herself a “late bloomer” by comparison to other career musicians, in the intervening years, she’s more than made up for her slow start.  She now divides her time between Chicago and Nashville, and has amassed a formidable resume of both solo and supporting roles. “I've played with a loooooooot of people,” Horton says. “I've played with Red Skelton's orchestra and I've played violin on hip hop artist, Skee Lo's records...I toured as a background vocalist for Frankie Avalon and I was recently musical director for an up-and-coming artist in Nashville where I played violin, guitar, mandolin, and did background vocals.  My solo projects include Heavon.com (2000) and Most of All (2006).  I've also had a local "underground" following that I've built up in Chicago, and carried an 8 year residency at The Underground Wonder Bar.  But,” she staunchly affirms, “nothing has given me more artistic pleasure than playing with Michael [McDermott].”

Ironically, her first acquaintance with McDermott’s work coincided with her first job in Chicago, playing Tony n’ Tina’s Wedding.  McDermott was then touring in support of his self-titled album, and had recently been slated for an appearance on Late Night with Conan O’Brien. “Our drummer had just been asked to go on tour as an additional percussion player...I was bummed because we didn't want a substitute drummer

while he was gone.  Anyway, it was years later that I was listening to XRT, and heard 

a new Don Henley song....or so I thought.  Offhand, I don't remember what song it was, but it was, in fact, Michael.  I remember thinking, ‘WOW…finally, Don has another great song,’ and then hearing the name.  I was so puzzled, and soon after realized that the other new Bruce song I liked was Michael, too!  I didn't make this discovery, though, until Michael sent me 30 songs to learn for my first show with him – with a week to learn them…”

In regard to how that first show came about, Horton recalls, “We have the same entertainment lawyer.  He brought Michael to one of my shows 5 years ago, and I started a few months later.  It was a very memorable meeting.  He was kind and respectful and frightening at the same time.”

Apparently, Horton conquered her fears, and has become an integral part of McDermott’s shows both at home and abroad.  In discussing her participation in these performances, Horton’s view is objective and straightforward.  “That's kinda the beauty about working with great artists and true musicians...if I didn't add to the recipe, I wouldn't be in the band.  If something doesn't work, it's that simple – it doesn't work.”

Clearly, Horton’s collaboration with McDermott “works.” Not only have they continued to share the stage professionally, but in May 2009 the two took a day off from their European tour to be married in an intimate ceremony in Ferrara, Italy – what one might call the ultimate “working vacation,” with the newlyweds playing a “honeymoon concert” for invited guests later that day.  

But, that doesn’t mean Horton has given up on her own career aspirations or in any way lost sight of her own musical identity. When asked how interpreting certain aspects of McDermott’s work influences her own, Horton offers a response that is good-naturedly humorous, yet adamant, “His interpretations and mine have nothing to do with each other’s...fortunately!!!”  In fact, early 2010 marked the release of Horton’s most recent musical interpretations, in the form of an album called Postcard Saturdays, which she refers to as her “latest and most proud project.” 

While a new marriage, playing in McDermott’s band, and pursuing her own career might seem like a lot on one (very svelte) woman’s plate, Horton takes a breezy and optimistic approach. “If it were easy, everyone would be doing it...though in Nashville it does sometimes feel like everyone is! HA HA!”

TJ Pavletic always had a love for music, and began learning guitar for fun during his college years.  But, it took a proposition from Michael McDermott to turn this into a profession.  As Pavletic tells it, “We were all sitting around at Gunther Murphy’s with Paul Fitzpatrick from Fitz and the Celts.   Fitz didn’t like his bass player, and Michael said, ‘I’ll teach TJ to play.’ I thought he was joking. Then next day he called and asked if I’d rented a bass.  So I rented a bass and we headed up to his cottage in Michigan, and he proceeded to teach me 30 songs for a Fitz show…that’s basically how I got in the music biz.  Michael still jokes that was the day he ruined my life.  I still thank him for that day.”

Growing up in the Chicago suburb of Orland Park, Pavletic listened to all kinds of music, noting that, as a kid, “Bruce was my main man.”  But, nowadays, he says, “I don’t listen to Bruce a lot.  Obviously, Michael has been the biggest influence on my career.”  Still, their relationship wasn’t what one might call love at first sight.  “Michael and I went to the same grade school together but didn’t know each other.  Went to junior high together, too –  didn’t really know him, but I didn’t like him.  I thought he was a cocky little guy.  In high school, same thing.   We knew each other but didn’t hang out.”

As one might expect, it was music that changed all that – specifically, McDermott’s music, and the discovery of it by Pavletic’s friend, Rob Curtis, who first asked him to attend a McDermott show.  Soon, Pavletic, his college guitar-playing buddy, Devin Hodge, and another friend, Rick Conrad, became the “three amigos….going to shows all the time.”  And, of course, that led to spending more and more time with, and better getting to know, McDermott.  Pavletic recalls, “He would give us demos and we would come home and learn the tunes, and sing.  I only knew a handful of chords so Dev would do most of the playing.  I have tons of demos from back in the day. The first song I saw live was called ‘Rattlesnake Dances’…it blew me away.”

Though content to let others fill the role of lead guitarist, Pavletic grew increasingly proficient at bass, and, in addition to playing with Michael throughout the ensuing years, has enjoyed stints with The Orphans, Mark Schiltz, Gary Stier, and of course, his longtime gig with Fitz and the Celts, with whom he toured Europe in the late 90’s as part of their backing role for the The Trinity Irish Dancers.  Regarding these experiences, Pavletic says, “I have to give Fitzy the biggest thanks.   He could have said, ‘Wait a minute, you don’t know how to play bass, what are you talking about?’  All he said when Michael threw out that notion was, ‘Let’s do it.’”

One might say this attitude is a commonality that linked Fitzpatrick and Pavletic early on, and which led to the latter’s willingness to serve as road manager for Michael McDermott’s Last Chance Lounge tour throughout 2001.  With little knowledge of the position, and a rollercoaster ride ranging from sold out-crowds in Philadelphia to an empty house in Chattanooga, Pavletic recalls this challenging journey as “the best of times and the worst of times.  Driving from Boston to Nashville to NY was not fun, but whenever we travel together, it works pretty well.  Surprisingly, we get along great on the road, and in life.  If not, we probably would have killed each other.   Sometimes it’s like we’re an old married couple…we can ride for, like, three hours and not say a word; then we’ll be laughing so hard we pee in our pants.  We know each other so well we both know when to give each other our space.”

That knowledge proved invaluable when Pavletic underwent surgery for a brain tumor in 2002, and endured what he describes as a “rough patch” in the aftermath.  In reflecting on that time, he says, “I had to move back to my folks for about 10 months.  I was kinda depressed… didn’t have any sense of purpose.  Then Michael rang and asked if I wanted to do an East Coast trip.  That was what I needed.   He gave me a batch a songs to learn, which was great.  I had a purpose to get off my butt and do something…  You always hear people say music saved their life.  I wouldn’t go that far, but it was a big part of my life during my recovery.”

And, so it has remained through the present, along with the bond he and McDermott continue to share, personally and professionally. Regarding that bond, and the music so long fueling it, Pavletic muses, “I know Michael’s songs mean so many things to so many people, but to me, I don’t take them so literally.  They’re just stories, some true some not.  Sometimes when I’m with Michael -- especially on the road somewhere -- I see fans so into him, and I’m thinking, ‘This is just my friend from Orland Park.’  It seems funny to me sometimes.  That’s one of the great things about traveling town to town.  You can be anyone you want to be.   I’m just happy to be along for the ride.”  

It might seem an irrelevant bit of trivia that Nick Kitsos shares his birthday with fellow artists Cyndi Lauper, Kris Kristofferson and INXS bassist Garry Garry Beers.  But, upon further reflection, it only makes sense to find him in the company of Lauper’s quirky persona, Kristofferson’s Rhodes Scholar intellectualism and Beers under-the-radar contributions to a world class rock band.       

One need only look to Kitsos’ Facebook page – where he lists his activities as “dreaming,” interests as “yes,” and includes among his favorite music “the quietly insane” to get a quick glimpse of his own enigmatic – yet far from quixotic – personality.   In describing what he brings to the musical table, Kitsos leaves little mystery about his practical, take charge approach to achieving career goals. “For me, I use my skills as a base and then look for the beauty around me and within me. Sometimes that can be a challenge in even the most ideal situations. Know how to do what you’re there to do, but don’t be pedestrian.” 

He also leaves little doubt regarding his qualifications and the lifelong study he’s made of attaining and refining his abilities. “I’ve always been drawn to music.  I’ve played just about everything and anything.  I learned by listening and doing, and through the school system starting in 5^th grade, and I took it as far as a couple Bachelor degrees. I play drums, guitars, keyboards, and sing at people.”

As to how drums came to the fore of these varied talents, Kitsos provides a characteristically analytical response.   “I listened to vocalists and guitarists far more than drummers when I was coming up. When I wanted to learn about jazz, or reggae, or prog-rock, the drummer became more interesting to me.  Now I look back and see Ringo, or Charley Watts as great, but I didn’t separate them from the song when I first started out – which was probably a good thing and definitely informs my approach as a drummer.

“I have a skill set that fits most anywhere, studio, rock, jazz… I’ve done shows, commercials, television, tours…whatever.  I just worked and played until I consistently played with people I wanted to play with, whatever the situation.”

Among the people with whom Kitsos has played are an impressive range of performers, from innovative bassist Edo Castro and singer/songwriter duo Lowen and Navarro to groups Poi Dog Pondering and the BoDeans, with the latter of whom he achieved international fame.  Through all of these experiences, he’s remained focused on what remains the most important aspect of his work, “It’s the song.  And of course I have to groove.”

Groove, Kitsos does – and it’s perhaps his own obvious status as a music fan first and foremost that makes him a favorite of audience members.  As one McDermott show attendee puts it, “My impression of him is a very positive one.  I think he’s an excellent musician…and I think he fits well with Michael. They seem to have a solid rapport.  And overall he sends off a positive, down to earth, reachable presence.  You could easily approach him for a quick chat.” 

Surprisingly, such a chat provides little info regarding how playing in McDermott’s band came about, and few details of his early acquaintance with McDermott’s songs.  Covering with accustomed wit, Kitsos offers the vague revelation of first hearing McDermott’s work on radio station, “[W]XRT.  I was critical of everything the radio threw at me, but I liked the charming rascal.”

Apparently, the “charming rascal” came to like Kitsos in return, with the latter playing on and off with McDermott throughout the last half-decade.  While much may remain unknown to the public about their “solid rapport” as noted above, one contributing factor is crystal clear.  When asked in a recent interview, “What’s the best part of sharing the stage with Michael?” Kitsos’ answer is direct, and as revealing of his own onstage goal as it is McDermott’s.  “He’s there to deliver.  He wants something great and he wants it to happen at the moment it’s supposed to happen.  At least, that’s how I see it.”  

 All biographies by Mil Scott