Linda Hornbuckle has always held people's attention when she sings. Her delivery is smooth and classic. Her voice has a cultured sound, in both blues and gospel music.

This writer experienced the special magic Hornbuckle weaves during a hot summer night many years ago. A band member's child had never heard the "full-gospel" style rendition of the tune Amazing Grace; it was arranged that the child could stand outside on the sidewalk to hear and observe the band through an open door. The tune was early in the evening, but the club was packed then, as usual. Hornbuckle led the tune and the band followed her strong vocal cues in an unmetered, soulful style, showcasing the number and her voice equally. The song started out good, but some-where in the verse, the electricity kicked in, and everyone was caught up in the web of spiritual energy Hornbuckle raised. This writer felt the goosebumps rise on her skin.

The child, who was hearing her father perform with Hornbuckle, became wide-eyed, and in the way of many children, felt the full impact of the tune and it's power. She started to run away because the experience was so intense, but was safely shepherded by her custodian. The step-mom holding the little girl then took the opportunity to explain to her that this was how the tune was really supposed to feel, and that she may or may not ever hear it done this way again.

Fortunately it is not necessary to become a child again in order to feel the soul of the music. Artists like Linda Hornbuckle come along and deliver it to us. It is part of the Portland music scene that one can step inside of a nightclub, pay no cover charge, and "accidentally" experience this kind of musical gem.

Linda Hornbuckle's earliest recall of music was gospel tunes in church. Her father is a minister and the church was not only the family's focus but also the family "business." The first records she heard were of Clara Ward, Mahalia Jackson. At age six she was singing in church. Her father says he noticed her singing along earlier than that, but she became a lead singer in the teen choir at about age six or seven.

"I stood up. I wanted to be in the choir. I kind of put myself there," Hornbuckle relates. Since the congregation was small, everyone could be involved in the worship service. A special tune that she remembers is Jesus Never Fails. "I felt like I owned this song," Hornbuckle states, noting that she performed this tune at Pioneer Courthouse Square during a recent Christmas concert. "I'm very much still linked to my gospel music. It's still fun for me."

Hornbuckle remembers that there was not much family interest in the nightclub scene, so she didn't start going in clubs until after she was 21 years old. "It didn't cross my mind," she says, adding that she "went to parties when I could sneak away." She and the other kids would watch the Grammy Awards on TV and imagine what it would feel like to be the star.

"As I got older I got a little bit more serious" about music. It was her own decision to pursue music as a career but she has always consulted with her father about life events. "My parents' prayers kept me safe." (This is a serious concern for a young woman entering this trade; not everyone can be trusted to have your best interests at heart.) She was attending Music Theory class at Portland Community College and approached the instructor asking if he knew of any bands needing a singer. The first response was negative because it can be a tough business requiring years of work and financial risk. Eventually he referred her to "some people" who were looking for a singer and she audi-tioned with them. They were doing Salsa music, which she enjoyed, but the job required fluency in Spanish, which Hornbuckle did not have.

Hornbuckle dropped in on another audition at the former Turquoise Room, where the Lovin' From The Oven band was seeking a singer.. "I was straight out of church and high school," she says with the hint of a giggle. Saxophonist Bob Roden (currently with the Lloyd Jones Struggle) heard Hornbuckle sing and said, "That's it." They had found their singer.

"He took me under his wing," Hornbuckle says. "He taught me a lot about music, especially jazz." Through Roden she was introduced to performers Greg Warner, Mel Brown and Larry Kroll. "I was with some very good people, (who) came and talked to my dad." Even today Hornbuckle's father feels protective toward his daughter, but Roden and his friends were able to convince him that they were on the "up-and-up." "They were very, very good to me," she relates, saying that they "kept me safe. They were my big brothers."

"I don't think I was anything special," she recalls, explaining that she was still learning her craft. She worked in various regional tours and circuits including the Red Lion and Stewart Anderson venues. In the early '80s she met and worked with artists including Dennis Springer, Janice Scroggins and Lester McFarland, and built her reputation slowly. After a tour with Quarterflash and Nu Shooz, she began singing "out front" again. She says the first time people started "really noticing" was when she worked with the band Body and Soul (inlcuding Michael Baker and Tarshene Watkins). Singer/songwriter Mark Bosnian had a good handle on how to promote the band and get the "right" kind of gigs and the band did well. Hornbuckle states that it's a matter of "knowing where to put yourself." The band performed very popular dance tunes from the "Big Chill" era, hits made famous on the Motown label. After some time, the business got to be "more serious" and they worked on more complicated things. The strong vocals were backed by a "great horn section" and Hornbuckle recalls it as "fun."

"I got a call from Peter Damann to do a show at the Washington Park Zoo with Paul deLay. It was great. I was just really surprised at all the people who knew who I was!" She experienced some major life changes, and along with that came the decision to work with the No deLay Band while Paul deLay was away. "It was a great four years. They were some of my best friends." The CD Soul Diva Meets the Blues Monster resulted from this collaboration.

Linda Hornbuckle especially enjoys the big stages at summer festivals. "It's really great to perform outside. I just love that; it's more like being 'onstage.'" Noticing her fans in the audience, she says "They all come out!" and is happy that people have such a good time.

The smaller, more intimate performances also hold appeal for Hornbuckle. She and award-winning pianist Janice Scroggins toured in Italy, where they per-formed in castles and small theaters. The tunes included gospel, jazz, blues and pop tunes. "She's a phenomenal piano player," Hornbuckle says of Scroggins. The big outdoor events are spontaneous and exciting, but the smaller venues are more soulful and calming. "You really get a chance to draw people into your world," she describes, appreciat-ing the opportunity to express different aspects of her performance personality.

As songwriter and performer of classic tunes, Hornbuckle still exclaims over the surprise of her current success. "I try to take a song and deliver it the way I would do it. You learn the basic song but always make it your own. If you're gonna be doing someone else's music you gotta make it come through you. It's part of developing your own style." She goes on to say that when people enjoy her original material, "It's kind of the highest high you're actually singing something that you created." She is pleased when others enjoy the tunes, dancing and singing along. When working on a new tune, she sometimes thinks, "Nobody's gonna listen to this." Now she reads the Gavin radio charts and sees her tunes and her name printed there, and takes it to her folks to read.

"I still can't believe it," she exclaims. When she was recently considered for various Grammy Award nominations, she showed her mother the book. "I don't think my mom and dad believe it." The first question from mama was "Who else is on that list?" It was a heady thing, however, for Hornbuckle to see her name on that list, and the door is open for future awards as well. "I think I have a style of my own....(I) have learned a lot from others." She notes that with few exceptions, she wrote the melodies and lyrics to the tunes on the new CD, There Was A Time. The success of this recording on the national radio charts is a good sign. "I'm shocked," Hornbuckle states with sincerity. The band performs in Portland and will do some festivals around the U.S. In it's Fourth Annual R&B Awards, Real Blues Magazine (Canada) named Hornbuckle as the Best U.S. Solo R&B Artist of The Year, 1997, Female. Linda Hornbuckle and her band seem to be welcome everywhere they go.

Commenting on the recent passing of the Northwest blues artist, Paulette Davis, Hornbuckle says "I'm gonna miss Paulette. She was The Blues Diva of the city. She had "DIVA" on her license plate for a reason. I think we're all gonna miss her, and that we love her dearly."She continues, "I'm sure she's fine, bossing everybody around up there. It was always good to see her. Nobody can hold a candle to her, nobody can fill that slot." Linda Hornbuckle's CD There Was A Time, FT Records, is available anywhere recordings are sold. Check Bandstand for performance dates.

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