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There are few musicians who embody the spirit and soul of Kent’s music scene quite like my good friend Timothy Koehler. His ongoing story is one of passion, creativity, and a deep love for music that transcends generations. Born in Cleveland, Ohio, on December 28, 1961, Tim’s connection to music began as a child and has evolved into a lifelong journey filled with improvisation, authenticity, and spontaneity—qualities that set him apart from others in the local scene.

Reflecting on his early years, Tim shares a vivid memory that may surprise many: "I didn’t see my first color television until I was about 10." Growing up in an era of radio shows and family gatherings rather than screen time, Tim was drawn to the arts in an unconventional way. "I wanted to be a puppeteer. rod puppets—(like Kermit), hand, and marionette. I was fascinated with puppets." Long before he picked up a guitar, he was captivated by the performance world, eager to express himself in creative ways.

Tim’s musical journey started at home, surrounded by family members who simply appreciated the joy of a good performance. "There was a piano at the house. Two of my brothers played it. I got lessons on the piano just by proxy, just by standing around watching my brothers play. As a little kid, I figured a couple things out." These early experiences shaped his first performances, albeit in informal settings. "It was probably playing for my mom… Before the guitar, I probably performed on piano for the family. Like I could play chopsticks, I could play this song I wrote, and that was it. I had my repertoire of two or three songs."

Music, to Tim, was always more than just entertainment. It was an integral part of his upbringing. "My older brother would actually play for the family. I would try to imitate him with chopsticks. He would play like Sweet Georgia Brown and like Dizzy Fingers… he had to have a couple polkas, the Jenny Lynn polka that he could play. I would try to imitate it... From, in diapers, I was playing the piano." Even at such a young age, music was woven into his life, laying the groundwork for his future.

Growing up on Vikki Lane in Bedford Heights, Cleveland, Tim was constantly surrounded by the vibrant sounds of his community. "Lots of hot rods and bikers," he remembers, a scene that surely influenced the rebellious and creative spirit that would later emerge in his music. The music in his neighborhood wasn’t ‘background noise’—it was culture. "Early on I noticed it was an ‘attention-getting device’. It was the 60s. There was lots of live music. My aunt would have a party; they’d have an accordion player playin’ polka at the house. This would happen a lot."These experiences built his understanding of music’s purpose and power. "The response. So, as a kid, music had a function. People would dance to it mainly. There were people a.) dancing to polkas or b.) dancing to rock & roll. You realize music is a part of the culture, and when it activated you’d get a response."

Tim was quick to absorb the nuances of these performances. His brother’s antics, like laying on his back to play the piano, were a source of inspiration. "When my brother played piano, he’d lay on his back and play this way," Tim, mimicking this over-the-shoulder technique, says that people would laugh and engage with the music. He also recalled, "My godfather would whistle. Somebody’d play a song, and he’d whistle to the tune of it.” Almost like a metaphor Tim says, “Blades of grass, we grew up with that." Music was obviously to be enjoyed, celebrated, and shared, and these moments cemented Tim’s belief that music had the power to bring people together.

A Journey Through Sounds and Stages

Though Tim’s early years were spent soaking up the sounds of his family and neighborhood, it was when he picked up the guitar that he truly found his musical voice. "There was no epiphany later on. When I discovered guitar, there was that kind of epiphany but as far as growing up, it was interwoven into the culture." Even before formal training, Tim had a toy guitar that was constantly in his hands, mimicking the rock and roll heroes of the time. But it wasn’t long before this toy turned into the real thing.

Before Tim even set foot in a college classroom, he was already sharing his musical talents with others. "Before I went to college, I was already teaching guitar. I got a gig at Mayfield Music.” Tim recalls even a second teaching job “also at Cuyahoga Falls School of Music." These early teaching experiences were formal and paid. They were essential experiences, allowing Tim to hone his ability to communicate complex musical ideas. He didn’t just teach in a classroom, though—he was often invited to private homes. "I would go to people’s houses sometimes. People would invite me to their house, and I’d show up with a guitar." This hands-on, community-focused teaching was the start of what would become a long and fulfilling career as an musician.

Tim’s journey took him to Texas, where his love for the guitar deepened. "I went to Texas. I was still amateur. I was really into Neil Young. I knew a few chords. I could improvise a little bit. Then I started jamming out." While there, Tim found himself among kindred spirits. "I’d meet people who were like me, who played guitar. They could play ‘Sweet Home Alabama.’ There was this dude from Texas named Red and some other guys from Arkansas. Houston drove people from all over the country." These informal sessions with enriching folk became a part of his routine. "Out in Cut and Shoot, Texas… this guy’s trailer. Mostly acoustic guitars and I think a few electric guitars layin’ around. Three of us would play acoustic, and one guy’d play lead on the electric."

It was during this time that Tim truly began to carve out his musical identity. When he returned to Cleveland in his early twenties, the city’s vibrant music scene was the perfect place to sharpen his skills. "Now I’m like 22. Watched dozens of bands down there (Texas). At that time in ’82… maybe ’84…. I come back to Cleveland; now I ‘got some chops’ while there’s a thriving active music scene"

One of the pivotal figures in Tim’s early career was his childhood friend, Gerald Matus. "He introduced me to the entire Cleveland music scene. I owe a lot to him." Through Gerald, Tim was introduced to a network of musicians that would shape the next chapter of his life. "In the early 80s that was the first time someone paid me. I went and did a blues gig. Then someone handed me 20 bucks to play this little bar. Then it turned into 40 bucks and to 60 bucks. We’d get 100 bucks a guy sometimes."

The Rise of SugarCane and Musical Milestones

By the mid-90s, Tim’s musical journey led him to the band SugarCane, a local group that had already begun to make a name for itself. "SugarCane was already established way before I joined. I am not a founding member of that band. I’m like guitar player probably #4." At the time the band’s lead singer, Joel, was a close friend of Tim’s from KSU, and through this connection, Tim found himself pulled into the fold. "They had a revolving door of lead guitar players. Joel is like, ‘we need to get this guitar player Tim. He’s a friend of mine. He’s our dude.’" And just like that, Tim became an integral part of the band.

SugarCane played a variety of venues, ranging from local bars to high-profile gigs, such as Euclid Tavern, Peabody’s Down Under, and the Akron Agora. "We gigged for about another 5 years. Until about 2007. In some ways it was better. We had this guy named Doug managing us. He got us really high-profile gigs whereas before the quality of the gigs wasn’t quite the same." Despite the ups and downs, SugarCane became one of Tim’s longest-standing musical projects. "SugarCane, probably over a decade," he says proudly.

During his time with SugarCane, Tim had many memorable encounters, but one in particular still stands out in his memory—a meeting with the legendary music critic Jane Scott. Tim lights up as he tells the story, and his gestures bring the scene to life.

"Meeting Jane Scott… She was THE music critic for the Plain Dealer(Cleveland), and she was a legend. She came up and introduced herself to Joel and I. She was probably in her 70s when I met her, but she had interviewed The Beatles, Jimi Hendrix… I got to shake hands with her and she complimented my playing."

As he recalls the moment, Tim mimics Jane's exact stance and expression. He gestures tightly with his arms pulled in and his face showing a pleasant grunge, as if shredding on an invisible guitar. With great enthusiasm, Tim continues, "She comes walking up…" and then, with a flourish, he mimics Jane’s voice and expression, saying, " 'You have a very interesting way of playing guitar' ".

At this point in the story, Tim extends his arms outward, as if knocked off balance by the magnitude of the compliment, his face still starstruck by the memory. "I was like…" he says, acting out his younger self’s reaction, arms flung wide in amazement. "Jane, so nice to meet you, thank you!" he remembers, his excitement as genuine now as it was then. He finishes the story with a smile "I don’t know if it’s ever going to get better than that day."

This encounter with Jane Scott, a critic who had seen and interviewed some of the greatest musicians of all time, was more than just a compliment—it was a validation of Tim’s unique approach to the guitar, a moment that would stick with him for the rest of his life.

Educational Journey: From Texas to Kent State

Tim’s path to formal education was just as unique as his musical journey. While some people know from an early age they want to pursue higher education, Tim took a different route. "I kind of went about it half-backwards," Tim laughs. "I moved to Kent first. I was like, ‘might as well take advantage of this college that’s right here.’" What started as a practical decision would shape the next chapter of his life.

He first attended Cuyahoga Community College (Tri-C), where he spent three years studying music theory and taking piano lessons.  

But it wasn’t until Tim enrolled at Kent State University that his formal music education truly took shape. It was here that Tim began to refine his skills, working with musicians who would influence him for years to come. "Tom Devore was a drummer I ended up working with for years."

Tim moves to Kent, Ohio from Cleveland

Starting late in 1993, Tim “initially went into Arts & Science…” at KSU. He initially intended to major in something else entirely. "I was thinking I was going to be a math teacher," he says. But that quickly changed when he found himself drawn to the music program at Kent’s Hugh A. Glauser School of Music. "After about a semester I changed my major to music."

At Kent, several courses and instructors left a lasting impact on him. "George’s Studio. A Guitar Studio is when all the students get together. Once or twice a week. All the pieces he’s teaching you, you play in front of the teacher and all the other guys that are studying." This collaborative, critique-driven environment helped Tim grow as a guitarist. Another key influence was Dr. Gorder’s Conducting Class, which pushed his musical abilities to new limits. "You had to split your brain into four parts and all of them acting independently. That was really good. The theory class was really important."

His choir teacher’s advice also left a deep mark. "Lessons in music are lessons in life. If you approach this piece of music halfway, you probably approach your life halfway." This idea of committing fully to both life and music became a guiding principle for Tim. After approximately 5 and a half years, in 1999, Tim graduated from Kent State University, ready to dive even deeper into his musical career. Under the instruction of George Bachmann, Chas Baker, Kazadi Wa Makuna, Dr. C.M. Shearer all of KSU he had earned a Bachelor of Arts with a focus in Classical Guitar.

Post-College Teaching: Woodsy’s Music and Beyond

Tim’s time at KSU wasn’t just about becoming a better musician—it was also about preparing him to share his love of music with others. After having some teaching experience, graduating college, becoming an instructor would be a more structured part of his career, and it wasn’t long before he landed a job at Woodsy’s Music. Between two teaching jobs before College and his time at Woodsy’s Tim was a guitar instructor for “probably a decade all together,".

At Woodsy’s, Tim found that teaching was about more than just technique—it was about offering students a path to explore their own creativity. "A good teacher will teach you how to teach yourself," he says. "Even in the best-case scenario, you’re only with that student half an hour, maybe an hour a week. You have to give them enough material. They have to learn on their own. This is how you go about teaching yourself guitar."

His goal, as always, was to inspire his students to find their own musical voices. "Teaching is more like offering a path—like, ‘here’s a road to getting better,’ and if you’re a good teacher, it’s more about inspiring the kid to pick up the instrument and play it than it is, ‘you have to play this perfect.’" Tim’s students at Woodsy’s weren’t just learning how to play the guitar—they were learning how to approach music with passion and originality.

Tim’s teaching continued for years, and his influence as an educator left a lasting impression on those he mentored. "If they do show talent, then you start honing in on it. You can be more critical of what they’re doing. Otherwise, you just want to offer them a path." For Tim, the greatest success as a teacher was seeing his students embrace music in their own unique ways.

A Legacy of Improvisation and Passion

What truly sets Timothy Koehler apart as a musician is his love for improvisation. "I’m more interested in the improvisational aspects of it. A lot of guitar players are into that. What sets me apart, though, is playing ‘from the hip’. The idea is when I go into a solo, I have no idea what I’m going to play. I have a basic structure. There might be some signature riffs that I wanna include, but for the most part I can play what I feel when I feel it." This freedom in his playing has been a defining feature of his style, one that audiences recognize and appreciate. "That’s what I strive for. What they call playing ‘over the top’. I’m not going to plan. I feel most comfortable going into a solo not knowing where it’s going to go or how it’s going to go and be able to take chances. It’s really about the expression of how you feel in the moment."

Tim recently produced his first released recording March 17th, 2024 with Cameron Mack. Tim improvises a raw sound on his guitar with a Jaw Harp rhythm for support. You can find the track titled “Franklin Avenue” on any online platform where you can stream music. Listen to it today. Tim also has an active position in an upcoming Blues band so keep your attention to him as he makes a break through the surface once again.

Through all his gigs, bands, and teaching roles, Tim’s approach has remained consistent—music is about passion, spontaneity, and the freedom to express oneself in the moment. His journey, from the early days in Cleveland to the high-profile stages of Ohio, has been a testament to his devotion to the art.

As Tim reflects on his career, it’s clear that while the gigs may come and go, his love for music is eternal. "A lot of great big circles really. I’m doing the same thing. I’m working a day job and then trying to gig on the weekends. I’m a lot better on my instrument, we’ll see how it goes. This is nothing new. The circle of life."

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