Michael "Slim" Richey (February 11, 1938 – May 31, 2015) was an American musician best known for his work as a guitarist, his skill on the fiddle, and his role as a bandleader and publisher in the Austin music community. Born in Austin, he became a distinctive presence on stages across the region from the 1960s onward, notable both for his long white beard and for an economical, lyrical approach to soloing on the electric guitar. He frequently mixed repertoires from swing and country music, and he sometimes described himself in jest as "the most dangerous guitar player in Texas."

Early life and career beginnings

Richey's early life in Austin put him in contact with a variety of regional styles. He began performing publicly in the 1960s and led or played in several small groups that emphasized danceable rhythms and clear ensemble playing. His background allowed him to move comfortably between traditional country tunes, jazz standards and swing-era arrangements, often reshaping material so that instrumental solos and fiddling could coexist in the same set.

Musical style and instruments

As a player Richey was known for a clean tone, tasteful phrasing and rhythmic clarity. He alternated between fiddle and electric guitar during concerts, using each instrument to emphasize different colours: the fiddle for rustic or dance-oriented pieces, the electric guitar for jazz-inflected lines and single-note improvisation. Reviewers and colleagues noted his ability to bring elements of swing phrasing into country contexts while retaining a relaxed sense of time.

Collaborations and ensembles

Across his career Richey worked with a variety of singers and groups, including appearances with ensembles such as the Jazz Pharoahs and the Jitterbug Vipers and collaborations with singers like Kat Edmonson. He led combinations that ranged from small pickup bands for local dances to more formally arranged groups, always emphasizing accessibility and a repertoire that could include standards, traditional tunes and occasional originals.

Publishing, recordings and local influence

Beyond performing, Richey took part in publishing and promoting music within the Austin scene, helping to document live performances and make local recordings available. His efforts contributed to a musical ecosystem in which jazz, swing and country artists crossed paths and shared material. Contemporary musicians in the region cite him for mentoring younger players and for keeping certain pieces of repertoire in active circulation.

Death and legacy

Richey died in Austin on May 31, 2015, after a struggle with lymphoma. He left behind recordings, arrangements and students who continue to perform in similar styles. His career is often remembered as a bridge between genre worlds—bringing swing phrasing to country sets, and the directness of roots music to jazz contexts—while maintaining a solid regional identity tied to Texas and especially to Austin.

Notable facts

  • Celebrated for combining improvisational jazz language with country and swing repertoire.
  • Worked as a performer, bandleader and music publisher, sustaining local music networks.
  • Remembered for his characteristic stage presence and mentoring role in the Austin scene.
  • Performed with ensembles including the Jazz Pharoahs and the Jitterbug Vipers and accompanied younger vocalists.

For further reading and archival material, consult regional music histories, musician profiles and local archives that document Austin's jazz, swing and country traditions. Useful starting points include specialist profiles of the guitarist tradition, discussions of fiddle technique in roots contexts, overviews of swing and country music intersections, and collections focused on Austin and broader Texas musical life.

Selected references and resources: artist pages, local oral histories and catalogues of performers preserved by regional archives and community projects that preserve the sound and stories of Richey's generation.