We've all heard of the Delta blues, the Chicago blues and a lot of other blues.

Bill Wade, Post-Gazette Rodney Underwood, with one of his guitars at home, is producing a documentary on Pittsburgh blues musicians. "I want to get this into a film festival," he says. Click image for larger version. Listen In Rodney Underwood talks about his documentary film on Pittsburgh blues musicians. What got you interested in the Pittsburgh blues scene? What's it been like filming Pittsburgh blues musicians? What are you trying to accomplish with this film?

Could there be a Pittsburgh blues?

Rodney Underwood thinks so.

Well, maybe that's a little strong. But the self-described "retired advertising exec and future filmmaker" definitely thinks that the Pittsburgh blues scene is as vital a local blues scene as can be found, and he wants the world to know about it. And he's not shy about saying what he feels.

"In my heart, I need to expose to the music community in this country what is here in Pittsburgh, because it will blow people's minds," he says, not exactly given to understating his enthusiasm.

Underwood, who worked in New York and Pittsburgh for various big-name agencies, is a musician who loves the blues, the Pittsburgh blues scene and Pittsburgh. And he is indeed making a documentary film about the Pittsburgh blues scene.

For years, local musicians, fans, young people on their way out of the city and just about anybody with a microphone have been telling us that the Pittsburgh music scene isn't worth the parchment it's written on.

But Pittsburgh blues bands do seem to be different. Like the music they play, the bands seem to survive, if not always thrive. They're pushed by musicians who don't seem to be looking for a big break or big crowds, but who just love the music and want to express themselves in bent notes and blue feelings.

The South Side resident, who jumped into Pittsburgh and its blues scene with both feet and with both hands firmly on one of the many treasured guitars he owns, seems to sense that. "I was completely blown away by what I found," Underwood says.

He's played with local musicians, including jazz and blues guitarist Tony Janflone Jr., and finds it hard to contain himself when praising local bands.

"I found the blues scene to be incredible," Underwood says. "It's a blue-collar town and that's why the blues is so strong. Unless you're in the scene, you don't really know it."

He raves about Pittsburgh's infatuation with blues and R&B and similar music that goes back into the '40s.

So this former adman who's handled projects for Volvo, PPG and Zippo now wants to light a fire under the simmering Pittsburgh blues community.

Underwood says that most of the filming is done, and that the work is being edited, trying to get 50 hours of shooting distilled into about a two-hour film.

He has a production partner in Cameron Romero, president of Batpack Studios in Cranberry. Romero, of course, is the son of George Romero of various "Dead" movies fame. The film is being shot by Andrew McLean, director of photography at Batpack. Others on the crew include Melissa Burns, additional camera and editor; Jerry Walrick, sound; and Jeff Ingersol, second sound.

Chris Lombardo, vice president of Batpack, says he believes in Underwood's documentary project "because we believe in this town, and wanted to contribute.

"It's a really good project. In many cities, there's a concentrated area where you find the music, but in Pittsburgh, it's spread out, and this documentary should allow you to focus on it."

It's a very personal project for Underwood. He's the writer, director and editor.

A 10-minute preview he's put together is admittedly rough but sparkles with interviews with local musicians and samples of their music.

The preview has earned the project a $10,000 grant from the Heinz Foundation Small Arts Initiative.

According to Melissa Cliver, a visual artist and filmmaker associated with the project, the grant will be used to produce a CD from artists featured in the film and a Web site that will be a project resource, and for editing work on the film. CD profits, she says, would establish a fund for medical care for local musicians.

Underwood says he'd like to take his finished product to the independent film circuit, to public television, to anybody who'd like to learn the secrets of the Pittsburgh blues scene.

"I want to get this into a film festival," he says, and then, describing the way he wants all involved to share his lofty goals: "I'm shooting for best documentary at the Oscars."

Cliver, a producer on Underwood's project, is looking for still photos of some bands and venues, especially older photos and for photos of the following:Jill West, Glen Pavone, Norm Nardini, Shari Richards, Warren King and the Lost Dogs, Gary Belloma, Willi Tri, The Silencers, The Decade, Graffiti, Porky Chedwick, Chizmo Charles, Eugene Morgan, The Cyclones.

If you have anything to contribute, contact her at batpackblues@gmail.com.