What: Bigstock 2019 with Big Head Todd and the Monsters, Freddy Jones Band, Sleepless Truckers, StealHead

When: 4 p.m. Saturday, doors open at 3:30 p.m.

Where: Coyote Ridge Ranch, 18930 Couch Market Road, Bend

Cost: $150

Contact: bendmagazine.com/bigstock-bend

There’s a telling quote from Big Head Todd and the Monsters frontman Todd Park Mohr nestled in the band’s most recent online biography:

“I mean, 30 years into it, I really feel like: Wow, this is getting fun. I’m learning more about music and about my instrument, and it’s just really engaging in every way.”

For proof of that statement, take a listen to the Colorado roots rock band’s work in the 2010s. Under the name Big Head Blues Club, the quartet released “100 Years of Robert Johnson” in 2011. The album, which marked what would have been seminal delta bluesman Johnson’s 100th birthday, featured giants of the genre such as B.B. King, Charlie Musselwhite, Cedric Burnside, Ruthie Foster, David “Honeyboy” Edwards and more.

In 2016, Big Head Blues Club returned with the Willie Dixon tribute album “Way Down Inside,” with a tour featuring guests Mud Morgenfield (son of Muddy Waters), Ronnie Baker Brooks and Billy Branch.

“It’s been incredible to have relationships with blues musicians that are able to share the music with an outsider, who would be me,” Mohr said recently from the band’s home base in Colorado.

The group kicks off another round of touring in its hometown of Boulder before heading to Bend to headline the 10th annual Bigstock at Coyote Ridge Ranch on Saturday.

“Somebody told me that blues is a kind of music that you have to learn from somebody, which is a really interesting thing to say,” he continued. “I’ve had incredible opportunities to learn from really the greatest living blues artists that were still alive in my time, so I feel very fortunate to have that as an education.”

Beyond his band’s collaborations, Mohr pursues music education on his own.

He cited YouTube as a resource for guitarists that has opened up “a world of capabilities and understanding about scales, chords, that kind of stuff that I didn’t have access to before.”

“I can’t recall the cellist — he was way into his 80s, and people had asked him … why he still practices,” Mohr said. “And his response was, ‘I continue to improve.’ And there’s a joy in that.”

Big Head Todd and the Monsters is one of four bands that will perform at this year’s Bigstock, which is hosted by Bend Magazine publisher Oregon Media. Last year the company took over the fundraiser for Oregon Adaptive Sports, which was started by Brett and Nancy Gingold.

Bigstock raised more than $50,000 for Oregon Adaptive Sports last year, said Oregon Media CEO Heather Johnson. Oregon Media hopes to match that this year, she said. The event has raised “hundreds of thousands” of dollars over the last decade to help Oregon Adaptive Sports purchase and maintain equipment and fund scholarships, Executive Director Pat Addabbo said.

“We strive to be a great steward of the community, and it’s really important for us to give back and to support such a great cause,” Johnson said. “Oregon Adaptive Sports, their mission is to bring the outdoors to all. … There’s nothing like it anywhere else in Oregon that provides this opportunity for people with disabilities.”

After more than 30 years as a band, Big Head Todd and the Monsters is seeking out new ways to share music with its fans. The group has released a video of a new song or cover every month since November through Monsters Music Monthly on its website; the 10 tracks released so far feature guest spots from Buddy Guy (on May’s live cover of “Hoochie Coochie Man”), Toad the Wet Sprocket (on a studio cover of Neil Young’s “Cinnamon Girl”) and blues guitarist Ronnie Baker Brooks on this month’s song, “Remedy.”

The songs follow 2017 studio album “New World Arisen’,” a more hard-rocking affair than the Big Head Blues Club projects and the preceding original album, 2014’s “Black Beehive.” While those sets each had distinct personalities, the Monsters Music Monthly tracks have different feels, from the pop hooks of “Rosalita (Come Out Tonight)” (featuring John Popper) to the bluesier “Remedy.”

“I’m a fan of the long-form (album) — of music belonging together and all that,” Mohr said. “… The way people consume music, it doesn’t make as much sense I think, unless you’re a younger band that needs to make a bigger statement about who you are as a band other than just one song. But I have 20 albums on the shelf — not that many, but a lot — and so for me, I feel like I want to just be able to write a great song, get with the band, learn it, make a video and we’ll see you next month.”

Mohr, drummer Brian Nevin and bassist Rob Squires have weathered the changes in the music industry together. (Keyboardist Jeremy Lawton joined in 2003.) The band started out releasing albums on its own label, Big Records, including 1989’s “Another Mayberry” and 1990’s “Midnight Radio,” before signing with Giant Records for 1993’s breakout album “Sister Sweetly.” By the end of the ’90s, the band was independent again (“New World Arisen’” found the band back on Big Records).

Mohr said he has a “love-hate relationship” with major record labels, but doesn’t deny the role they played in his band’s success. He’s excited about what comes next for the industry, he said.

“Our manager, Chuck Morris, said that when music started out, it wasn’t a business — you know, back in the ’60s or when this whole thing began to get underway, it was not a business and it became a business,” Mohr said. “And how it’s coming back to me is that it’s not a business anymore. I mean, obviously it still is — we still play shows and make money — but the business has changed such that it really has become almost non-businesslike in a good way. There’s a lot, a lot of great groups, a lot of great blues guitarists even, that are just coming up and kicking ass, and there’s no business there. There’s just really great music.”

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