Holly and Jon (Duo). Holly and The Blaze Kings (Band)
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Holly and Jon (Duo). Holly and The Blaze Kings (Band)

Slocan, British Columbia, Canada | INDIE

Slocan, British Columbia, Canada | INDIE
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"itunes customer review"

Customer Reviews
A Fresh and Genuine Blues Sound

by unclewiggly
Truly, whether you are a blues fanatic or not, this album is simply a work of beautiful craftsmanship and artistry. It is reminiscent of the genuine era of blues from the deep south, --it is earthy, political and sublime. Not many new performers can put so much heart and soul into their music as Holly and Jon have. --This is a recording that, like only a few in my collection, will preserve it's freshness and vitality for years to come. I wish you all success, Holly and Jon! --Warm regards, Charles
- itunes


"Blues in Britain magazine review"

HOLLY AND JON: 1929

This third release from Canadian acoustic blues and roots artists, Holly Hyatt and Jon Burden, is a delight.

The eleven tracks contain nine, beautifully crafted, originals plus two Robert Johnson covers. Opening track ‘Back To 1929’, with its name-dropping lyrics, takes us back to the hey-day of the blues in the Deep South as the a cappella intro leads into a gentle acoustic number. Johnson’s ‘If I Had Possession’ introduces Burden’s accomplished slide guitar technique and gritty vocals. Hyatt’s jazz inspiration is to the fore on ‘I Can’t Sleep’, before a raw Fred McDowell-styled take on ‘Come On In My Kitchen’ has Burden again at centre stage.

While the musicianship is of the highest quality, the star of the show is Hyatt’s soulful, melodic voice, epitomized by her passionate rendering of the six- minute ‘Heartbreaker Blues’, accompanied solely by Burden’s acoustic guitar. Such is the quality of the self-penned originals that you could be forgiven for thinking that fine old classics had been unearthed. Strangely sequenced at track ten, the more contemporary ‘Home Reno Blues’ must be a candidate for album stand-out track, with it’s rhythmic guitar and upright bass backing to Hyatt’s superb vocals.

Morgan Horgarth
Blues In Britain
Issue 136
April 2013
- Blues In Britain


"Excellent"

Really like the song, "Blood on the Trax". Excellent songwriting and musicianship.

Clay Phillips - Clay Phillips, Toronto Experimental Artists


"Holly and Jon are pure "Smokestack Lightning"."

ALBUM REVIEW
By Art Joyce


To steal the title of a classic Howlin’ Wolf number, Holly and Jon are pure “Smokestack Lightning” - at their best when they’re cutting loose with Jon’s blues-rock pyrotechnics and Holly’s voice soaring from deep inside the well of Aretha Franklin and Eva Cassidy.
Judging by the thoroughly professional debut of “Big Wind on the Way”, this father/daughter duo is set to make big ripples on the Canadian music pond.

In his biography guitarist Jon Burdon cites Freddie King, Dickie Betts (of Allman Brothers fame), and Jimi Hendrix as major influences. Yet, Jon’s precise, fluent solos are equally reminiscent of rock legend Mark Knopfler of Dire Straits - consistently intricate, clean and intense. Holly Burdon’s soulful blues vocals pick up where legendary stylist Eva Cassidy left off. Holly’s honest, gutsy vocals are a refreshing tonic in an era of limp- throated Wal-Mart divas cranked off of the corporate assembly line.

Holly’s vocals kick off the album on “One Desire”, demonstrating the seemingly effortless ease with which she can propel a song with her honey-rich vocals and fat-bottomed bass guitar. Saxophones by Rick Lingard add a nicely integrated R&B groove to the song, which is a natural for radio airplay. Jon showcases his Dire Straits chops in the inventive lick that drives “Blood on the Trax”, with appropriately Dylanesque lyrics.
“I’m a Woman” is pure soul-blues gold, and has already received well-deserved airplay. Jon’s minimalist guitar styling beautifully compliments Holly’s, pile driver, blues mama vocals and bump n’ grind bass line. “Slushy Blues” smacks of big band Chicago blues, with a sashaying rhythm, horn section punctuating the stops, and Holly’s savvy, sexy, “Honey, take me where it’s warm” refrain. Jon’s Stratocaster mastery in “Train Wreck Blues” brings to mind not only Clapton but another legendary, often forgotten king of blues guitar – Albert King. Holly positively smolders here in slow blues mode – definitely part of the Holy Trinity of Holly’s Blues, along with “One Desire” and “I’m a Woman”. She’s just as gutsy in “Human kindness”, counter pointed by a jazzy sax riff to keep things hot.

Having seen Holly and Jon perform live numerous times, this reviewer can say there’s more and better to come on the heels of “Big Wind on the Way”. The paint peeling guitar intensity of original songs like “Hair of the Dawg” that didn’t make it onto the CD prove that Jon Burdon easily has the ability of Clapton and Hendrix in their heyday. I await their next album eagerly..
- Art Joyce, author of Charlatan's of Paradise


"Holly and Jon are pure "Smokestack Lightning"."

ALBUM REVIEW
By Art Joyce


To steal the title of a classic Howlin’ Wolf number, Holly and Jon are pure “Smokestack Lightning” - at their best when they’re cutting loose with Jon’s blues-rock pyrotechnics and Holly’s voice soaring from deep inside the well of Aretha Franklin and Eva Cassidy.
Judging by the thoroughly professional debut of “Big Wind on the Way”, this father/daughter duo is set to make big ripples on the Canadian music pond.

In his biography guitarist Jon Burdon cites Freddie King, Dickie Betts (of Allman Brothers fame), and Jimi Hendrix as major influences. Yet, Jon’s precise, fluent solos are equally reminiscent of rock legend Mark Knopfler of Dire Straits - consistently intricate, clean and intense. Holly Burdon’s soulful blues vocals pick up where legendary stylist Eva Cassidy left off. Holly’s honest, gutsy vocals are a refreshing tonic in an era of limp- throated Wal-Mart divas cranked off of the corporate assembly line.

Holly’s vocals kick off the album on “One Desire”, demonstrating the seemingly effortless ease with which she can propel a song with her honey-rich vocals and fat-bottomed bass guitar. Saxophones by Rick Lingard add a nicely integrated R&B groove to the song, which is a natural for radio airplay. Jon showcases his Dire Straits chops in the inventive lick that drives “Blood on the Trax”, with appropriately Dylanesque lyrics.
“I’m a Woman” is pure soul-blues gold, and has already received well-deserved airplay. Jon’s minimalist guitar styling beautifully compliments Holly’s, pile driver, blues mama vocals and bump n’ grind bass line. “Slushy Blues” smacks of big band Chicago blues, with a sashaying rhythm, horn section punctuating the stops, and Holly’s savvy, sexy, “Honey, take me where it’s warm” refrain. Jon’s Stratocaster mastery in “Train Wreck Blues” brings to mind not only Clapton but another legendary, often forgotten king of blues guitar – Albert King. Holly positively smolders here in slow blues mode – definitely part of the Holy Trinity of Holly’s Blues, along with “One Desire” and “I’m a Woman”. She’s just as gutsy in “Human kindness”, counter pointed by a jazzy sax riff to keep things hot.

Having seen Holly and Jon perform live numerous times, this reviewer can say there’s more and better to come on the heels of “Big Wind on the Way”. The paint peeling guitar intensity of original songs like “Hair of the Dawg” that didn’t make it onto the CD prove that Jon Burdon easily has the ability of Clapton and Hendrix in their heyday. I await their next album eagerly..
- Art Joyce, author of Charlatan's of Paradise


"Magazine Interview"

The following is an excerpt from a full colour, centre spread, magazine interview published in Febuary of 06:

A father/daughter duo sounds like fun. but it must have been somewhat diffucult at the beginning. Can you describe what that was like?

JON: It wasn't hard at all. You've got to know that Holly had music played to her even in the womb. At age four or five she started humming along to the chords I was playing. I changed the key to see if she could follow and she kept right on changing and following with me. At that point I knew she was a natural.
HOLLY: I've been around music all my life so this wasn't a very big jump. I'd go to all the gigs and constantly play around the house. Most of my relatives play too. I was totally surrounded by music - it was really cool and it felt very natural to get into it.

Your latest album "Big Wind on the Way" has a good range of music on it. How did you choose which songs to put on it?

JON: We thought we'd record all our original tunes - country, blues, folk. Actually, we thought it would be cool to have blues and country on the same disc, for all we know, we could turn someone on to a different type of music. I love to turn people on to music they may never have listened to before. If a country fan who buys our album enjoys the blues stuff and then goes out and picks up a Robert Johnson record, I have done my job.

What's been your best experience?

HOLLY: Anytime we're playing where the people are involved.
All the festivals are good. It's all about playing where people listen.
We had the honor of opening up for Leon Russell back in 04. he used to say "I'll put on a show for you, if you put on a show for me". He was talking about the energy tranference that takes place between performer and audience. On a good night, that's what happens and that's what it's all about.
- Kootenay Carnival Magazine


"Holly and Jon Burdon"

It doesn't get any better than Holly and Jon's roots and blues set. Their fifteen years of playing together, in a family steeped in blues, provides the foundation for their remarkable music. - Kaslo Jazz Ect. Society


"Legendary Leon"

If anyone can lay claim to the term "music legend" it is Leon Russell, he is, without a doubt, one of the most unsung heroes of our time and has played on some of the best records in popular music. He is currently on tour with a six piece band of music veterans.
Holly and Jon are opening up for Leon and are very excited about it.
"It is an honour to be sharing the stage with someone of Leon's stature", says Jon. "There are so many artists who would have never achieved the degree of success they did if it wasn't for Leon Russell. Young rockers in the seventies didn't start buying Willie Nelson albums until Willie started hanging out with Leon. Freddie King became hip with young white kids only after signing with Leon Russells Shelter Records. Holly and I both owe a lot to him as Holly is a big Willie Nelson fan and I have always considered Freddie King to be my main guitar man".

The Valley Voice, Aug/04 - The Valley Voice


"Holly and Jon/Big Wind on the Way."

This c.d. is a "grower". By that I mean that the more you listen to it the more you like it. It grows on you. Most of my record collection consists of what I like to call "growers". Basically, music that I continue to listen to over a long period of time.

There are a lot of c.d.s out there that on first listening you instantly like them and you play 'em constantly for two weeks and then never play 'em again. Disposable music. "Big Wind" is not like that. I did like this one the first time I heard it but I'm still playing it almost a year later and I know I'll be playing it ten years from now. That's what I call a worthwhile investment. I'm looking forward to the next one. - Andrew Powell: The Courier


"New Album is a Gem"

Your new album is a gem. Quality songwriting and a great production.

Listened to it on a 2 hour drive last week. Went for a cross country run and again I was lost in the tunes.

Your first album was good but this is very good. - Paul Henrickson: Royal Blues


"Holly and Jon/Big Wind on the Way."

This c.d. is a "grower". By that I mean that the more you listen to it the more you like it. It grows on you. Most of my record collection consists of what I like to call "growers". Basically, music that I continue to listen to over a long period of time.

There are a lot of c.d.s out there that on first listening you instantly like them and you play 'em constantly for two weeks and then never play 'em again. Disposable music. "Big Wind" is not like that. I did like this one the first time I heard it but I'm still playing it almost a year later and I know I'll be playing it ten years from now. That's what I call a worthwhile investment. I'm looking forward to the next one. - Andrew Powell: The Courier


"The 15th annual Kaslo Jazz Ect. Fest."

The 15th annual Kaslo Jazz Ect. Festival on the August long weekend was the biggest yet with around 5000 attending. Holly and Jon and The SoulShine Band rocked the crowd on Saturday evening.

The Valley Voice. Aug 16th
2006.
- The Valley Voice


"UNLEASH YOUR INNER SOUL SHINE PEOPLE"

After taking a couple weeks off from their busy touring schedule, Holly and Jon and The SoulShine Band are ready to get back out there and spread the message and good time feelin’ of “doing it live”. On their way to the Kaslo Jazz Fest they will stop for the night at Dockers Pub for a brew, a bite and to play some blues. The band is enjoying a successful summer doing clubs and festivals around B.C. and Alberta and are looking forward to playing the Kootenay’s again. In addition to Holly’s stellar blues/jazz vocal chops and Jon’s red hot guitar work, the band includes the illustrious Brandon Smith on piano and organ, fusion specialist, Adam Arsenault on drums and funkmeister, Kevin Bertram on bass

The Express.
Aug. 2nd. 2006.
- The Express


"The 15th annual Kaslo Jazz Ect. Fest."

The 15th annual Kaslo Jazz Ect. Festival on the August long weekend was the biggest yet with around 5000 attending. Holly and Jon and The SoulShine Band rocked the crowd on Saturday evening.

The Valley Voice. Aug 16th
2006.
- The Valley Voice


Discography

The record "Big Wind on the Way" was released in Oct. of 05. It is a sonic journey through various genre's including blues, funk, alt/country and folk rock. Songs can be streamed through links on their website or www.cdbaby.com/cd/hollyandjon or digitally downloaded at www.itunes.com. A number of tracks have received regular radio airplay including "One Desire", "I'm a Woman" and "Blood on the Trax".

Check out the Music (Audio) section of this EPK to listen to some brand new tracks from their newly released 2nd album of original material.
These tracks will provide you with a very accurate representation of what Holly and Jon sound like as a duo.

Photos

Bio

Canadian blues/roots recording artists, Holly and Jon are a duo based out of the Slocan Valley, in the West Kootenay region of BC. They play a blend of music from swampy, southern blues to swing with elements of jazz, folk and more. Their current CD release “1929” is inspired by the acoustic blues of the Delta. The CD’s cover track “Back to 1929”, offers a small glance at the history of the blues. The song takes you through field hollers, to smoky roadhouses and finally to see the Queen of the blues, Bessie Smith.
The new record contains 11 acoustic blues/roots tracks, including a couple of Robert Johnson chesnuts. The title track "Back To 1929" was the first one written for the CD and it sets the tone for the rest of the record; which includes a lot of stand up bass, acoustic slide guitar and those resplendent vocal harmonies that they are known for.
Soulful vocal’s, earthy guitar and rock solid bass playing make a power full combination and provide for an inspirational collection of music, reminiscent of the genuine era of blues from the deep south.

Holly was a song writing child prodigy and wrote her first song at the age of five and has been writing and performing ever since then. She took up bass at ten, while in elementary school. She won a vocal scholarship, performed at the Lionel Hampton International Jazz Festival and opened for multiple Maple Blues award winner, Carlos Del Junco, while still in high school. After graduating, Holly completed two years at the Selkirk College Contemporary Music Program, majoring in voice and performance and during that time she performed on a nationally televised show for the 2006 BC Winter Games in front of an audience of 3000 and sang with legendary jazz artist’s, The Brubreck Brothers. Her voice has been described as “smooth and soulful; combining an innate sense of melody with jazz phrasing and blues feel” and “Soaring from deep inside the well of Aretha Franklin and Eva Cassidy”. You only need listen to the power and emotion that Holly’s voice evokes on “Train Wreck Blues” from the Holly and Jon album “Big Wind on the Way” or her blues mama approach to “I’m A Woman” from the same album to realize that you don’t learn to sing this way. You’re born with it.

Jon started performing in England, where he spent a portion of his childhood and was lucky enough to be in England for the birth of the British Pop scene, in 1962. He resided just sixty miles south of London, where it was all happening and remembers seeing Cliff Richard and the Shadows and hearing The Beatles first album just after it was released in the UK. His cousins future husband even went to school with Jimi Hendrix's soon to be bass player, Noel Redding. At an early age Jon himself was entertaining audiences but it wasn’t until his family moved to Canada that he began to concentrate seriously on guitar and to play music professionally. After seeing blues legend’s Freddie King and Willie Dixon and the Chicago All Stars perform he followed his own musical calling and honed his craft in the western Canadian music scene of the mid 70’s and 80’s, later playing on shows with Spirit Of The West, Skydiggers, Chuck Berry protégé, Paul James and acclaimed songwriters, Doug Macleod and Fred Eaglesmith. Jon has played guitar for blues legend, Sonny Rhodes band; Grammy award winner, Donald Ray Johnson; Kelly Jay (formerly of Crowbar "OOh What A Feeling") and Canada's Goddess of the blues, Rita Chiarelli. Jon’s guitar prowess has been spoken of as “incorporating the fire and passion of Freddie King with the melody of Dickie Betts”. A more than adequate blues guitarist, Jon can also play some great country licks. Check out "Cowboy Angel" from the first album.

Band Members