Jesse Stone

Not everybody’s as lucky as Jesse Stone. That luck came with a name, and that name is Corey Griffin.

Stone, a Montreal indie rock/folk/country artist with the songwriting dash of a Dylan and the spirit of a Springsteen, was afforded an opportunity to move to New York last March in pursuit of his musical muse. Despite being in the nascent stages of putting down roots in Montreal’s fertile music scene, Stone packed up his playing plans and moved them to the Lower East Side. And though the New York gambit, as musicians’ aspirations go, can be fiercely unforgiving, Stone had an extraordinary bit of fortune shortly after arriving in the big(ger) city.

“When I got to New York, I ran into people who kept telling me: ‘You’ve got to meet Corey — Corey’s gonna love you,’ ” Stone recalls.

Enter Corey Griffin, a Boston native living in New York who, at only 27, was not only a rising star on the New York financial scene but also a respected philanthropist. Also of particular note, Griffin was one of a group of buddies who, back in 2012, started raising money for a friend — former Boston College baseball star Pete Frates — who had amyotrophic lateral sclerosis, or ALS. One of their fundraising initiatives was a little something called the Ice Bucket Challenge.

Stone made his acquaintance with Griffin last spring before the ALS Ice Bucket Challenge evolved into the highly communicable, money-printing viral monster that it became in July and August (to date it has amassed more than $115 million in donations). Griffin, an avid music fan, invited Stone to perform at his extravagant New York loft parties that summer.

“Corey would, like, physically grab his friends at the parties and tell them: ‘You gotta listen to this guy,’ ” Stone says. “That kind of show of support. … He was a leader, so when he said it, people listened. I think the attention gave people an opportunity to hear my songs and for the most part people responded well.

“He was such an enthusiastic individual who, when he saw something he liked, he really supported it. And, lucky for me, we became friends. He was actually one of the very first people I shared my (new) record with after it was mastered.”

In the early hours of Aug. 16, 2014, following a week in which he had raised more than $100,000 for the ALS Association, Corey Griffin died after diving from the roof a building into Nantucket Harbour in Massachusetts. His death was reported around the globe. For his part, Stone says he will be forever grateful for Griffin’s friendship and support.

“He was an extraordinary individual, a philanthropist and huge music fan,” Stone says, “and he gave me an opportunity to make a bit of a mark in the city.”

The 26-year-old Stone also made a bit of a mark in his native Montreal prior to leaving as the founder of the Hot Soupe collective. It ran a blog, held music events and produced the Bandstand music showcase and fundraiser, which collected $5,000 for the Montreal Children’s Hospital in 2013.

“We had a good run for about a year and a half and it was a great way to integrate myself further into the music scene,” Stone says, “and a fantastic way to meet many great musicians.”

Indeed. Atypically for a first album, Stone’s just-released Break of Day LP features an impressive who’s who of Montreal musicians lending their talents to what is, not surprisingly, a polished, professional and highly listenable debut.

“Hot Soupe is how I met (fiddle player) Josh Zubot and (banjo player) Guy Donis of Notre Dame de Grass, who are fantastic,” Stone explains.

He also recruited other name players like drummer Josh Trager (Sam Roberts Band), trumpet player David Carbonneau (who’s played with Patrick Watson) and vocalist Alex Silver (of First You Get The Sugar).

“It’s a wonder I was able to keep up in the studio,” Stone jokes, “because I was the one without experience and these guys were just laying it down in a handful of takes, sometimes the first take, which is where the magic happens.”

If working with tried-and-true pros taught Stone anything, it was that “I immediately understood the value of experience,” he says with a laugh.

Everyone who played on the recording will also be performing at the coming Montreal launch of Break of Day. Highlights of the album include the country-rockin’, confident-sounding first single Don’t Change (“It’s funny because Don’t Change is actually a song about insecurity”), the heartstring-knotting Don’t Come Around, the exuberantly and unapologetically Bob Dylan-ish Beg Your Pardon, and the infectious and bouncy, honky-tonky Love On the Charles, all of which go quite some way toward showcasing Stone’s poetic lyrical prowess and expansive stylistic range.

One thing that’s missing on the album, however, is the moving and melancholic yet ultimately uplifting White Flowers — Stone’s tribute to Corey Griffin — because it was written after Break of Day was recorded.

“But we’re recording the launch in Montreal,” says Stone of his first show back home since moving to New York, “and we’ll have a camera crew there. We’re hoping to come out with a live EP after the show, and I can guarantee you that White Flowers will be featured on it.”

Jesse Stone album launch with Po Lazarus, Feb. 20 at 8 p.m., at La Sala Rossa, 4848 St-Laurent Blvd. Tickets are $10 at the door. - Montreal Gazette

The cover art shows us Jesse Stone in some great modern day James Dean type of poses. Only that cigarette worries me a little... Jesse is a Canadian singer-songwriter and alternative roots musician, who currently lives in Manhattan, New York. He read the piece on fellow Canadian Suzanne Jarvie elsewhere on this page and found her story to be inspiring. Then he made the good decision to write me an E-mail about his own freshly released album 'Break Of Day'! It is his first full-length studio album and includes the single "Don't Change".

As we always do, when we get to know a new artist, let's take a look at his BIO:
With tattered vocals and acoustic songwriting, Jesse Stone's music is raw and introspective, rooted in innocence, soiled with experience. His main influences are singer-songwriters and poet rockers such as Lou Reed and Bruce Springsteen.
Jesse began songwriting while in high school after off-handedly writing a pop-folk song with his brother. Dubbed simply, Zach & Jesse, they collaborated for several years, writing and recording songs at a high rate. The duo was recognized by Montreal radio host Terry Dimonte and was invited to perform on his radio show in Calgary and at the Mountain View Music Festival. That same summer, the two brothers were invited to perform for the Songwriters Festival On Music Row in Nashville, Tennessee. After their short tour, they returned to Montreal to start the band Stereo Hotbox. The group performed regularly, was a finalist in Montreal's annual 'Battle Of The Bands' and recorded a four-track EP.

In college, Jesse took poetry courses and found a mentor in one of his teachers, Larry Weller. Weller taught him several approaches to writing and interpreting literature. He referenced work by Romantic Era poets such as Blake & Wordsworth, whose themes became integral in Stone's songs.

Jesse moved to the city and performed regularly in the open-mic circuit and occasional gigs, continuing to craft new material and honing his skills as a solo performer. He was a finalist in Daniel Weaver's 'Great Canadian Song Search' and was invited to perform in Toronto as a result of the contest. Stone also founded an open-mic at Montreal's Bull Pub, which became his central performance hub and hosted hundreds of musicians both native and foreign to the city.

Eventually, Stone set to work with his new band, The Creatchers. Taking the reigns as front man, guitarist and wordsmith, Stone's prolific songwriting offered no shortage of material. Though never recording, the band was known for its large volume of original material and lively performances.

Stone enrolled into TREBAS institute to study Music Business Administration in 2010. At TREBAS, he wrote a business plan for 'Bandstand', a fundraiser and music showcase. Upon graduating in 2013, Jesse founded the company, Hot Soupe, to produce the event. Showcasing 15 local bands over a three-night stand at Montreal's Lion D'Or and raising thousands of dollars for the Montreal Children's Hospital, 'Bandstand' was an overwhelming success.

As a result of the event, Stone befriended producer Dave Sturton, an affiliate of Sennheiser Canada. He was invited by Sturton to perform at Sennheiser's underground artist showcase. It gave Stone the opportunity to perform with a professional band that included R&B recording artist Slim Williams and producer Rick Haworth. The event resulted in Stones' first music video. That same summer, Sturton also invited Jesse to perform at the Montreal Jewish General Hospital's Jazz Festival and Owl's Head Ski Lodge music showcase in the Eastern Townships.

Stone followed suit by drawing up plans for a record. He spared no council for the endeavor, partnering with producer Dave Carmichael and producer / bassist Alec McElcheran. Mountain City Studio owner Joseph Donovan was enlisted as sound engineer and Dave Sturton was brought in to mix. During pre-production, Jesse met Josh Trager, a member of the Canadian group, Sam Roberts Band. Stone recruited Trager to play drums on the album. From his current band, Jesse brought in Quebec City-native Chad Tuppert to play electric guitar. An assortment of other local players would also perform on the record, including Stone's brother and sister.

Production for the record took nearly a year and a half. 'Break Of Day' was mixed by Dave Sturton in Montreal and mastered in Brooklyn with Kevin Blackler. Upon completion, Jesse moved to New York City where he was featured at the historical venue, The Bitter End for Larry Oakes's NY Songwriter Sessions.
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The album:

Jesse himself wrote: "I call it an alternative roots record, as I think the album is somewhat of a mixed bag musically. My aunt Sue always told me that I have a heart of country and I hope that shines through." Yes, it does!

The album title 'Break Of Day', Jesse disclosed to Nathan Navidzadeh (New York City Insider), sparks from the William Blake poem “Hear the Voice”. He told Nathan that to him it represents a new morning, making it through the night and returning with a story to tell. The sequencing for this release was clearly important, Nathan asked Jesse about it. He told him that he was actually inspired by several 10-track records by singer-songwriter Josh Rouse. “2 sides. 5 and 5. They swell up to the high-tempo centre 3rds, nose dive into ballad 4ths and send you on your way with pick up 5ths.” (More smart quotes from Nathan in the track descriptions.)

1. "Love On The Charles Bridge": The drummer kicks off, Jesse shouts the song title and then the band goes to town! Pulling us along in the raw and strong altcountry sound. Creating the same kind of excitement as when I first heard Steve Earle on his LP 'Guitar Town'. And now we're talking about the Earles anyway: the female harmony vocal even resembles Steve's sister Stacey, when she sang harmony on "Promise You Anything" from 'The Hard Way'.

2. "Promises": An uptempo upbeat intro with soulful trumpet, trombone and tenor saxophone. I also notice the fine piano playing again. "Promises don't put food on your plate", that's a reality check. I'm thinking Southside Johnny and his Asbury Jukes now! This is the only cover on the record, Nathan knows more: "Written by his father, “Promises” is Jesse Stone’s homage to his pa. I had the opportunity to speak with him about the album, in regards to “Promises,” he told me that working with a horn section for the first time was nerve wrecking and exciting."

3. "Fisherman": I love that banjo, holding its own - competing with a very confident electric guitar in the full band. Jesse plays harmonica too. Halfway it seems like the song is done, but it starts all over again and the swaying almost shanty-like chorus will invite everybody to sing (or at least hum) along. Nathan tells: "Jesse Stone’s sister contributed harmonies to one of my favorite tracks, the hard-ridden, ode to a fish-out-of-water, “Fisherman”. This song was originally recorded as a demo a year prior and was refined with collaborative efforts to yield this pop-filled punch of emotions. Jesse revealed to me that it’s the sole 'Franken-song' on the record and that he’s glad it made the cut." Ah, see? Jesse also sings with his sister!

4. "Don't Come Around": A beautiful dark ballad. Nathan: "This is a portrayal of unrequited love, have a look at the music video which elegantly portrays this theme."

5. "Don't Change": Another song that will stay on your very own musical hard drive in your head. Such a beautiful arrangement... This is the first single of the album. Nathan: "The confidence gained from implementing the horns into “Promises” led to a last minute touch of trumpet on “Don’t Change.” The full-spirited, spaghetti-western (as his producer Alec McElcheran describes it) is a defiant story of a lone protestor’s refusal to compromise. I’m not sure if the protester is actually just a loony hobo on the city sidewalk, but I think that’s the point. The song starts off real smooth and crescendos to a valiant climax."

6. "Vampires": A rather simple acoustic track with fiddle, then culminating in a beautiful part where the angelic lady sings gorgeously in the background, balancing Jesse's observant lyrics, beware: "In this house we're not alone..." Nathan: "A song that seems to explores the fluctuating energy in life, where bad deeds may swing you strongly in a direction but a new morning can swing it back."

7. "Fortress": A catchy cheerful pop song. Nathan tells: "When I asked Stone to talk to me about his lyrical intent with this song he whimsically told me I’d have to interpret that on my own. I thought I had it figured out but I am now questioning the head space I was in when I first heard it. My initial interpretation steered me towards a feeling of celebration: reaching the girl’s fortress around her heart, a heart that is difficult to satisfy, and Stone ‘burning down the draw bridge,’ perhaps symbolizing his marriage, as the fortress is now only for them. Cute right? As I listened more carefully, and my whole interpretation took a darker turn as the words began to conjure dark visions of betrayal. A damsel trapped in a fortress with no draw bridge. I guess it depends on my mood, or maybe I’m insane. Regardless, the subtleties in the lyrics call for attention."

8. "Life Lonely Road": I absolutely love this track! My favorite. Two brothers singing a duet - this is an instant classic. Acadian flavored, with tasteful fiddle playing on a solid rhythmic base and there's my darling brave banjo again, played by Guy Donis. Yes, life is a lonesome road, but that's not so bad with this music playing on the headphones. Nathan: "Jesse also told me he had intended to share lead vocals in at least one song with his brother Zach, his long-time music partner. He wrote this duet - with that in mind. It showcases their grace and the fun they have singing together with a back-and-forth vocal-exchange. Zach works overtime having to switch between melody and harmony duty, which fuels the excitement and leads to the type of hoedown you can only expect from a pair of musically-inclined siblings."

9. "The Letter": A lovely arranged ballad, building up nicely: "Let the pages burn... Let it burn!" Makes me think for a moment of Adam Snyder's "Ghost Town".

10. "Don't Apologize": A fun track to close off. Nathan explains: "The final track could’ve been called “Credits” Jesse said, and while it doesn’t exactly list off the players on the record, it does list off the many players with which he’s performed in the past that have become good friends of his and have helped shape him and his music."
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I think I have found our next young altcountry star! Jesse Stone obviously poured his heart and soul into this brilliantly sung and played album, which sounds fresh and spontaneous like it was recorded live in the studio. I like his very nice, slightly hoarse (cigarettes?) voice and the way he shares his emotions, without getting overboard but keeping it recognizable, as we are all in the same crazy world and we all want some love, friendship and security, don't we?

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Written & compiled by Johanna J. Bodde - January 16th, 2015.
===== - Insurgent Country

“The paintbrush needs to be held tight. Every line must be the result of a confident stroke,” she explained, pointing at a thick, dark beam on the canvas. “That’s it really,” she insisted, “every stroke must be assumé, self-confident. I think that’s the most important thing in painting.”

Or in art in general, really. With her explanatory statement, my painter friend put her finger on something that’s a lot more universal than she thinks. Whether we’re talking about painting, poetry or music, it’s true that any artistic endeavour that’s not solidly grounded in confidence is bound to reach a certain limit in quality. Far from the formulaic, formatted works of art, there lies a kind of creation that comes unfiltered from the artist’s very core, in sincere, authentic fashion. That genuineness can only be born out of self-confidence.

As it happens, self-confidence is something that Jesse Stone doesn’t seem to lack. I mean, the man moved to Manhattan from his native Montreal, got married and recorded Break of Day – his debut album – all in the space of a few months. If any doubt permeated his bold, forward-moving mindset, he hid his game well.

The record itself may very well be used as proof of his overall fearlessness in the face of challenges. Break of Day is miles away from the overproduced, overpolished folk records that today’s acts often forge with the help of gear-loving mixing engineers. The essence of its quality lies in its raw ingredients, the very ones that all great singer-songwriters obsess over when crafting folk classics.

No wonder, because it’s a safe bet that Stone grew up enjoying his fair share of guitar-strumming poets. When listening to all 10 songs on his record, it’s easy to get the impression that their author’s most ardent desire was to match well-crafted riffs and grooves with sharp, witty words and images. Indeed, although the album covers quite a bit of mileage on Stone’s musical map – from upbeat folk-flavoured rock songs to ballads coloured with a country twang – the careful attention to lyrics remains constant.

And I mean that. If the content of some pieces is likely to be grasped in about the same way by most listeners, the majority of them are stuffed with nuances and subtleties, and as such tend to induce true reflection.
In “Don’t Change,” one of the most spirited tracks on the record, a crazy-sounding street-dwelling activist is summoned not to change — but by whom? The quieter “Promises” speaks of sorrow, of regretting something — but what precisely? As for “Fisherman,” a whole-hearted roots song with a hasty pace, I gather that it’s an allegory about being pulled too deep into something, but I have yet to decide what that is. And that’s just it: that ability to write verses that are relatable but don’t offer any real certainty (triggering absorbed cogitation instead) is one skill that most songwriters lack, but that Stone undoubtedly possesses.
Perhaps it’s that nuanced approach to songwriting that attracted all the gifted musicians who are featured on this debut effort. One has to wonder: the drums are handled by Sam Roberts Band’s Josh Trager and the trumpet is played by David Carbonneau, who worked with Patrick Watson on his latest record. Notre Dame de Grass’s Josh Zubot and Guy Donis take care of fiddle and banjo respectively, while First You Get the Sugar’s Alex Silver sings along with Stone to back him up throughout the record. Of course, the fact that the whole was mixed by Dave Sturton, a renowned local engineer who worked with Jean Leloup and Bran Van 3000’s James Di Salvio, does not hurt either.

And so, when you hear Stone sing that he “blew his chances on a 10-hole harp,” don’t believe him for a second. His well-rounded offering is layered with a variety of moods, filled with heaps of lyrical goodness and, above all, it’s overflowing with that above-mentioned unalterable self-confidence. Completely assumé. Such quality songs, when delivered with such poised boldness, are quick to become eloquence.
And in this case, they do.

In our time marked by hefty cocktails of post-production techniques and computerized music creation, you might ask yourself whether good singer-songwriters are still a thing. Rest assured. Jess Stone’s Break of Day is proof that they’re still out there. They still roam.

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Antoine Leclerc: I understand that you’re a prolific songwriter, but your record only has 10 tracks on it — why is that, and why these 10?

Jesse Stone: When it was time to make the record, I actually brought a lot of songs to the table, but I really wanted to focus on specifics: structures, different sounds, experimenting with different instruments. I also realized that we were on a budget and that having a concise 10-song album makes it easy to encapsulate themes, styles, flow, to get a point across. If there had been any more, there was risk of a flood.

AL: The meaning of your songs isn’t really evident; your writing style is in a way very subtle. Do you purposely leave room for interpretation in your lyrics?

JS: In some cases. I like to share an experience, but I don’t really want to waste your time with specifics. Or my time! I don’t record everything (laughs) No offence, but I don’t record my life. I’ve never been a very specific storyteller, you know. I can’t really tell a good joke. It’s more of a feeling. A sense of humour.

AL: There’s definitely a country twang to your music. Where does that influence come from?

JS: It generally comes from the Canadian records that I listen to, that my dad listened to, and that became my favourite records. I listened to my dad’s music, my uncle’s music. I didn’t listen to the radio, I didn’t have the same tastes as my friends… Blue Rodeo, Crash Test Dummies, Neil Young… Neil Young was a huge influence. My favourite record of his growing up was Harvest Moon, which is a roots record, a country folk record. So that’s always been inside me. I wanted to write campfire songs. That’s what I started with, anyway.

AL: There are two songs on the album that feature a horn section, which I understand is a first for you. Tell us about that new experience.

JS: We were scared. We were SCARED of the horn section. We were nervous — frightened! But they showed up and played their parts, and I was… amazed. I didn’t realize you could mould a horn section the way you can mould a guitarist, or how adaptable they were, especially when they’re as professional as these guys: Dave Carbonneau, Cameron Walis. I was able to say, “Okay, instead of pa-da-DA, go pad-da-DOU,” and they did it, they responded, in unison! Once I realized that I could communicate with them, that they were blowing up brass but they had human ears, then all of a sudden it turned into a playground.

AL: I heard about a special EP project surrounding your launch.

JS: Our mixing engineer Dave Sturton and I had an idea to record and film the rehearsal sessions for the album launch that’s coming up, in the studio. We’re going to be recording throughout the show too. We’ll see what we get. If we have a little bit of luck on our side, along with the skilled players that we have, we might able to have something, to put something out in the near future.

AL: What made you choose Po Lazarus as your opening act for the launch?

JS: I always knew I wanted to play with them for my launch — they’re my favourite band in Montreal. They’re out of this world, and they’ve been doing really well lately, since I left. They’ve really picked up some steam. I’ve known them since we were young musicians. I was witness to their first couple of times on stage at my open mic at Bull Pub; that’s where we became friends. In everything I’ve ever done musically, I’ve always tried to keep them involved. Hot Soupe, and the small Saturday night acoustic shows that I put together — they were always featured, they were always there. It’s quite a privilege to have the opportunity to celebrate with them. - CULT Montreal

With his new album Break of Day set to be released this month, expatriate Jesse Stone has been very busy working on new musical projects from his Brooklyn apartment.

Best known for his sweet raspy voice, a mix of blues rock singer and alt-country star, his music was forged here, in the fires of Montreal. And although he has left to work in Brooklyn his heart hasn’t really left Montreal, his home.

In an age of polished, soulless music, Jesse Stone’s songs are a reminder of the age of the great poetic singer-songwriters of days past: Cohen, Dylan and Springsteen. Just like them, Stone sings about the age old battle of modernism, relationships and the desire to find your place and soul in all this madness.

Hosting the open mic jam at The Bull pub made Jesse Stone a name for himself among the performers that showed up every week.

A few years ago Jesse Stone also got recognition of also being a great promoter, hosting and performing on the Bandstand fundraiser with his company Hot Soupe. Together with Josh Trager (drummer), Chad Tuppert (electric guitar) he started recording songs that would be on the new album.

Now, after a year and a half of a tenacious effort Break of Day is finally scheduled for release later this month.

Many of the songs on Break of Day are as uptempo and upbeat as a summer’s day like “Promises” and “Fisherman.” But there are a few darker tracks on the album like “Vampires,” “Don’t Come Around” and “Life is a Lonely Road,” which give the album a full spectrum of emotions as they travel through the heart of the poet, singer-songwriter. Brilliantly arranged, many of the rock songs that will make you want to dance, and maybe twist and shout, while a few of the darker tracks may make you drink, reflexively.

If you are already familiar with his music then you’ve probably heard of how he gets inside your head and tinkers, leaving behind some catchy tunes and memorable riffs. You might need a shot of whiskey for The soothing acoustic take on “Vampires,” one of the darker songs that might take you on a nostalgic trip.

The album's sound is produced and polished yet still holds a looseness of a live musical performance. Break of Day is also very well paced giving the listener time to reflect, and enjoy the mood it generates, without coming on strong.

It’s an homage to the singer-songwriters of days past; if anything Stone has shown us these day aren’t over. - Forget The Box

You look outside, searching for the wind that will bring you the music you need to raise your head, to stride firmly on this unique and potentially beautiful day. And the capricious wind does not bring you anything that you hoped for; because whatever you had placed your false faith in, has deceived you in such a way that you can not avoid thinking that you are in the wrong dimension, that you are in Earth II, in the Alternative Fringe universe, and almost searching for blimps plowing through the skies loaded with blue and spongy clouds.
You wander about in a good mood. The wind has never deceived you. God, who does not exist, squeezes but does not strangle; all those topics fill conversations and moments of life. Suddenly you stumble over a black and white cover, suddenly you come upon a s.o.b. who stinks of laziness, of too many “It wasn’t me,” of “I don’t care,” of “look at me girl, I’m the one you are going to fuck without even knowing my name”; and obviously you hate him.

But if I had allowed myself to be guided by a cursed and prejudiced first impression fabricated by my emotional poverty in a stupid and frayed manner, I would have missed so many glorious wonders that my life would not have much value. So go on, listen to the sweet voice that you suppose he has, imagine his small sensual mouth singing “poo-poop-ee-doo,” see what happens, and wow! It turns out that our friend Jesse actually sings, and sings well. His voice, like silk dyed with the wildest earth, strolls through songs loaded with rock and roll, Americana, and a sound that gets me hooked. And not only that, the guy has good themes in the recently released “Break of Day” and the ten pieces which make up the album are frankly very good.

An expatriate in Brooklyn, his music was forged in the fires of Montreal. Full of influences but without copying anyone, Jesse Stone strolls comfortably through all the typically American musical registers.

In these soulless musical times, when songs languish on cotton mattresses bought in the Ikea of radio formulas, the work of Jesse Stone is a delicious reminder for those hungry hearts longing for the great songs that there is still hope. There have always been great songwriters hidden in the winds and skies of the music industry.

Stone’s songs breathe old oxygen, intense and beautiful. Heir to the era of great poets and writer-performers of bygone days: Cohen, Dylan, and Springsteen, and also Murphy, Hiatt, or Kristofferson. Like them, Stone sings of the life that you live and lose, that you seek and often run away from; of your relationships and the desire to find your soul amongst all this madness.

This album, created together with Canadian producers Dave Carmichael & Alec McEcheran, is full of those songs and those echoes, songs that draw from all those beautiful sounds that any kid who wants to make music needs to hear in order to find his place in the world.

Many of the songs give off a brilliant and optimistic patina. Echoes of a summer’s day like “Promises” and “Fisherman,” “Love on the Charles Bridge” or “Fortress,” alongside darker and more emotional themes like “Vampires,” “Don’t Come Around,” or “Life Lonely Road,” give the album a complete spectrum of emotions while they travel through the heart of the poet, singer, and composer until they reach you, embellished and brilliantly arranged.

Many of the rock themes inspire you to dance, such as “Don’t Change,” “Promises” or “Love on the Charles Bridge” teasing like a smile that pierces your heart from the other side of the bar and promises you a world full of brilliant songs, contagious as the jingle of laughter on a night of rock and roll…

And all this from that unpleasant looking guy…fantastic! - NECESITO UN ROCK AND ROLL

Jesse Stone is a singer-songwriter from the West Island of Montreal and currently living in New York City. His latest album, Break of Day, starts off with the banger Love On the Charles and I wish the rest of the album maintained its upbeat rockabilly sound. It reminds me of Blood & Wine on Dustin Kensrue’s Please Come Home album. Break of Day has a lot in common with that album as a whole. The next track, Promises is less edgy and has more of a straight country sound. The bright horns throughout the track are its biggest strength. Fisherman is focused around an electric guitar part that would sound right at home on a Johnny Cash song. Jesse’s rougher than usual voice and the use of a harmonica is reminiscent of Bob Dylan on this track.

The list of classic country and folk artists that Break of Day pays homage to is likely endless but it’s worth noting that they would all be American. Assuming that music, or any art, is a window into the soul of the person creating it, it’s not at all surprising that Jesse decided to move south of the border. Expertly walking a fine line, nothing about this reinvention of these classic American styles sounds contrived. It could be a result of our current culture’s perception of the time in which songs like these were first popular, but this album seems to be drenched in honest naïveté.

Don’t Come Around pairs music that feels like the soundtrack to a lazy summer day out in the sun with lyrics heavily steeped in sadness and loneliness. The melancholy violin part at 2:30 is gorgeous and devastating, in part because of the heavy drums behind it. The tone shifts drastically and almost ironically with the following song, Don’t Change. The upbeat drums and bright honky-tonk style keyboard parts fit well with the song’s uplifting message of unapologetic individuality. The song also features the album’s second lyrical reference to Montreal, name-dropping the Douglas Mental Health University Institute, referred to only as the Douglas for brevity’s sake.

As with most nostalgia-driven music Break of Day lost my attention eventually, the only exceptions being Life Is a Lonely Road with its impressive multiple vocalist approach and upbeat drums, violin and banjo and The Letter which sounds like a long-lost Elvis Presley track. Fortunately, the album doesn’t last much longer and you’re left with the pleasant sensation of having travelled down rock ‘n roll’s collective memory lane.

The album’s high notes would certainly slay in a live setting and thankfully Jesse is returning home for a show at La Sala Rossa on February 20th at 8pm. Fellow nostalgia folk/country/bluegrass punks and my favourite local band, Po Lazarus will be opening the show for what will undoubtedly be a wild night you don’t want to miss. - Montreal Rampage

Picture yourself in a little bar, with a 90s’ cigarette smoke swirl around a guy with a harmonica and guitar. Jesse Stone has something very soulfully and simple to offer. He is the jeans and t-shirt guy who was too busy writing lyrics to shop for metrosexual outfits. Forgot to shower but not make a coffee when the sun came up then sacrificed sleep to record.

There is something very honest and un-contrived about the whole thing. In a world of polished pictures and auto-tunes, Jesse offers something high quality, long-lasting and American. Break of Day is like a series of audio cappuccinos, while watching generation X movies slightly hung over. He is the existential soundtrack of everyone’s late 20s, hopeful romance, confusing career paths and the realization that f*ck, I can no longer be asked what I want to be when I grow up, I AM a grown up.

I watched a Patti Smith video the other day, one of her punk-rock and wise-word speeches… She said something that every artist should hear. She said that an artist (or any skilled professional for that matter) does not need to focus on making a bunch of money, just on doing the best work they can do. If that work is good – their name will become currency. This advice was passed to her by her friend and author William S. Burroughs. I think Jesse is doing some great work. - Bandmark

Jesse Stone tells us that in his home his father had a section of Canadian rock within his record collection. “Probably the three records that I listened to the most were Five Days in May, by Blue Rodeo, Harvest Moon, by Neil Young, and The Ghosts that Haunt Me, by Crash Test Dummies.” He also cites the sound of nature from his country as a source of influence. “The calm of the lakes and the smell of the forests made an impression on me. And I love music around a fire.”

JESSE STONE, THE FORTHRIGHT CANADIAN, ONLY 25 YEARS OLD, HAS RECORDED ONE OF THE BEST DEBUTS OF THE RECENT HISTORY. IT ALL BEGAN ON A TRIP TO SITGES...

Jesse Stone recalls with laughter the only time he has been in Spain. He was 16 years old, on that first trip that every adolescent takes as his first tribute to himself. “I was walking along the beach in Sitges, enjoying the good weather, when I realized that everyone was sunbathing in the nude. I was the only one dressed.” Jesse is now 25 years old and has just published one of the most appealing recent debut records, Break of Day. His formula consists of starting with music of American roots (country, folk, blues…), and then ending in a joyous personal offering, thanks especially to the inclusion of a vigorous brass section. “When we were in the studio, we were just guitar, bass, and drums. And there were some harmonica parts. Around that time I saw the documentary Muscle Shoals. It featured rhythm & blues acts like Wilson Pickett, Clarence Carter, and Aretha Franklin. I noticed how they enhanced their songs with horn sections. So I decided to include saxophones and trumpets.”

Jesse is Canadian, from Montreal. His parents divorced when he was 5. He says that from then on he felt trapped in the monotony of the neighborhood where he lived and the chaos produced by his parents’ separation. “That is when I sought refuge in music,” he says. Before launching his first CD he worked in the musical scene in his city, playing in bars, networking with other musicians, gaining experience on stage. “Montreal has a rich environment, blues, Irish folk, bluegrass, country. If you go to the bars on the Boulevard Saint-Laurent or St. Catherine Street, you can find diversity and quality,” he explains. But what really encouraged Stone to record was his discovery of the soundtrack of Vanilla Sky, the American version of Abre los ojos by Alejandro Amenábar, directed by Cameron Crowe. “There I discovered Josh Rouse. I found his CD 1972 and it turned my head,” he comments. Among the classics, he prefers Bruce Springsteen. “I have seen interviews with Lennon or Dylan where they state that they grew up listening to Elvis. Presley is great, but I think Bruce Springsteen is the most honest music to be found in rock. His lyrics breathe authenticity.”

In Break of Day, Stone has included part of his family: his brother and sister are found singing throughout, and his father has written one of the numbers, Promises. An avid reader, he has recently soaked up the memoir of Patty Smith, Just Kids. Another of his hobbies is horseback riding. “For a young urban Canadian, riding through the mountains is an escape.” Precisely this unending search for his path has taken him to New York. There he continues perform regionally while awaiting the call from Josh Rouse to accompany him on his European tour. - Marcos Carlos - Dominical (Madrid)

“Don’t change!” Jesse Stone declares with utmost self-confidence in a song featured on Break of Day, his debut album. This encouraging imperative, which gives the song its title, is directed at a character that is presumably an arrogant hobo, or else an admirably committed protester. It’s hard to be sure, because the song’s subtlety gets in the way of any certainty. Arguably, this piece of advice is not even provided by Stone himself, but by another character, because that’s what this Montreal-born, NYC-based singer-songwriter does best: create characters.

The 10-track album is full of them. They’re either broken-hearted romantics or broke musicians, they make recommendations or else express remorse, they’re young, they’re old. They’re tridimensional. They make you think.

They also bask in a variety of musical ambiances, ranging from dark country-flavored ballads to upbeat roots pieces. The omnipresent acoustic guitar strumming shares the limelight with tight electric guitar riffs and twangy banjo lines, spiced up with a touch of harmonica and a dash of fiddle. Stone even teams up with a horn section for a couple of songs. Needless to say, such musical depth constitutes a prime décor for all these colorful individuals. It gives all these little microstories a superb fluidity, which is only helped by Stone’s raspy, eager vocal delivery.

“This doesn’t really sound like a debut record,” you might say, and you’re not wrong. It doesn’t, really. That’s because Stone waited until he was ripe before releasing a solo album. It’s worth mentioning that music clearly runs in the family: his dad is also a singer-songwriter (in fact, “Promises” was written by him), as are his brother and sister, both of whom are featured on the record. Moreover, Stone has always been keeping busy doing all kinds of music-related things, from running open mic nights to playing in bands, without forgetting organizing showcases and writing critiques.

Perhaps it allowed him to indulge in a fair amount of networking, because he’s quite amazingly surrounded on this first effort: Joseph Donovan (The Dears, Sam Roberts, Belgrave) and Dave Sturton (Jean Leloup, Bran Van 3000) engineered it, Dave Carmichael produced it, as did Alec McEcheran, who also played bass on it. Quite amazingly, Sam Roberts Band’s Josh Trager played the drums on every song, save one: “Fisherman”, which was originally recorded as a demo a few years ago.

“As a green artist, that’s what you should do,” Stone claims. “You need to surround yourself with experienced musicians and engineers, that’s the way to do it.” After a short pause, he adds, laughing: “That was the joke of the record: I was the one trying to keep up with everyone else!”

The result speaks for itself. Break of Day does indeed sound like the work of musicians that are worthy of that name; it’s textured, punchy, melancholic at times, but never trite or bland. In fact, in the process of absorbing it, I couldn’t help but think that the man would benefit from listening to his own advice: don’t change, Mr. Stone. It looks like you’re doing fine. And by “fine”, I mean “utterly great”. - Confront Magazine