Jonny Boston

What’s Waiting?
Jonny Boston
Sheldon:001

Too new, apparently, to make it into Chilton’s Who’s Who of British Jazz, young Boston pops up on tenor and clarinet in all sorts of situations, from Louis Jordan-style groups to the more demanding ranks of Pete Long’s Echoes Of Ellington.
His album though, is a different kettle of fish. Of its 12 tracks, seven are originals and all are arranged (horns and strings) by Boston. Expecting to hear some hard-swinging combo jazz or with-strings rhapsodising, imagine this reviewer’s surprise when the album turned out to be a strictly vocal affair. Boston’s tunes work well as do things like Billy Joel’s ‘She’s Always A Woman’, the vocals light-sounding and engaging, often with interesting lyrics, and decent ensemble writing. There are brief spots for some of the bandsmen but this is principally Boston’s launch pad for vocal honours. Call it his attempt to find his way into the Connick/Cullum/Cincotti continuum and I guess you’d be right. He sounds clean-cut and tuneful, and this ambitious project could well be the start of something big.

Peter Vacher – jazz critic

Taken from Jazzwise July 2005 issue 88
- Jazzwise

What’s Waiting?
Jonny Boston
Sheldon:001


Jonny Boston
What's Waiting?
(Sheldon 001)
If Jamie Cullum can make it, why not Jonny Boston? He writes intelligent songs, picks good standards, sings with feeling and plays very decent tenor sax. Furthermore, the band features some of the finest in British jazz. I particularly like the version of 'My Foolish Heart', a duet for Boston's voice and Colin Oxley's immaculate guitar. It's a jazz/pop cocktail, but you can't say it isn't stylishly done.

Dave Gelly – jazz critic and musician

Taken from The Observer May 1st 2005
- Observer - May 2005

What’s Waiting?
Jonny Boston
Sheldon:001


Recorded at Clown’s Pocket Studio, Bexley, April-July, 2004 • Co-Producers Jonny Boston and Derek Nash

12 Tracks
Ray’s Idea; Inside Us; Both Sides Now; Through The Years; Rhapsody In Bermuda; What’s Waiting?; Sinfoniettas; My Foolish Heart; She’s Always A Woman; So In Love; The More I See You; My Luve Is Like A Red, Red Rose

I first encountered Jonny Boston in the Middle East. We were touring with the British All Stars sometime, I think, in the 80s and, with the usual jazzmens’ cynicism, reacted with less than interest when an enthusiastic mother asked if her son might sit-in on clarinet. But when the young guest turned out to be the talented Jonny, our band was as impressed as the audience. And, as they say, the rest is history.

I kept in touch with Jonny’s progress within the UK jazz scene through his popular Boston Tea Party alongside fellow reed prodigy James Evans and his appearances with Barry Martyn’s Young Bloods, and one could see his talent developing. This well-crafted CD is the result of quite a few years paying his musical dues and should appeal to a wide audience. It’s clearly aimed at the crossover market but loses none of its impact through this. Jonny’s voice is pleasant and has much more jazz feel than most of those so-called ‘jazz singers’ that are cashing in on what they see as the comparative respectability of such music compared to rock. Unlike these performers, Jonny has a strong grounding in true jazz and this comes through with every bar. He has cleverly recruited other talented young jazzers like trumpeter Steve Fishwick, trombonist Mark Nightingale, guitarist Colin Oxley, and pianist Robin Aspland, and the whole album is underpinned with creative solos from these and others. The majority of numbers are originals by Jonny himself. Inside Us features some tasteful Getzian tenor from Jonny, and the catchy title track, with its imaginative lyrics, certainly deserves exposure – perhaps as a single to bring a touch of class to the charts, or am I being too optimistic?

Make no mistake – this is a stylish album and should get some attention in the current arid musical desert.

As pianist John Richardson rightly states in his notes, Jonny’s ‘musical tastes are impressively diverse and his enthusiasm for new ideas, songs and musical styles are testimony to his forward-thinking approach’ – and that’s how it should be.

Mike Pointon – jazz critic and musician

Taken from Just Jazz April 2005
- Just Jazz