Jon Regen
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Jon Regen

New York City, New York, United States | SELF

New York City, New York, United States | SELF
Band Jazz Singer/Songwriter




""Expertly straddles the fence between jazz and pop...""

When any musician tries to bring together pop and jazz, things almost always go awry. A few bands, most notably Steely Dan and the earlier work of Chicago, have found that magic balance, but that's still a rare thing.

Jon Regen comes as close to properly melding those two genres as anyone has in the last decade or so. Regen cut his musical teeth in the jazz world, studying under jazz pianist Kenny Barron and performing with artists such as Kyle Eastwood and Jimmy Scott. The guy definitely knows jazz, and yet his previous release, 2008's "Let It Go," showed he had an ear for popular music as well.

On "Revolution," Regen's latest effort, the musician builds on his strengths, recording 10 original songs that expertly straddle the fence between jazz and pop. Although Regen was born and raised in New Jersey, his singing voice has a easygoing swagger that brings to mind that of Harry Connick Jr. Songs such as "Delores" and "Excuse Me, But It's Not Supposed To End Like This" have a jazz swing feeling, but would still feel right at home on an adult contemporary pop radio station.

One of the album's best tunes, "She's Not You (But Tonight She'll Have to Do)," is easily one of the catchiest pop songs I've heard in a while. Add in appearances by such music luminaries as Andy Summers and Benmont Tench, and you have a seriously solid release.

Regen is a genuinely talented songwriter and performer, and 10 years ago, I might have lamented the fact that he wasn't signed to a label. The truth is that if you're talented, all you really need these days is good word of mouth. Check this album out, and then spread the word.

Key Tracks: "Revolution," "She's Not You (But Tonight She'll Have to Do)," "Delores" - Charleston Post & Courier

""Revolution is a wry love song, at once bluesy and plucky.""

The title track of this jazz pianist turned singer/songwriter's latest album is actually a wry love song, at once bluesy and plucky. - USA TODAY

""The kind of songs that are destined to become pop standards...""

Jon Regen presents his newest release, pairing 10 new works with such special guests as Andy Summer of The Police and Benmont Tench of The Heartbreakers. Revolution (JRM, 2011) also features three songs Regen co-wrote with Matchbox Twenty front man Rob Thomas (“Just Waiting For You”) and UK soul phenom David McAlmont (“Spirits of the Soul,” “Run Away”). Regen provides vocals and plays an assortment of instruments including piano, Wurlitzer, melodia and drum programming. The songs are an artful mix of the Jazz, Pop, and Rock genres that highlight humor and heartbreak. Regen and his accompanists recorded in seven cities on two different continents, but despite the globe trekking, Jon Regen sings with consistency and believability. The ensemble really delivers on “Revolution,” “She’s Not You, (But Tonight She’ll Have To Do)” and “Fighting For Your Love,” a crowd-pleasing duet that he sings with Dana Fuchs. On the latter, Regen breaks loose with a high-energy piano solo that is sure to have any audience on their feet. “One Part Broken, Two Parts Blue,” and “Spirits of the Soul” reflect the sensitive side of Regen’s creativity and are the kind of songs that are destined to become pop standards that you can enjoy for years to come. All of the songs are pristinely recorded and with the addition of such special guests as George Marinelli on guitar on two songs and Matt Rollings, who plays organ, accordion, mellotron and glockenspiel on four songs, Jon Regen offers a splendid program that he has carefully conceived with a winning team of very creative musicians. Please enjoy it that wa - Sounds of Timeless Jazz

""Effortlessly straddles the lines of commercial viability, legit authenticity, and indie...""

REVOLUTION, is, in the never-to-be-humble opinion of your girl in music, a game-changing milestone for Jon as it effortlessly straddles the lines of commercial viability, legit authenticity, and indie: all grown up. In short, REVOLUTION is the album that breaks and marks the begining of Jon's musical legacy. Sure, most Angeleno's may not know his name now, but mark my words: by the end of 2011, we will be claiming joint custody of the musician, if not declaring him one of our own outright; after all, half of the album's songs, in one way or another, to varying degrees, owe their existence to Jon's time in Los Angeles last October, and that is good enough for us. - LA Examiner

""An Adult Pop Winner.""

Talented Maplewood-born pianist Jon Regen has accompanied Kyle Eastwood and Jimmy Scott, which would lead you to believe that he’s a jazzman. And he is, to a point — but he’s the sort of jazz player who is happy to yoke his chops to poised, polished pop music. “Revolution,” Regen’s solo disc, is often strongly reminiscent of Steve Winwood, Randy Newman and Bruce Hornsby’s undersung post-Range sets (“Harbor Lights,” “Hot House”). Regen won’t show off the way Hornsby does, but when he squeezes a solo into his compositions, as on the title track and the soulful, brass-shaded “Excuse Me, But It’s Not Supposed to End Like This,” it’s always thoughtful and inventive enough to broadcast his training. Regen is a likeable master of ceremonies, too — a grown-up love man trying to make a good time out of bad circumstances. He’s gathered a stellar cast of accompanists: Police guitarist Andy Summers strums on a track, the well-traveled Ricky Fataar keeps the beat on another, and Heartbreakers organist Benmont Tench adds B-3 organ color to a third. (Unfamous names in the liner notes are no less impressive: stellar guitarist Dave Levita, for instance, and Lyle Lovett sideman Matt Rollings, who produced the album.) But the spotlight is on Regen, and the genial pianist makes the most of it. An adult-pop winner. - NJ Star-Ledger

""Regen is a supremely accomplished pop artist.""

He's a pianist who gained his chops in jazz, but Jon Regen has developed into even more. On his suave and soulful new album, Revolution, you can still hear some of the jazz background, but mostly what you hear is someone who has developed into a supremely accomplished pop artist. Think Harry Connick Jr., or maybe Billy Joel without the bombast - except the New York-based Regen carves out his own niche as both a writer and singer. He moves effortlessly from the rock-edged "Fighting for Your Love" to the insistently catchy "She's Not You (But Tonight She'll Have to Do"), and on to quiet, late-night laments like "One Part Broken, Two Parts Blue" that never sound maudlin. In these parts, Regen may not be as well-known as some of his accompanists - Andy Summers, Benmont Tench - but this album shows he deserves to be. - Philadelphia Inquirer

""Regen is a first-rate pop-jazz singer/songwriter.""

More than a few jazz pianists have scored equal, if not greater, success as vocalists, Nat “King” Cole and Diana Krall the most obvious examples. Jon Regen has followed the same route, but taken a slightly different tack, building a solid jazz career as accompanist and leader then taking a rather sharp left turn to reestablish himself as a first-rate pop-jazz singer/songwriter.

Regen, a native New Jerseyite, actually started out playing sax, but switched to piano in his late teens. Mentored by Kenny Barron at Rutgers University, he was named runner-up in the 1996 Great American Piano Jazz Competition. That same year, he released his debut album, From Left to Right. His Live at the Blue Note followed in 2000, featuring Ray Drummond and Joel Frahm and built almost entirely of original Regen compositions. His even more ambitious Tel Aviv, released in 2001, offered up a wider array of covers — including masterful interpretations of Herbie Hancock’s “Just Enough” and Barron’s “Only One” — and Regen’s brilliantly crafted, three-part, 22-minute “Tel Aviv Suite.” He also earned plaudits for his touring work in support of bassist Kyle Eastwood and vocal legend Jimmy Scott.

Then, in 2004, with the release of the seven-track EP Almost Home, came Regen’s unexpected reinvention. His vocal style drew comparisons to fellow jazz-pop hybrid Bruce Hornsby; his songwriting suggested the storytelling élan of Randy Newman. His first full-length vocal album, 2008’s self-produced (and largely self-distributed) Let It Go confirmed the EP’s promise. Guitarist Andy Summers made two guest appearances, on the hard-drivingly romantic “Close to Me” and the distinctly Police-esque, self-actualizing anthem “Finding My Way Back to Me.” But the album’s standout track was “Better Days,” a terrific, bottom-of-the-beer-glass barroom lament brightened by a tinge of dawning optimism.

Now, with Revolution, he delivers his most accomplished album to date. Co-produced by Regen and multi-instrumentalist Matt Rollings (who alternates among accordion, Hammond B3, mellotron and glockenspiel on four selections), its 10 tracks are uniform testament to Regen’s richly fulfilling maturation as both singer and songwriter (who also remains a top-drawer pianist). Vocally, he has settled into an enticing John Mayer-meets-Curtis Stigers groove. As a writer (and co-writer, since Revolution finds Regen exploring far more partnerships than ever before, including winning alliances with Matchbox Twenty’s Rob Thomas and British soul man David McAlmont), his abilities extend from the yarn-spinning élan of Harry Chapin to the sly wit of Dave Tull or Mark Winkler.

The playful Regen serves up “She’s Not You (But Tonight She’ll Have To Do),” a fresh take on the sexual indiscrimination of Stephen Stills’ “Love the One Your With,” and “Delores,” a delightful, and surprisingly tender, tale of the search for amour among love’s castoffs, its gentle punch driven home by Benmont Tench, of Tom Petty and the Heartbreakers fame, on B3.

Romance, in various forms and at various stages, remains the theme for most of the remaining tracks. There’s the quixotic pursuit that propels “Run Away,” its Motown-era Marvin Gaye shades enhanced by McAlmont as vocal duettist, and the sweet perplexity of “Just Waiting for Now.” The power-pop “Fighting for Your Love” was, says Regen, inspired by Elton John’s “Saturday Night’s Alright for Fighting,” but more closely resembles Billy Joel circa “It’s Still Rock ‘n’ Roll,” set to a Huey Lewis backbeat; and the balladic side of Joel is evident throughout the bruised “One Part Broken, Two Parts Blue.” The heartbreak continues through the bewildered dejection of the title track and the aching scorn of “Excuse Me, But It’s Not Supposed to End Like This.” The deep satisfaction and redemption at the heart of “If You’re Not Here” provides a brief respite from all the yearning and heartache. Summers returns for “Spirits of the Soul,” superlative among these ten excel - JazzTimes

""FOUR STARS. Echoes of Boz Scaggs, Steve Winwood, and Billy Joel.""

Jon Regen made his name as a jazz musician, notably spending a significant amount of time supporting vocal legend Jimmy Scott, so the pop savvy of his 2011 album Revolution may come as a surprise to those who have only read his biography. Not that this soulful singer/songwriter has never touched upon pop before -- 2007's Let It Go was in a similar vein and also featured an appearance from Police guitarist Andy Summers, who pops up on Revolution's "Spirits of the Soul" -- but this easily assured, 2011 set is especially beguiling, as Regen pushes his melodicism to the forefront. He's received some songwriting help from Matchbox 20's Rob Thomas and David McAlmont, but they don't force their personalities upon the pianist: he very much anchors this album with his nimble, jazzy soul-pop. Echoes of Boz Scaggs, Steve Winwood, and Billy Joel can be heard throughout Revolution, but Regen is sharp, he never lingers in one spot, and he keeps the record swinging and soulful, so the album sticks as both songs and performance. -

""FOUR STARS. One of 2011's Best CDs.""

Revolution” is Jon Regen’s second straight great album. The jazz pianist, who started a U.S. tour this week, continues to broaden into pop songwriting.

After my favorable review of Regen’s “Let It Go,” he has been twittering and messaging asking for my verdict on his latest, which again has Andy Summers of the Police among the guests. Don’t worry Jon, it’s good. “She’s Not You (But Tonight She’ll Have to Do)” has strong hooks and should be a hit. - Bloomberg

""Cool sophistication without sacrificing catchy accessibility...""

He got his start backing jazz musicians such as Jimmy Scott and Kyle Eastwood. Now piano-playing singer-songwriter Jon Regen is making a name for himself in the pop realm.

His beguiling new album, "Revolution," exudes cool sophistication without sacrificing catchy accessibility, with guest appearances by Andy Summers of the Police and Benmont Tench of Tom Petty's Heartbreakers. - Cleveland Plain Dealer

""Evokes the raw descriptive power of early Springsteen or Waits...""

Jon Regen is dripping with talent. How else to explain the contributions of heavyweight pals like Andy Summers, Benmont Tench, Rob Thomas, David McAlmont and Ricky Fataar on Regen’s latest album, Revolution, where they don’t so much stand out apart from the music as they become part of it.
Regen’s skills as a songwriter, storyteller and performer of true blue soul music have never been more apparent. Witness a song like “Delores,” which evokes the raw descriptive power of early Springsteen or Waits with a heady brew of piano and organ washing over the whole.
While he’s perhaps most connected in people’s minds to the piano and keyboards, it’s Regen’s voice that ultimately sets him apart from his peers. If Anthony Kiedis ever knocked off the juvenile horseplay and faux emcee stylings and concentrated on hitting a few notes every now and again, that wouldn’t even put him in the same area code as Regen.
Whatever satellite subscriptions
and internet prognostication
have done to us as music fans
is immaterial, because all that
really matters is that the world
as it exists today just doesn’t
have nearly enough avenues for someone to stumble upon bona fide future classics like Revolution’s opening title track and “Excuse Me, But It’s Not Supposed to End Like This,” which thankfully comes along at roughly the midway point of the album.
It’s sometimes a struggle to pigeonhole music into genres or under labels, especially when all you really want to do is lay back in the cut and enjoy it. So if “Spirits of the Soul” (featuring tasteful guitar by Summers) is a torch song or a ballad or something else, what possible difference could it make? What it is is terrific, which puts it in common with the other nine tracks on Revolution.
Manufactured pop has been around for decades, so to pretend the Justin Biebers and Ke$has of the modern age somehow represent a new low would be disingenuous. Still, Revolution really does feel revolutionary in its combination of craftsmanship and genuine soul. - Roll Magazine

""Regen's quite a songwriter. And singer. And keyboard player.""

Singer-songwriter and pianist Jon Regen has an original jazz-soul style on Revolution (JRM) that leverages the introspective Saturday-night spirit of Billy Joel and Leon Russell. Regen's approach on his album's originals is smoky, with a gentleness that's missing from many new albums today. Dig the mid-tempo ballad Excuse Me But It's Not Supposed to End Like This. Or the rocking instrumental Fighting for Your Love. Regen's quite a songwriter. And singer. And keyboard player. This album brings all of his many talents together for good-time feel that's never oppressive. Songs are compact but also deeply sentimental. - JazzWax

""A wall-to-wall celebration of song and masterful musicianship.""

Perhaps best known for his work in the jazz world, Jon Regen here emerges with a smart-as-hell pop album. The 10-song set opens with the titular track, one of several here that calls to mind the master craftsmanship of Marc “Walking in Memphis” Cohn but with elements that are more solidly and authentically fused to southern soul. That’s followed quick-as-you-can by “She’s Not You (But Tonight She’ll Have to Do)”, on which Regen is aided and abetted by the B3 blitz of Matt Rollings. (You either have to celebrate or shake your head in disbelief that Regen didn’t cast the track as a honky tonk heartache number given that the title begs for it; no matter, it’s a success.)

Regen is at his best when he plays it slow and smooth, as he does on “Delores”, a track aged in barroom smoke and 37 fingers of single malt Scotch. Its brilliance – thanks largely to an ace lyric from Regen – is embellished by some handsome B3 touches from the incomparable Benmont Tench. “One Part Broken, Two Parts Blue” perfectly captures late night loneliness and a dash of regret that’s enhanced by Rollings’ deft accordion work. Key among those best pieces is what may be the most obvious nod to jazz on Revolution, the penultimate number “Spirits of the Soul”, a track will doubtless garner comparisons to Sting: having Andy Summers adding typically lovely guitar figures to the piece may color those comparisons, but so be it.

The more driving numbers – “Fighting for Your Love”, the closing “Run Away” – are by no means beyond redemption, but they are two of the less successful numbers here. It’s not so much that Regen sounds out of his depth as it is that they seem like unnecessary interruptions of what is an otherwise perfectly mellow mood. It would be easy to find fault with “Just Waiting For Now” for having been co-written by the ubiquitous Rob Thomas but it’s a nearly perfect piece of pop craftsmanship, as is “Excuse Me, But It’s Not Supposed to End Like This”, arguably the most complex display of Regen’s skills as a vocalist.

And so there it is: a wall-to-wall celebration of song and masterful musicianship during which no one flails like a bebop whale on dry land and no one over-emotes to the point of irredeemable cheesiness. The real success of Revolution and the success of Jon Regen’s bold move forward as an artist and writer is that the record never strays from its conviction to honesty, never works too hard to please and, as a result, pleases all the more. Where Regen goes next as an artist and performer is anybody’s guess of course but if it be a continuation of what’s heard on this collection so be it. There are fates far worse than mastering the nuances of one’s craft, fates far worse than finding an audience that appreciates not only the pleasure that results from those efforts but indeed the intensity of the efforts themselves.

Consider yourself moved. -

""Regen's voice is a pure expression...""

With so many albums finding daylight every year it's not easy for one to create its own world. But that's just what Jon Regen has accomplished. Known for many years as Jimmy Scott's musical director, Regen has been writing originals all along waiting for the right time to spring them on the world. Who knew just how full-formed the results would be? His voice is a pure expression, finding a soulful express lane on songs like "Just Waiting for Now" and "One Part Broken, Two Parts Blue." One foot is solid in the singer-pianist tradition while the other is feeling for new ground. With special guests Andy Summers, Benmont Tench, David McAlmont, and others, the musicality is well-covered. On everything else, Jon Regen has earned the spotlight. Let it shine. - The Morton Report

""Sophisticated pop songs with the smart, jazzy feel of Ben Folds and Randy Newman...""

Jon Regen is a man who knows his instrument. The piano isn’t great for rocking out unless you’re Jerry Lee Lewis or Little Richard, but it’s perfect for sophisticated, slightly retro pop songs. Regen writes his with the smart, jazzy feel of Ben Folds or Randy Newman, and on such tunes as “She’s Not You (But Tonight She’ll Have to Do)” and “One Part Broken, Two Parts Blue,” he gets to play his favorite character: the bemused, brokenhearted New York City night owl. There’s little angst here—Regen isn’t striving for gritty realism—but thanks in part to guests like Tom Petty keyboardist Benmont Tench and ex-Police guitarist Andy Summers, there’s honesty in the performances and overall craftsmanship. - M Music & Musicians

""The songs are the real attraction. Regen sings with smoky soul...""

New York singer and pianist Jon Regen dresses up his latest release, “Revolution,” with contributions from Andy Summers of the Police, Benmont Tench of Tom Petty and the Heartbreakers and Bonnie Raitt’s bassist James “Hutch” Hutchinson, which is great for building buzz. The songs are the real attraction, though, especially the slow jams.

The jazz instrumentalist turned pop singer sings with smoky soul, his voice just a touch rumpled with bemusement on the wry piano come-on “Delores,” and weariness over a breathy accordion part on “One Part Broken, Two Parts Blue.”

Regen co-wrote the up-tempo “Just Waiting for Now” with Matchbox 20 frontman Rob Thomas, though it’s eclipsed by the ’70s-style piano epic “Fighting For Your Love” and by “She’s Not You (But Tonight She’ll Have to Do),” which burbles along on Wurlitzer organ and roiling guitar while Regen dials in a vocal tone reminiscent of mid-solo career Sting.

Although Regen doesn’t have the name recognition of some of his collaborators, “Revolution” is good enough to merit a qualification in that regard: Regen doesn’t have their name recognition yet.
- Hartford Courant

"Francisco Aguabella Latin Jazz Band at Steamers"

The incomparable and legendary conguero and percussionist, Francisco Aguabella, and his Latin Jazz Band appeared at Steamers once again, as they do every so often, to a full house of ardent jazz/latin fans, Saturday, Oct. 5th. This group is so right on it with their hard driving performing and arrangements that it really takes a person by surprise as he or she listens to this spectacular ensemble. Aguabella is a renowned world-class artist and has performed with his longtime friend, Tito Puente and also with Carlos Santana, Frank Sinatra, Dizzy Gillespie, Lionel Hampton, and Eddie Palmieri. He received the 1992 National Endowment of the Art Fellowship award in the area of folk arts and has been lauded by the cities of Miami, San Francisco and Los Angeles. He is native of Matanzas, Cuba and gained notice for his secular drumming in Havana nightclubs and for his mastery of complex styles of Afro-Cuban ceremonial drumming rhythms.

Members of Aguabella's ensemble were: Fermin Sifontes, piano; John Belzaguy, upright bass; Jorge Carbonell, drums; Jose Gomez, saxes and flute; Brian Swartz, trumpet; Scot Ray, trombone and, of course, Francisco Aguabella on three congas and bata drum. Their exciting opening tune was "Yesterdays, Nueva Manteca", which immediately got the crowd going with the fervor that they played in with some groovy solos on sax, trumpet, trombone and piano (Gomez, Swartz, Ray and Sifontes, respectively). Belzaguy, Carbonell and Sinfontes all did exceptional work this night.

A salsa cha-cha number titled, "Long, Long Summer" came into play with a very definitive sax solo by Jose Gomez, which as accentuated very well, followed by a lovely ballad, "La Costa", by Natalie Cole and Lydia Williams. The audience loves this band and danced by their tables limitedly where they could without interrupting the performance and the audience.

Aguabella's brand new CD Cubacan is now out and is the best! It is on Ubiquity Recordings and the band played many of the compositions from the brand new release. The exceptional liner notes of this CD are by Frank Marone, Latin jazz afficianado, and also Francisco Aguabella, containing much information of the musician contributors, arrangers and some history. "Felukin", a fast paced mambo (and my favorite tune of the evening and also on the CD) brought out more outstanding solos by trombonist Ray, trumpeter Swartz, and Aguabella consistently soloing throughout the number - especially on the quinto drum, a higher register conga of the three he played. Other musically and colorful tunes were: "Mambo For Puente", "Autumn Leaves", "A Few Of My Favorite Things", "Tin, Tin Deo" (the great Chano Pozo and Aramo composition), "Fiesta Mojo", (one of Dizzy Gillespie's best) and finally "Guajara Para Los Pollos". These tunes are all on Cubacan also. The show piece of the evening was "Fiesta Mojo" where Aguabella not only plays his three congas, but plays a fourth drum (the bata) that is held sideways and plays many off time additions to the regular rhythmical timing being laid down in the basic drumming percussion patterns keeping Francisco Aguabella very busy throughout the entire piece. This is a premier Latin/Jazz Band to see and Steamers owner, Terence Love, continues to include them as a regular event as much as possible with all varying schedules. Please see Aguabella's new website soon as it is still under construction: or check Steamers website:
Highly recommended. - L.A. Jazz Scene


As a leader

2008 LET IT GO
1996 FROM LEFT TO RIGHT (Unreleased)

As a sideman

2012 Dana Fuchs BROKEN DOWN
2012 Marta Pacek REBEL BABY
2003 Jimmy Scott ALL OF ME - LIVE IN TOKYO
2003 Various Artists STORMY WEATHER



New York based singer, songwriter and pianist Jon Regen has spent the better part of the last decade telling a singular musical story, with a steady stream of critically acclaimed albums and capacity concert appearances on both sides of the Atlantic. Now with the release of his new album Revolution, Regen returns to the recorded stage with yet another captivating chapter in his already auspicious career.

Featuring ten affecting originals, as well as guest appearances by some the world’s most acclaimed musical artists like Andy Summers of The Police and Benmont Tench from Tom Petty & The Heartbreakers, Revolution is a tonal testament to Regen’s continued musical evolution – from instrumental jazz journeyman, to internationally-headlining pop artist. And much like Regen’s touring schedule itself, the album was recorded and produced in a myriad of cities around the globe.

Revolution features a captivating cast of musical heavyweights, both in-front of, and behind the studio glass. From acclaimed artists like guitarist Andy Summers and keyboardist Benmont Tench, to ace engineers Michael Brauer (Coldplay/John Mayer) and John Porter (Ryan Adams/The Smiths), Regen would spend the better part of a year assembling the creative team that would ultimately complete the album. Other alluring artists also make cameos on Revolution, including Bonnie Raitt and Bruce Hornsby alum George Marinelli on guitar, along with fellow Raitt bandmates Ricky Peterson on organ, Hutch Hutchinson on bass, and Ricky Fataar on drums. “I’ve been listening to all four of them on their own and in Bonnie’s band for years,” Regen says. “Find me another group that grooves like they do!” Blues powerhouse Dana Fuchs joins Regen on the unabashed rocker ‘Fighting For Your Love,’ Regen’s nod to the music of his youth. “My father had Elton John’s Greatest Hits on perma-repeat in our family car when I was a kid,” Regen admits. “I think ‘Fighting For Your Love’ was almost an auto-immune response to hearing ‘Saturday Night’s Alright For Fighting’ for all those years!” And Regen’s co-producer, famed keyboardist Matt Rollings guests on organ and accordion on a number of key album tracks, including Regen’s haunting tale of a failed love affair ‘One Part Broken, Two Parts Blue.’ Regen also co-wrote three of the album’s tracks with storied songsmiths like Matchbox Twenty front man Rob Thomas (‘Just Waiting For Now’), and UK soul phenom David McAlmont (‘Spirits of The Soul’ and ‘Run Away’).

Jon Regen was raised in Maplewood, New Jersey. A protégé of the legendary pianist Kenny Barron, Regen began his career as a sympathetic sideman to renowned jazz artists like Jimmy Scott and Kyle Eastwood. Named Runner-Up in the 1996 Great American Jazz Piano Competition, Regen would jump-out on his own with a series of critically acclaimed instrumental jazz recordings; From Left To Right (1996), Live at The Blue Note (2000), and Tel Aviv (2001).

In 2004, Regen made an abrupt left turn and released the self-produced, singer/songwriter EP Almost Home. Universally acclaimed throughout the US, Europe and Asia, the EP would formally announce Regen’s arrival on the world stage, and would kick start a concert career that thrives to this day. Regen followed the EP up with his full-length 2008 release Let It Go, which featured appearances by Andy Summers of The Police, Martha Wainwright, and other iconic guests. The album would receive worldwide praise from critics and listeners alike, and go on to sell over 5,000 copies without a label or distributor attached. Regen would tour for nearly 3 years in support of Let It Go, with a steady stream of sold-out shows on both sides of the Atlantic.

On Revolution, Regen weaves an artful tale of humor and heartbreak across each of the album’s ten tracks. “I think it’s the most complete album I’ve ever made,” Regen says of his latest work. “Musically, lyrically, thematically - it’s the perfect amalgam of where I’ve been, and where I’m headed.”