John-Alex Mason - Jook Joint Thunderclap
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John-Alex Mason - Jook Joint Thunderclap

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The best kept secret in music

Press


"...they loved it...so did I!"

"WOW! I have long admired the way that John-Alex Mason plays and sings, he is a real pro and it is clear that he "feels it"! His "one man band" show at the Trinidaddio Blues Fest "Pre-Fest" takes John-Alex up another rung (or two, or three!) on my ladder. Even though John-Alex was sponsored by our friends at the Colorado Blues Society, I usually stay away from having one person acts play for more than 30minutes or so. Really...even trios don't normally get that much more. John-Alex Mason played...all by his lonesome, for nearly two solid hours to a packed (500 tickets sold!) crowd that were waiting to hear Bernard Allison's guitar magic. Not only did the set please the "natives" who can become restless...they loved it...so did I! If I needed any convincing that John-Alex Mason is the "real deal" (I really didn't!)...I sure got it on that Friday nite in Trinidad! What a great guy and what a great act! "



Neil Sexton

Founder: Trinidaddio Blues Fest

Host: Trinidaddio Blues Hour

719-846-0808 - Neil Sexton- Trinidaddio Blues Fest


"Almost as good as being there"

John-Alex Mason's last effort was primarily solo acoustic originals. On Live Fire he includes two sets - one solo acoustic (just him and his National) and an electric set with his band, The Pea Vine Line. On the acoustic set, there's no doubt that Mason has mastered the Delta-style guitar, employing the slide more often than not. He moves easily back and forth between originals and covers. There's a little banter with the audience, which enhances the live experience, but it's not overdone by any means.

Mason has a comfortable and slightly restrained style, but there's a lot of energy in the set. The acoustic set's highlight is an intense interpretation of "Shake 'em On Down," vocals straining at what I imagine is the top of Mason's range. The steady rhythm of the guitar carries it along, with a few simple embellishments. His original "The Rabbit Song" shows his songwriting at its best, making a poignant statement about following your destiny while couching it in a fable-like setting.

For the second half, Mason brings on his band, The Pea Vine Line, for a set that is more Hill Country than the acoustic set. Mason trades leads with Jeremy Vasquez on second guitar and while there's a little bit of an electric Chicago sound on some numbers, Ronnie Shellist's harmonica fills out the sound without ever taking over.

The electric set includes some longer tracks, giving a chance for extended jams and solos, but it never feels overly long. All of the electric tunes are top shelf, but it's never better than the medley of "Judge Bouche" and "When the Saints Go Marchin' In." Throughout the set, the band meshes well, but on this number it's especially true, as they slide between the two songs and tie it all together with the harmonica carrying the melody along with Mason.

These are two excellent sets that show Mason's abilities not only as a guitarist and singer, but also as a bandleader. It speaks well of Mason's songwriting that his originals fit so seamlessly with traditional songs and covers.

Eric "Snakebite" Wrisley is a contributing editor at BluesWax
- BluesWax


"Burnin' for You"

"My parents tell a story where they say that I was whistling before I could talk," said acoustic bluesman John-Alex Mason. "Singing came naturally to me. It was not ever anything that I was ashamed of. It doesn't necessarily always have to sound good, the more you do it, the better you get at it."
The Colorado Springs-based guitarist and vocalist will visit the Artichoke Sandwich Bar 811 N. Broadway Friday, July 15 with Moreland and Arbuckle in support of his new (and live) long player Live Fire.
Mason, who grew up hearing his African-American godmother Viola singing Baptist moans and gospel tunes juxtaposed with his older brother's love of the Allman Brothers and Grateful Dead, found guitar in his teens, though he didn't pursue music as a vocation in earnest until after college.
"I had a great job in Germany, but I was having a lot more fun playing music on the street and making money doing that," he said. "I'd been to a few open mics and sat in with friends when they needed an extra guitar player but I wasn't really happy with any of it. I had studies, but once I got to Germany I knew that it was time to choose. I quit my job after six months."
Harnessing the intensity and purity of pre-World War II with more contemporary sensibilities, including elements of Taj Mahal and Curtis Mayfield, Mason quickly garnered praise for his unique approach to the blues, winning the 2001 Crossroads Acoustic Blues Competition at the Telluride Blues Festival and eventually landing an endorsement deal with National Reso-Phonic guitars.
He also shared bills with guitar greats such as Jimmie Vaughn, Robben Ford and John Mayall, all gigs that helped him earn a reputation as a must-see live performer, one who doesn't rely on cheap shtick to win audiences over.
"There's the aspect of being an entertainer and entertaining the audience at all costs and then there's the aspect of being an artist and musician and, for instance, in Europe there's a respect for the artist side," he said. "It's entertaining to watch someone who's obviously talented sing and play, that's the entertainment. I don't want to generalize about audiences in the United States, it wouldn't be fair to do that, but there's this idea that there's a 30 second attention span and if you're not continually setting off flames on stage, then something else is going to attract people's attention."
With live performances being such a large part of Mason's artistic existence it seems only natural that he would record a live album, something he was aware of as he sat down to work on Live Fire.
Recorded live in Seattle the album, he said, lacks tentative feelings: "The hardest thing about making studio records is having where I'm at with my singing and guitar playing translate. The Time Will Come record [his last studio effort] came as close to a true sound as I have yet. It's easy when you're in a studio to not let things flow and sound as natural as they would in a live situation," he said, "So, the extreme case of that is to do a live album."
Eschewing overdubs Live Fire capitalizes on the spirit of spontaneity that Mason has tried to capture in his studio efforts. "I don't feel comfortable messing around with the performances once they come through," he said - Wichta F5


"Hell, you can dance to it too!"

Calling John Alex Mason a "one man band" is a little misleading,
because it sounds like three different people in harmony. Its not the
novelty that makes it great, its the powerfull effect of the
percussion, vocals and the guitar coming from the same soul. It comes
across relevant, tribal and a wide groove, good listening and toe
tapping, hell, you can dance to it too!

John Catt
President
Grand County Blues Society - John Catt, Grand County Blues Society


"...ranks at the top of our list!"

John-Alex is a joy to have perform at my place! His Back Porch Blues are Original, yet Authentic. In addition to John-Alex's entertainment value, is his ability to keep his fans coming back week after week, while making new fans every time he plays. John-Alex Mason is a unique individual that I can honestly say ranks at the top of our list of musicians that have played at my place. John-Alex is welcome here anytime!


Brian Fortinberry

Front Range BBQ - Brian Fortinberry


Discography

Barefoot EP / NJBM-005 2006, One Man Band extended play single.
Live Fire / NJBM-004 Live Official Bootleg release
Time Will Come / NJBM-003, 2004 Still receiving heavy play on Colorado Stations. #24 on Living Blues National Radio Chart.
Artists in Resonance, 2003- National Resophonic Guitars Audio Catalog, featured Artist.
Mason & Hundt / NJBM-002, 2002- Receiving radio play on 30+ stations in the US and on 100+ stations in the US through the syndicated program, Blues Deluxe. The record is also receiving spins on numerous stations in Europe and Australia.
Walking Tracks / NJBM-001, 2000

Photos

Feeling a bit camera shy

Bio

I don't have a publicist or staff writer so I am not going to write like I do. I have tried that before and it seems dishonest to me. Here's the story:

My slide guitar playing is inspired by the recordings of Son House, Fred McDowell, Robert Johnson, Charley Patton and Bukka White (to name a few) and my singing is inspired by Viola Marigna, my African-American nanny, my parents housekeeper and the woman I consider to be my godmother. I am not an imitator. That is not my aspiration. These are the people who have moved me to have hope in my life. I aspire only to move others as these tremendous people have moved me.

Starting out I played bars a lot; in ski towns, in trendy places where manufacturing used to thrive and places where acoustic music was a distraction from the 70 inch plasma screens. Richard Johnston showed me how to play drums with my feet over a weekend of busking on Beale Street in Memphis. I love getting people dancing and though I can crank on the resonator guitar, the footdrums and electric guitars sure bring out the boogie. Suddenly the TVs were the distraction.

I tend to surprise people. That has been my experience anyhow. I show up to play and I am younger than I look in my photos and before you know it with audience in tow, two or three or four good hours of singing and playing have whirled by. It's like, to paraphrase Bob Dylan, boarding a bus that won't bar no race, that won't laugh at your looks, your voice or your face and by any number of bets in the book will be rolling long after the bubble gum craze.

This past year I played 12 festivals including the Telluride Blues and Brews Fest, the Cincy Blues Fest and the Arkansas Heritage (formerly the King Biscuit) Festival. This past year I opened for James Cotton, Will Hoge, Rose Hill Drive, Johnny O, Carolyn Wonderland, Kelly Joe Phelps at the premier folk music organization in Denver, Swallow Hill and for BB King at the sold-out 2000 seat Pikes Peak Center. I performed with Henry Butler and Corey Harris's drummer Johnny Gilmore with Corey listening on. Alvin Youngblood Hart attended one of my shows, said I was sounding good.

These opportunities exposed me to a whole range of people with music on their minds. I am truly proud to say that I didn't disappoint and didn't simply satisfy either. I made new friends of people who were ready to be my harshest critics. Music Lovers and defenders; folks like me.

"John-Alex's new album knocks my socks off!" - John Hammond commenting on "Live Fire."

"One of the deepest young cats on the scene today." - Steady Rollin' Bob Margolin, Muddy Waters' Longtime guitarist.

"Calling John Alex Mason a "one man band" is a little misleading, because it sounds like three different people in harmony. It's not the novelty that makes it great, it's the powerful effect of the percussion, vocals and the guitar coming from the same soul. It comes across relevant, tribal and a wide groove, good listening and toe tapping, hell, you can dance to it too!" - John Catt, founding member, Grand County Blues Society and director of the Blues from the Top Fest.

"Mason is one heck of a cool cat that brings his soul to every damn show: "rollin' this blanket out on stage". That deep voice callin' out an americana style is enticing to any audience young and old alike. He's nothin' short of a crowd pleaser." -Brad Mallen, Owner, TrouserMouse Bar.

"WOW! I have long admired the way that John-Alex Mason plays and sings, he is a real pro and it is clear that he "feels it"! His "one man band" show at the Trinidaddio Blues Fest "Pre-Fest" takes John-Alex up another rung (or two, or three!) on my ladder. Even though John-Alex was sponsored by our friends at the Colorado Blues Society, I usually stay away from having one person acts play for more than 30minutes or so. Really...even trios don't normally get that much more. John-Alex Mason played...all by his lonesome, for nearly two solid hours to a packed (500 tickets sold!) crowd that were waiting to hear Bernard Allison's guitar magic. Not only did the set please the "natives" who can become restless...they loved it...so did I! If I needed any convincing that John-Alex Mason is the "real deal" (I really didn't!)...I sure got it on that Friday nite in Trinidad! What a great guy and what a great act!" - Neil Sexton, Founder, Trinidaddio Blues Fest

Festival Appearances & Selections 2004-2006

2001-2006 Telluride Blues and Brews Festival, Telluride, Colorado
2006 Hawth Folk Blues Festival, Crawley, UK
2006 The BlauBlues Festival, Belgium
2006 Southpark Music Festival, South Park, Colorado
2006 Trinidaddio Blues Festival, Trinidad, Colorado
2006 Cross County Line Blues Fest, Loveland, Colorado
2006 Greeley Blues Festival, Greeley, Colorado
2006 Swallow Hill Folks Fest, Denver, Colorado
2006 Cincinnati Blues Festival, Cincinnati, Ohio
2006 Blues From the Top Festival, Granby, Colorado
2006 Colorado College, Bl