A visionary and sonically explosive masterpiece that will truly redefine the role of harmonica in rock 'n' roll.

The first time I saw Jason Ricci in concert, he played a small California club in front of 15 people. Within a few minutes, I knew that this was one of those shows a critic waits a lifetime for. It was like those first Beatles sets at a club in Hamburg; Bruce Springsteen starting out in Asbury Park; the Rolling Stones at the Marquee Club; or Green Day’s earliest gigs at an East Bay pizza parlor. There was so much energy and so much music, it seemed like the small club would explode. Ricci was bigger than life, and he played like he was in front of 40,000 people. He moved like Steven Tyler, sinuous, and sexy. He had Mick Jagger’s charisma. You couldn’t take your eyes off him for a minute. And he had the Grateful Dead’s stamina, running his band New Blood for four hours, as tight and hot as a racetrack Ferrari.

When he took a short break after two hours, I wanted to tell him to take it easy. He’d already given us more than the biggest names in the business, and he had us at hello. But there was no stopping him. This guy was like the historic touring musicians, the jazz guys who lit up Harlem nightclubs till dawn. His singing was passionate, real, bluesy and ripped. He had you believing every word.

And then, when he picked up the harmonica, something really magical happened. He played like no one else. Imagine John Popper’s speed, mixed with Charlie Musselwhite’s edge, and it still doesn’t quite meet what I heard. I had to go back to the jazz greats, to Charlie Parker or John Coltrane, because he was taking the instrument to places it hadn’t been before. It perfectly fit his eclectic blend of music, with blues roots mixed with punk and jam band rock, some jazz, maybe a bit of country, metal, and Jimi Hendrixian explorations. It was a new genre that has no category in your local disc store. He improvised faster and more furiously than my ears could take in or my brain could wrap itself around. With overbends and overblows, he found notes that aren’t on the ten-hole diatonic harmonica, a technique that only a few players have mastered. He was a speeding train, rocketing to the future -- and don’t let me forget for a minute that his glove tight band was right there too, keeping up and churning with authority. By the time I understood one passage, they had sped five stops down the line. And that’s when you crave a recording, which gives you a chance to hear this magic over and over until you understand it.

As a music critic, I’ve gotten to interview Jason over the years, and he’s as interesting off the stage as on it. He’s a musician who is comfortable talking to his fans, and gives advice to even the biggest harmonica geeks (of which I’m one). Perhaps it was his hard life that made him so easy with others. Growing up flamboyant and gay in rural Maine, he was an outsider, spending his early years alone practicing his instrument. Then he heard his mentor, Pat Ramsey, who was most noted for his work with Johnny Winter. He moved to Nashville and waited tables, while taking weekly lessons. He did jail time for drugs, a rite of passage for a young musician. Before long he was touring with other great bands, such as Junior Kimbrough and his son, David; R.L. Burnside, and Big Al and the Heavyweights. But straight blues couldn’t contain his energy, anymore than Jimi Hendrix could have stuck with his early job as a backup musician for Little Richard or the Isley Brothers. Ricci had to launch his own path.

You are about to experience this for yourself, on a well-produced disc that should be the ticket to bring Ricci to a mass audience. He and guitarist Shawn Starsky, bassist Todd “Buck Weed” Edmunds and drummer Ron Sutton worked with British producer John Porter to get this explosive mixture into a container that is surprisingly listener friendly and may even break the ruthless bonds of radio and get some airplay. Porter has produced an eclectic lot that includes the Smiths, Billy Bragg, Los Lonely Boys, B.B. King, Buddy Guy and Ryan Adams, another musical terrorist who may be roots-rock’s answer to Ricci. Ricci says he knew he had the right guy when he heard that Porter did both Morrissey and Buddy Guy. That’s the kind of eclectic territory that few inhabit, but they understand each other when they meet. You’ll understand too, when you launch this disc in your player and catch a tremendous range of music from gut bucket blues to classic rock, to out of the planets jazz. Just by holding this in your hand, you are ahead of the curve; you are what we in Silicon Valley call an early adaptor. Put “Rocket Number 9” on your player, strap on your seat belt and get ready for the ride of a lifetime.

By Brad Kava - Critic, www.radio-soup.com (08/08/07)

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From Eclecto Groove C.E.O. Randy Chortkoff
Long before I ever heard Jason Ricci, I heard people talking about him – this hot young harp player who was taking the instrument in all kinds of new directions. I have to admit I was a little skeptical, but when I finally heard his rough material, I was completely blown away. I spoke with Jason on the phone and through our conversation we both realized that we had a great deal in common. Not only did we both love harmonica but we had also experienced and survived what I refer to as “the dark side.” This common bond and rebirth into a new level of understanding helped create a unique relationship between Jason and myself. As fate would have it, Jason was making a rare appearance at a club less than a mile away from my house. I invited him to my home for dinner and in walked this flamboyant, highly energized, and uniquely articulate madman that was completely sober. After dinner, I went to the club to catch his show and was sold after the first song. Jason doesn’t see, or pay attention to, the limits other players set for the harmonica. There’s literally nothing he can’t do with his instrument, from the deepest low down blues to wild experimental jazz and everything in between, and sometimes all within a single song. In addition to Jason’s amazing performance, the entire band seemed to breathe as one. I have been fortunate enough to have been around and known some of the greatest guitar players in the world. Shawn Starsky can stand up to the very best of them.

I’d like to thank Jason and his great band for opening my eyes and taking the harmonica places most players never even think of, let alone attempt. Thanks to the great producer John Porter, for providing the direction and vision to translate the best of what Jason does into something that, with a little luck, will help him reach the much wider audience he truly deserves. Thanks to Robert Fitzpatrick and the entire Delta and Eclecto Groove crew for all they do to keep us growing and expanding into new sounds and new areas. And most of all, thanks to you, the listener, for your continued support.

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THOUGHTS BY JASON RICCI

01. “The Rocker”
(Words by Jason Ricci / Music by Shawn Stachurski / Chosen Who Music, BMI)
“This is a song about the paranoia and love/hate relationship an addict feels with his lifelong marriage to dope, sober or not. For me, it’s mostly about crack cocaine, hence the name “The ROCKer,” plus it rocks, but I put in a few heroin references for all my junkie friends. Shawn made sure the music rocked as hard, or harder, than the words.” (Key of G: C harp in 2nd Position)

02. “I’m a New Man”
(Jason Ricci / Chosen Who Music, BMI)
“I wrote this on my way to jail and finished it six months or so in. It’s a piece about “the boy who cried wolf” or, less metaphorically, the boy who cried: “I’ve changed, I’m sorry, I’ll never do it again, I’m a new man”. Then one day he finally does change, but because of his history of dishonesty no one believes him. He understands why, but can’t do any thing but say all the same crap he said before, knowing it all sounds like bullshit and partially doubting it himself on some level.” (Key of B: E harp in 2nd position)

03. “Loving Eyes”
(Jason Ricci / Chosen Who Music, BMI)
“This is my favorite piece I have ever written lyrically because I’m often wordy and this tune is not. The words are about surrender, non-attachment, eternal life, and death in a positive light. Musically it’s Junior Kimbrough meets the Byrds. Buck Weed called the harp solo in it “Faganinni”...it’s a compliment because he knows how much I love all those Paganinni caprices and concertos and he likes them too... Buck loves gay people in a straight football kind of way and wouldn’t use any hateful terminology unless it rhymed and was funny as he is the most articulate person I know.” (Key of A: D harp in 2nd position)

04. “Dodecahedron”
(Shawn Stachurski / Chosen Who Music, BMI)
“A Dodecahedron is a twelve-sided pyramid that some people theorize is the shape of the Universe. Shawn wrote this one entirely and Michael Peloquin’s Sax performance on this version is so cool it will make it real hard to play it without him! Thanks M.P.!” (Key Of A Minor: G harp 3rd position)

05. “Mr. Satan”(Tribute to Sterling “Satan” McGhee)
(Words by Jason Ricci / Music by Shawn Stachurski / Chosen Who Music, BMI)
“At first, this tune was a little vamp Shawn was playing for a while in the hotel rooms and at sound checks. One day I was thinking about Sterling McGhee a lot (Mr. Satan) and I just started singing these words and it finally came together. This is how almost all our tunes are written. It was tricky getting used to the extra measure of one that Shawn wrote but luckily that part is only on the vamp and not during the versus or solo! Shawn writes a lot of things that sound natural, that in form are very unnatural; he speaks this way too. The harp solo is a nod to Mr. Satan’s counterpart, Adam Gussow, one of my early influences. Adam often plays some very cool stuff using a lot of major notes in 3rd position, it’s a funky and pretty way to treat 3rd position which is all too often clichéd with the more naturally available minor riffs that 3rd position lends itself to and has a history of.” (Key of Bb: Ab harp in 3rd Position)

06. “Deliver Us”
(Words and music by Jason Ricci, additional music by Shawn Stachurski and Todd Edmunds, arrangement by John Porter / Chosen Who Music, BMI)
“In an anonymous recovery program I learned early on to try and look at oneself in situations of conflict to understand what went wrong and how to prevent further problems. I can’t, despite all my efforts past, present and future, control what people will or won’t do, but I can change what I do and how I react. I am not good at this yet. This is yet another song to add to the millions that were written on Sept. 11th. The difference between this and most of the others is that I wrote it not as a U.S. Citizen, and not as some one who was surprised or shocked, but as a member of the human race wanting to take responsibility and bring awareness to the fact that all our actions do create equal reactions...In short, one line in the song sums it up: “I’m not my brother’s keeper I am my brother.” Some of the lyrics could also be a lengthier nod to the bumper sticker ‘Lord, protect me from your followers.’” (Key of A minor: Pat Ramsey inspired 2nd position on a D harp)

07. “The Blow Zone Layer”(Mongoose Nuts Not Possum Pussy)
(Jason Ricci / Arranged by Jason Ricci, Todd Edmunds and Shawn Stachurski / Chosen Who Music, BMI)
“Hopefully Mike Nazarenko will be using this title for the name of his killer new album, I almost called this record “Blow Zone Layer” but I didn’t, and no one took the suggestion seriously anyway, so I hope the great Naz uses it. This instrumental was originally titled “Dat There” until John Porter hipped us that Cannonball already had a tune titled that. Additionally, the great C.A. had another follow up tune called “This Here” so obviously he deserves to have that title all to himself. Then I wanted to call it “Master Blaster” but found out Stevie Wonder had that one too! So I named it “Mongoose Nuts” out of spite, knowing no one had a tune called “Mongoose Nuts”, then Shawn said to call it “Possum Pussy” instead...so for a few days it was called “Mongoose Nuts, Not Possum Pussy” until I thought of “The Blow Zone Layer” so that all the Dj’s wouldn’t be afraid to play it on the radio. People need to grow Mongoose Nuts not Possum Pussy in order to enter the Blow Zone Layer. Wouldn’t it have been funny if in the movie “Breakin’” some one had insulted the character Ozone by calling him “Blow Zone.”? If Johnny from the “Karate Kid” had been in the movie “Breakin’” he would have definitely called Ozone “Blow Zone” just before he beat him up, and Ozone used to dance instead of fight and didn’t know Mr. Miyagi at all so he would have got his ass kicked by Cobra Ki Karate and called “Blow Zone.” Now that’s cool!” (Key of E: A harp in 2nd position)

08. “The Way I Hurt Myself”
(Jason Ricci / Chosen Who Music, BMI)
“This slow blues is about the desperation and inability to trust my own thoughts and actions that I had at one time in my life. It’s meant to convey a longing for peace and a hatred I had for myself while I felt like I was being controlled by an unseen, dark force which mostly, at that time, looked like addiction. Now, even though I’m nine years sober, I still often feel a sinister force battling for my soul and happiness, although it comes in other forms than it use to. It’s basically an ode to self-destruction and to people that seem to have that need genetically imprinted within themselves. Sometimes I sing this song to some one, instead of in first person, usually to my father who has passed on. I miss you Dad.” (Key of C minor: Intro is an F Harp in 2nd position, then a Bb Harp in third position for the last twelve bars, if I remember right. The “Fur Elise” quote is a nod to Brady Mills - thank you for exposing me to Classical Music.)

09. “The Eternal Is”
(Shawn Stachurski / Chosen Who Music, BMI)
“Shawn wrote this one. The title, like Dodecahedron, was inspired by a discussion during a commercial break of Coast-to-Coast AM with Art Bell. We have many inspirational moments surrounding this radio show. This is also something Shawn played at sound check then took to the stage usually as a set starter/ender. Note where the bridge comes in for Shawn’s signature timing. I think the closest word there is to what God is, is “IS”. Maybe Shawn does too, ask him...I think that’s how this started. Also, Weed rips a nice solo on this one.” (Key of E: A harp in 2nd position)

10. “Snow Flakes and Horses”
(Jason Ricci / Chosen Who Music, BMI)
“I wrote this while I was living with David “Malone” Kimbrough, Junior’s oldest son, in Potts Camp, MS just south of Holly Springs. I learned a lot about music and life from David. I was around a lot of other Kimbroughs and Burnsides all the time and was playing with Junior, RL and their kids in various incarnations a few times a week. The song was written in 1996 and appeared first on a record I did that year called “Down at the Juke,” produced by Billy Gibson and featuring Kenny Kimbrough on drums and Eric Deaton on Guitar, whom I knew from working with those guys and admire very much. Eric has that sound down better than any other white boy and all the other white boys know it and that’s why you don’t hear too much about him. I tried recording it again on “Blood on The Road” in 2005 but never felt like we got it right. I wanted one more go at it before moving on since everyone likes it so much, including myself. The music/vamp itself is clearly and heavily influenced by an RL Burnside tune called “Snake Drive”. The lyrics, however, were written about some one in the throws of addiction. Later this tune would become autobiographical - now it’s a warning and a reminder.” (Low F Harp in 2nd position, then Bb Harp in 3rd position for the solo.)

11. “Sonja”
(Shawn Stachurski and Jason Ricci / Chosen Who Music, BMI)
“Shawn wrote this beautiful melody for his mom after whom it was titled. Once again this was something he played at sound checks forever until we finally said, “Man that is so nice we should do it”. I added a little bridge melody and he has insisted on giving me credit for some of the song writing. I don’t feel responsible for any of this piece as his heart and mind were so inspired and into this piece that anything I played on it really just came from osmosis. The tune is especially sacred to him and me as well, and we try and save it for special gigs or ideal sound situations. The song is also especially challenging for me, as it’s very slow, naked in form and the harp/guitar parts mostly play in unison. I play in 12th position to get the most expression out of the major scale, however that makes it a tough one for precise intonation. We were all very concerned about getting this song recorded right, hope we got it...” (Key of E: B harp in 12th position or 1st flat)

12. “Rocket Number 9”
(Herman Sonny Blount A.K.A. Sun Ra / Enterplanetary Koncepts, BMI)
“This Sun Ra ruler had to be covered by some one! I’m not sure if we are the first, but we haven’t heard anyone touch this (save for a short quote in a live bootleg of a Garaj Mahal song) despite some pretty thorough searches. There are hundreds of untouched Ra tunes waiting to be re-discovered and revamped! I love this song and have been waiting for years to get it down on tape! The nose flute is a nod to Roland Kirk and absurdity in general. Buck added the killer “Hell’s Bells” and the whole band did vocals too...plus Weed played bass and did a solo. This tune is probably good enough for Weed to listen to in the morning while eating his grits, meaning it lives up to Buck’s standards of morning, free jazz, peace and well being.“
(Key of C: Bb harp in 3rd position starting point, then free)