Each edition of Behind The Curtain begins with a brief explanation of its purpose; the main objective is to discover something more about the artists at the core of the Canadian Blues Collective. This is accomplished by going straight to the source – the artist – to provide insight that has yet to be put ‘on the record’, offering readers content that is both exclusive and insightful. The most effective way to undertake that goal is to feature artists who are established, recognizable, and have a professional record that substantiates the content of this column. Each instalment only offers enough biographical information about the artist to substantiate the investigation, so, readers are always encouraged to discover more via independent research. In many cases, years of study have occurred prior to the investigation, which serves as the foundation – it is the remaining curiosities, after substantial research, that are investigated here.
For this instalment, interests are directed toward a musician, singer, songwriter, and band leader who is predominantly known to the Blues community for his contributions as a guitarist: JW Jones. For decades, Jones has been on an ascending path, in his career and his skillset alike. Jones has been acknowledged with a JUNO Award nomination, multiple Maple Blues Awards nominations to compliment Electric Act of the Year win, won the International Blues Challenge in Memphis, TN, and been listed as a Top 10 Selling Artist by Billboard Magazine. There are numerous acknowledgements to be found when it comes to industry awards and recognitions that remain unlisted here, and readers are encouraged to discover it. The aforementioned supplies readers with solid rationale to investigate further, however, perhaps the strongest justification lies in Jones’ international touring record. At last count, Jones has performed in 23 countries worldwide, and he continues to tour internationally. For those who have heard JW Jones, it becomes increasingly clear that his guitar playing justifies his impressive touring record. The curiosities that can only be quelled through direct conversation revolve around Jones’ approach and philosophy respecting guitar - in a genre concentrated with guitarists, there is insight to gain by having the discussion with one who stands out, both in technical ability and professional record.
The first topic in conversation with Jones sheds some light on what is at the core of his ongoing development as a player. When asked to share his thoughts or philosophy about what has guided him respecting his sound and development as a player, he offers:
“It’s like language. The way you use appropriate punctuation, inflections, emphasis, phrasing – these are all part of capturing the intention of what you’re aiming to get across. And it applies to everything I’m playing, whether it’s rhythm or soloing – it all gets painted with that brush. Staying with the comparison to language, it’s not just about knowing the words, it’s how you say them. It’s important that the way you use your vocabulary is effective and intentional.”
What Jones has put ‘on the record’ also provides insight into what might be at the nucleus of a sound and approach that is identifiable as his. Objectively, it is fair to state that while JW Jones does employ a variety of techniques rooted in his influences, he approaches and voices them in a way that is unique to him. In other words, he’s learned the language, and he’s using it to tell it his way. When asked about having a unique or definitive sound, Jones makes it clear that there is a process that remains ongoing:
“With respect to having a sound that’s uniquely my own style, I don’t think I’ve found it yet. It is an ongoing search that I don’t think will ever end. I just play what moves me, and if my heart is in the right place, then the rest will eventually follow.”
With what has been revealed in looking ‘behind the curtain’ here, readers can get the sense that JW Jones’ journey has been an individual quest to learn the language of Blues guitar - and he’s been sharing it in ways that speak to others. To provide a more complete perspective, it makes sense to find out what piece of advice Jones would offer to aspiring artists who are looking to follow a path similar to his. The guidance he offers is simpatico with his philosophy Jones applies to his own development:
“One thing I encourage people to do is to listen. I don’t mean locking yourself in a room and studying. I mean understanding and getting acquainted with the tendencies of a style. Have that music on in the background or have it playing in your car – absorb it organically. Think about how your children learn to speak. It’s because they are hearing it around them all the time. Listening to a song and then learning how to play it is about 20% of the process; understanding the nuances of a style, sound, song, or player is the other 80%. When you understand the nuances, you start to understand that “language”, and it gives you a better understanding of things like phrasing and why, and where, certain notes are played.”
After taking the curiosities about JW Jones ‘directly to the source’, readers have learned something about his contributions as a guitarist, while also gaining exclusive insight about what resides beyond the regular press release and bio. As this edition of “Behind the Curtain” draws to a close, I trust that readers of all varieties have gained something more about the artist of mention, and it inspires further investigation. Every artist featured in this column has a biographical foundation that cannot be covered here, so it is always encouraged to find out about the music and career that substantiates these conversations. In JW Jones’ case, the takeaway is that his success has been guided by understanding the language of the music he plays. This philosophy (and approach) has likely been a leading factor in his ever-ascending status as a notable guitarist within the Canadian Blues Collective – and beyond. It’s also fair to say that same philosophy is the premiere reason for JW Jones’ identifiable sound. This article is a regular monthly contribution, published exclusively in the Sound Café Magazine with the intention of providing a deeper insight into the Canadian Blues artists who are at the core of the Blues music Collective.
Touring blues musician, Erin McCallum's formal post-secondary education was in media studies (news, radio), graduating from Humber College in Ontario, she went on to be mentored by Canadian News Hall of Fame inductee, Robert Holiday, and she is a regularly published writer in music and investigative journalism, having focused on music for the last six years. Erin has an exclusive monthly column in The Sound Cafe featuring musicians and industry professionals from across Canada who work predominantly in the Blues & Roots genres.
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