Los Angeles, JT Ross, The Harmonica Boss, By Jerry Rosen

JTRoss the Harmonica Boss has blues and entertainment in his blood.  His father, who is a  well-known New York City based artist, illustrated album covers for blues legends such as Sonny Boy Williamson, Eric Clapton, Hound Dog Taylor and more and is also responsible for designing the Alligator Records Logo.  In appreciation for his father’s creation, Bruce Iglauer (the President of Alligator Records) use to send JT every Alligator release.  JT’s mother (a Chicago stage actress) moved the family to Los Angeles when she landed a TV pilot. JT spent the first 13 years of his life in Chicago, and due to his father’s connections, hung out with blues luminaries such as Howlin’ Wolf, James Cotton and Hound Dog Taylor. In fact, JT’s two first harmonica teachers, when he was a kid, were Cotton and Junior Wells - nothing like learning directly from the masters. 

 Once on the West Coast with his family, JT honed his harmonica and singing chops. The Southern California region has been a hotbed of exceptional harp masters, starting with George Harmonica Smith and continuing to Rod Piazza, William Clarke and Kim Wilson.  Ross cites Cotton and Clarke as two of his primary influences. In fact, many of JT’s sidemen, including the lineup on his “Loaded” CD, played with Clarke.  Ross’ CD, which was released on Southside Records, received excellent reviews in all the main blues magazines including Living Blues, Blues Revue, Big City Blues, Southland Blues and many others.  The CD was produced by the legendary Jimmy Morello and features John Marx on guitar. Ross is an acknowledged expert on the chromatic and his live shows are high-energy affairs, but he is very respectful of the genre. 

 I first met JT in 2001 when I was preparing to record the Mary Dukes CD (“Introducing the Divine Ms. Mary Dukes”) on the Southside Records label.  I was co-owner of the label at the time and we were looking for a hot harmonica player to blow on a few tunes.  South Side Slim brought JT into the studio and, with absolutely no preparation, he blew some amazing riffs on a number of tracks.  Some of the biggest compliments I got about the CD were for the harp work.  JT joined the Mary Dukes band and we did dozens of gigs with him.  But, JT was itching to do his own thing and we encouraged him to start gigging around Southern California.  Years later I signed Ross to blow harp on the Kara Maguire CD, “Nobody’s Girl” (released on the Albatross imprint) and, again, his work was stellar.  In fact, I had sent the CD to Bruce Iglauer at Alligator and Igauer’s main praise was for the harp work.

 JT’s all star band always feature the best guitarists in the blues world including Zack Zunis, Kirk “Eli” Fletcher, Rick Holmstrom, Junior Watson and others.  He has played thousands of gigs on the west coast and as appeared at every top blues club on the Coast including Harvelle’s (where he has been a regular for 6 years), The Blue Café, Café Boogaloo and Biscuits N’ Blues, just to name a few.  He also toured Eastern Europe and Russia for two months and played in blues clubs and headlined festivals all over that area.JT’s debut CD entitled “Loaded” charted in the top 20 on the Living Blues radio charts and thousands of copies have been sold on the stage, in stores and online. JT is the hardest working local blues guy I know. While so many blues players sit around and lament about not working enough, Ross “lives on the phones,” and works the net like nobody else. Consequently he plays anywhere from three to five times week and makes decent money. This is very impressive, considering the sorry state of the economy.  He has the “never –give-up” attitude which is a trademark of the greatest blues players. JT is planning to get signed to a larger blues label and secure a national booking agency.  There is no doubt he will succeed.  I can assure anyone who is consider signing JT Ross, that they will get a dude who will work around the clock to make any release a success.  Some of my most enjoyable gigs have been with JT. He can expertly back up a singer, blow rhythm and solo with the best of them.  Furthermore, his vocals are solid and he puts on as good a show as anyone in the business.  He is the consummate bluesman.

 

Q: I’d like to give the reader some idea of what it takes to run a blues band.  Can you address some of the following points a) organizing a solid band b)booking gigs c)getting people to your shows d) entertaining crowds e)dealing with club bookers.

 

Answer

a. I am blessed with the fact that Los    Angeles is home to some of the finest musicians in the world. Organizing a band takes patience and as a bandleader my advice to aspiring bandleaders is to be patient with your musicians. Treat them with respect and care as if they were your family members. Be careful in maintaining their respect as leader. If you need more musicians to ad to your roster hit the local JAM nights and scout talent – get numbers and emails.

 

b. The best thing I can say to bands who are trying to earn a living playing in small clubs and bars is to get rehearsed, get tight, record a CD, print up a few hundred copies (make them look professional) and start getting gigs.Leave no stone unturned. Call the club and/or bar in your neighborhood (which has live music) and insist that you have a band, which would be perfect for their room, ask them to give you a chance, and promise that you wont let them down. Be adamant about meeting the booker in person and dress to impress and bring your CD when you do. If they wont arrange to meet you – get the names (and keep notes of when you called) of bartenders, bookers, managers, owners or whoever else might be responsible for booking your band. Give them your website and make sure you have current photos, sound files and some form of press, bio or copy on your website/facebook/myspace . Then follow up by calling once a week. Don’t give up.

 

c. With the assistance of today’s social networking tools like Facebook and Twitter – promotions are less burdensome. Where as I used to print thousands of cardboard color flyers (which is environmentally unsound and against my moral principals) I now print almost NONE except for very special occasions. I do put up promotional posters, which are hung at the clubs weeks prior to the performance. Bring an email list to your performance and push it as hard as you push your CD. Get those emails and feed them into your Facebook & Twitter etc. . . Keep your fans posted with updates etc. . .

d. make sure to get a contract and “get it in writing”. Spread the word and get people to your shows – let’s face it, bars & nightclubs are in business to earn money by selling liquor - so no matter how good your band is . . . unless people are drinking as well as having a blast listening to your live music - you’re not doing your job. Each club is different just learn from each experience and keep a journal of do’s and don’ts at each venue.

 

Q: I mentioned that you have worked with some of the greatest blues guitarists (including Marx, Zunis, Fletcher, Holmstrom, Watson and others).  How does an excellent guitarist add to your show?  What are some the similarities and differences between these guys?

 

ANSWER

Southern California is home to some of the finest Blues Guitarists in the world and each of the top guns brings a unique flavor to my live performances. Without the backing and knowhow of these musicians I am just another blues harp player on the scene. The players you’ve mentioned above are (to me) the best for backing my style of Chicago Blues Harmonica, which incorporates elements of jazz, west coast jump and swing. Having been hand reared on Little Walter and Junior Wells I know what these guys should be playing - and trust me they’re playing it all, and then some. My LA fans sorely miss Zack Zunis since he’s moved back east, but Zack still does a few So-Cal dates with his old friend Janiva Magness. When Rick Holmstrom’s not touring with Mavis Staples he often will take gigs with my band (it helps that we’re neighbors here in Venice Beach CA). Junior Watson is a wildman and has the stage energy of a 13 year old hopped up on red bull.  Kirk Fletcher is absolutely amazing and one of the nicest human beings you will ever meet.

 

Q: What is it about blues music that has caused you to devote your life to playing it?

 

ANSWER

The blues bug bit me at a very early age and I feel strongly about carrying the authentic blues tradition forth. Making these blues my personal contribution to the humanities is my life goal. I am always seeking new ways to expose younger audiences to this amazing music. Blues is a truly rich American art form, which must be cherished and preserved as a national pastime.

 

 

Q: Can you cite some of your influences?

 

ANSWER

To name just a few. . . Little Walter, Junior Wells, George Papa Lightfoot, Jimmy Reed, T Bone Walker, Buddy Scott, Sonny Boy Williamson, Muddy Waters, Howlin’ Wolf, Buddy Guy, George Harmonica Smith, Big Wallter Horton, William Clarke, Big Mamma Thornton, Freddie King, BB King, Albert King, Hound Dog Taylor, Paul Butterfield, Magic Sam, Lowell Fulsom, Otis Rush, JB Hutto, Robert Nighthawk and a thousands more of America’s (virtually unknown) musical geniuses.

 

Q: Can you tell the reader a little bit about your family’s involvement in the “business?”  What effect has this had on you as a person and as a musician?

 

ANSWER

Growing up in a “showbiz” family has both helped and hurt. One could say a bit jaded as a result. On the bright side it has humbled me to the fact that the big time isn’t always where it’s at and oftentimes blues dive bar gigs are a lot more fun than some of those uptight corporate Hollywood gigs.

 

 

Q: How did you find the experience of being produced by Jimmy Morello and working with first class musicians on your CD “Loaded?”

 

ANSWER

Jimmy was awesome and really helped the project take form and materialize. Although we argued on some arrangements ultimately we worked things out so the CD would benefit musically. The world-class musicians Jimmy & I hired for the LOADED sessions are all LA based players who brought their many years of studio experience to the project which helped immensely.

 

Q: Can you talk about your experience touring Europe?  How did the fans there react to your music?

 

ANSWER

European fans are stellar and always buy CD’s at the shows. They keenly pay attention to every single solitary word I sing. I’ve experienced countless diehard blues fans in the Czech Republic and Russia. I heard (and later had a few shots of chilled vodka with) several Romanian Jazz and Blues musicians in Kiev at a festival after party. I was blown away by their authentic retro sound and attention to detail. I cannot wait to go back to play in Prague it is such a beautiful city.  

 

Q: What advice would you have for a person who wants to start playing professionally in the blues world?

 

ANSWER

Practice as much as you possibly can. Find like-minded players and JAM whenever you can. Listen to as much old school blues as you can get your hands on. Keep practicing and recording whenever you can. Find a local blues mentor/teacher (preferably a working professional musician) and learn all you can from them directly. Once you get good enough, ask to sit in with their band and build from there.

 

Q: What are your opinions on the current state of the blues?

 

ANSWER

The blues is [and always will be] America’s purest art form. I steer away from terms like “Keep the blues alive” since it implies that the blues is dying. The blues is alive and well – the Blues are everywhere and continue to be incorporated into most all [modern] pop, rap and R&B music. So, I’d say “current state” of the blues is quite alright – wouldn’t you ?

 

Q: What is the next step for JT Ross?

A brand new CD comprised of all original material to be produced by a blues luminary TBA.

For current updates find me @

www.harmonicaboss.com

Or follow me on Twitter @ www.twitter.com/harmonicaboss

Copyright: The content of this article belongs to Jerry Rosen. To purchaes a copy of it  please email jssrecords@aol.com

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