Press

Daily Gazette - Troy, NY

March 23, 2009 | by Michael Hochanadel

Concert Review

Unannounced late addition Jonah Smith more than capably filled the unenviable middle slot between popular locals Nautilus and international funk gods Dumpstaphunk. Syracuse-born, now Brooklyn-based, Smith unleashed a huge voice from behind an electric piano, flanked by the similarly huge but also subtle sound of drums, bass and guitar.

It was original soul music, infused with the restless smarts of Steely Dan as much as the utter conviction and groove mastery of 1970s greats. It all fit under the title of a standout track, “Skyscraper Blues,” and it all fit perfectly the evening’s powerful retro-soul excitement. Catch them when they come back.

syracuse.com

January 13, 2009 | by Mark Bialczak

Jonah Smith asks fans to help finance release of CD 'Lights On'

Syracuse native and Brooklyn musician Jonah Smith says he got the idea from reading a story in Billboard magazine that chronicled Jill Sobule's outreach to her fans to finance her CD. Here in Syracuse, I've written about Ceili Rain leader Bob Halligan doing much the same.

Smith has posted a website dedicated to raising funds, and says he's received "a considerable amount of money in small increments from fans enticed by the prospect of getting immediate access to a digital copy of the record with exclusive bonus tracks."

But his goal to help him release and market the CD "Lights On" is $50,000, so he's added incentives. For example, for $5,000 a fan will get a private house concert. A $100 donation nets a digital copy of the record, a signed CD upon release and a limited edition T-shirt.

Says Smith: "My goal with this project is to be able to create a stronger connection with my fans and to be able to bring them more music, faster by allowing them to have direct access to it."

Syracuse.com

November 27, 2008 | by Mark Bialczak

There's something special planned for Jonah Smith's show at the Westcott Theater in Syracuse

I hope you get to read my interview with Syracuse native Jonah Smith in the Weekend section of today's Post-Standard.

The Nottingham High School graduate will be up from Brooklyn for a show Friday night at the Westcott Theater in Syracuse.

Smith says he's finished recording his next CD, which will be titled "Lights On." He accomplished the studio work in Kingston, N.Y. He tried different combinations of musicians on this one rather than sticking with the whole-band-plays-together concept of "Jonah Smith."

"It's an eclectic record," Smith says. "It came together sonically. My last (self-titled) one had more of a cohesive arc to it."

Smith says he's got something special in store for those who get to the Westcott on Friday night. (He hopes a lot of people cross the street from the multi-generational Nottingham reunion.)

"I have a surprise special guest confirmed," Smith says. It's a fellow who taught Smith keyboards when he was at Nottingham, in fact.

"George Rossi is coming to play with me. I haven't laid eyes on him for 15 years, but we've been in touch," Smith says of the Central New York piano player of so many styles.

"I'm going to have the band, a bunch of stuff from the new record, a bunch of stuff from the old record, and make it a real party atmosphere," Smith says.

The New York Times

May 16, 2008 | by Petrusich

....languid, easy vocals are pleasantly textured...

JONAH SMITH (Saturday) “If it’s alright with you, I think I’ll stay awhile,” purrs Jonah Smith, the Fender Rhodes-playing singer-songwriter with a penchant for twinkling jazz and country crooning. Mr. Smith’s folk songs are equally well suited to downtown lounges and rural front porches, and his languid, easy vocals are pleasantly textured. At 11:30 p.m., Joe’s Pub, at the Public Theater, 425 Lafayette Street, at Astor Place, East Village, (212) 967-7555, joespub.com; $15. (Petrusich)

Syracuse Post Standard

April 09, 2007 | by Mark Bialczak

Show Review

Opener Jonah Smith just might be the perfect musician to get crowds ready for Sexton.

And it's not just because singer-songwriter-organist Smith also is a Syracuse native.

As Smith and band zigzag across America, they'll show Sexton's loyal following a very healthy dollop of soul, too.

Smith's voice and keyboard work earned a standing ovation for "My Morning Scene", "One Last Little Thing" and "Dressed In White"

Jambase

February 13, 2007 | by Maureen Palli

Jonah Smith, Tin Angel, Philadelphia PA – 1/17

Philadelphia’s historic district was in a deep freeze but Jonah Smith’s voice was as warm and intoxicating as hot buttered rum. A small crowd gathered on the upstairs level of a former row home now known as The Tin Angel. Smith in his trademark cap, mingled with fans before unceremoniously taking the stage. Sitting atop an amplifier case, he launched the band into “My Morning Scene” followed by “Little Black Angels” both from his eponymous Relix Records debut. The music sounded exactly like it was coming from the album - or rather - like the album came directly out of the music with no studio tricks required.

The audience moved in close and engaged themselves in the set, interjecting comments and questions. Smith reciprocated by sharing secrets about the band such as “the huddle up.” “I’ve instituted a pre-game hug before every show,” Smith said as the band chuckled. “I also assign a color and I say everyone think of this color for the entire show.” – orange on this particular evening – “I know that’s weird,” said Smith evoking audience laughter. There was something familial between Smith and the crowd.

The band moved through their new material mixing in earlier work such as “Skyscraper Blues” and the not-yet-released “Love Gets Lost.” For “Cast A Long Shadow,” Smith traded his Fender Rhodes for a melodica and impressed the sound engineer saying he needed a setting of 330 to 350 milliseconds with five to ten repeats. Then he admitted he really had no idea what he was talking about and usually just says “make it sound dub reggaeish” but an engineer at a previous show wrote down the setting and taped it to Smith’s piano. More secrets shared.

“Angels are ideas stuck in my head, love was just a dream I had when I was in your bed,” Smith sang before encouraging the audience to join in with “Don’t wanna live in a world without love.” Guitarist David Soler (a superstar in Barcelona, Spain says Smith) played pedal steel guitar for a cover of Malcolm Holcombe’s “Dressed In White,” the only song on the Relix debut Smith didn’t write.

A bit later, given the choice between another ballad and an upbeat tune, the audience opted for the latter. Smith’s next-door neighbor and good friend, drummer Gintas Janusonis got the room pulsating during “Tell It To The Mountain” with a beat that vibrated up through the hardwood floor.” The band then exited the stage, before returning for one more, as Smith sang “Everything is new for the first time.” For me it was all new and for the first time, as I had never heard Jonah Smith and his band perform live, but it certainly won’t be the last time.

Eric'N'Roll

February 06, 2007 | by Eric Boisson

Jonah Smith : Beneath the Underdog & Jonah Smith

Attention, préparez vos tympans, c'est du lourd, du très lourd que voila ! Profitez-en pour préparer aussi votre carte bancaire puisque ce sont non pas un mais deux albums que vous allez devoir vous offrir ! "Jonah Smith" (2006) et "Beneath the underdog" (2003) deux albums signés Jonah Smith. Et retenez bien ce nom car ce newyorkais va vous mettre une sacrée claque : jazzy, soulfully, groovy... un son incroyable, une voix soul à faire frémir un balai brosse.. ce petit gars va vous secouer les oreilles comme rarement, d'autant qu'il est accompagné par une équipe de zicos de choc : au saxo Bob Reynolds, à la batterie Marko Djordjevic, à la guitare David Soler et à la basse Ben Rubin, du lourd je vous dis et un vrai gros coup de coeur pour ma part !

The Washington Post

January 17, 2007 | by Geoffrey Himes

Jonah Smith

TWO OF JONAH SMITH'S new songs, "Stay Awhile" and "My Morning Scene," evoke that time in the morning when one wakes up next to a lover and feels torn between obligations to the outside world and the wish to burrow deeper into the blankets. Smith captures that tug-of-war feeling in his seductive piano figures and grainy tenor. There's so much sleepy pleasure in his relaxed melodies and so much reluctance in his alt-country voice that the listener can't help but remember such a moment, even when it's hours or years distant.

The two songs are part of "Jonah Smith," the singer-songwriter-bandleader's third album but his first with national distribution. That distribution comes courtesy of Relix Records, the jam-band label, but there are no extended solos or trippy improvisation on this disc. The emphasis here is on smartly understated arrangements of well-crafted roots-rock songs. There's an echo of albums such as "The Band" and Van Morrison's "Tupelo Honey" but also a hint of Norah Jones's Americana-jazz. Producer Lee Townsend, who oversaw several of Bill Frisell's Americana-jazz albums, helped Smith sustain that mood and even recruited Frisell to play on "Stay Awhile." The Band's Garth Hudson plays on "Cast a Long Shadow."

Smith is just as capable of evoking sour romance as sweet. On "Everything Is New," he uses R&B electric-piano chords and weary horn charts to mark the moment when all the newness goes out of a relationship. On "Killing Time," he describes the hell of being trapped all summer in an un-air-conditioned apartment with a sulking lover by crafting a guitar motif that seems to waver like heat off the sidewalk.

Rochester City Newspaper

January 17, 2007 | by Saby Reyes-Kulkarni

The week in live music

Jonah Smith

SOUL

Keyboardist/songwriter Jonah Smith, a Syracuse native now based in Brooklyn, makes music with enough soul brimming in its grooves that you can practically feel it coming out of your speakers to warm your hands on a cold day. With a sound reminiscent of The Band with shades of vintage R&B, lounge jazz, Americana, and songwriter-driven pop, Smith and his four bandmates lay down thick, satisfying chord changes that mesh perfectly with the subtle shading in his lyrics. Smith prefers light-footed indirectness as he paints vaguely wounded, trepidatious characters with pinpoint accuracy. And though the music is steeped in the characters' confused, lovelorn desperation, Smith and his band still manage to draw out the underlying nobility in their intentions. It makes for music that sticks in your head for something more than catchy hooks.

Jonah Smith, Max Creek, and Scrapomatic play Friday, January 19, at Water Street Music Hall, 204 North Water Street, 325-5600, doors at 9 p.m. $15.

January 12, 2007 | by David Menconi

Critic's picks - Rock: David Menconi on the best rock and more

Jonah Smith's warm, soothing voice is just like water -- it slides and glides, perfectly assuming the contour of each song's groove. On "Jonah Smith" (Relix Records), this New York singer/songwriter sounds a bit like "Schoolhouse Rock" vocalist Jack Sheldon (remember "I'm Just a Bill"?) or a likable Adam Duritz, ambling through a set of 11 pop-soul gems with hooks as sturdy as the rhythms. Head to his MySpace page (www.myspace.com/jonahsmith) to hear the thoroughly irresistible "My Morning Scene," or catch Smith opening Sunday for Scrapomatic at Raleigh's Pour House (www.the-pour-house.com).

The Boston Herald

January 05, 2007 | by Larry Katz

Sleep no more! Waking up to the undiscovered CDs of ’06

Trying to manage the hundreds of CDs that arrive in the mail is a music writer’s pleasant but persistent problem.

My primitive filing system includes what I call a “sleeper” pile.

These are CDs by unknown acts - at least, unknown by me - that sound good enough to deserve a second play. But who’s got time for that when more CDs are arriving daily? That second play usually doesn’t come until it’s time for late-December CD housecleaning.

Until then these potentially killer CDs sleep, ignored by me and, in most cases, the rest of the music world, fans and writers alike.

Now it’s time to shake these Rip van Winkles awake. Before the new releases of 2007 appear, here’s the best of the sleepers: overlooked CDs of ’06 deserving belated discovery.

Jonah Smith, “Jonah Smith” (Relix). Amos Lee and Ray LaMontagne have more mellifluous voices, but Smith matches them with songs and soul. He’s based in Brooklyn, but sounds rural enough to recall The Band, a love connection made explicit when Band-man Garth Hudson steps in on squeeze box.

Syracuse Post Standard

December 31, 2006 | by Mark Bialczak

THE TOP 10 IN 2006

Folks like to ask: What's Syracuse's signature sound? Blues? Rock? Jazz? Hip-hop? Folk? Yep. Uh-huh. You got it. Def. Yessiree. A study of the Central New York CDs released in 2006 reveals that my favorites span many musical styles. Here are my top 10 CD picks. Deep-down honesty.

6. "Jonah Smith," Jonah Smith, Relix Records: Syracuse native Smith will help his fame spread with this one. The singer-songwriter-keyboardist lives in New York City now, and he fills these dozen songs with the kind of soul, rock and sophistication that'll make noise out of the Big Apple, too. Blasts from the past.

Lake Tahoe Tribune

September 26, 2006 | by Tim Parsons

Put Jonah Smith in the category of 'Rising Star'

Definition: Cubism began as an intellectual revolt against the artistic expression of previous eras. Among the specific elements abandoned by the cubists were the sensual appeal of paint texture and color, subject matter with emotional charge or mood, the play of light on form, movement, atmosphere, and the illusionism that proceeded from scientifically based perspective. To replace these they employed an analytic system in which the three-dimensional subject (usually still life) was fragmented and redefined within a shallow plane or within several interlocking and often transparent planes.

Jonah Smith’s music is about as easy to define as it is to keep track of his whereabouts. And that’s what makes the artwork on his self-titled album most appropriate. The image style is cubism. It shows Smith at a piano in a seemingly cluttered room. But closer inspection reveals myriad elements of the album’s songs, details of a day, a lifetime or maybe a society. There is a lot of room for interpretation and that’s what Smith offers in a simple, sophisticated style. Smith plays a Rhodes electric piano, which is complimented by a new, yet familiar, singing voice. Does that sound like Van Morrison, John Hiatt or maybe even The Band’s Levon Helm? One critic called it “Bill Withers meets Dr. John.” Another said “Half Joe Cocker, half John Popper.” And yet another: “Steely Dan meets Boz Skaggs.” And what about the style of music? It’s soul, to be sure. It’s also a little bit jazz with just a twang of country. “I am always asked about my influences,” the 30-year-old Smith told Lake Tahoe Action by telephone before a concert at the Greek Theater in Los Angeles. “That’s a serious question that takes self-reflection and I can’t immediately give an honest answer. I am totally comfortable calling it soul. But that title always congers up so many different images of so many different people.” Instead of categorizing, it’s best to listen to and appreciate, and music fans have been able to do so across the nation. Smith’s first album released in June on Relix Records has produced the single, “Stay A While,” which is getting play on radio and satellite radio’s Sirius’ Coffeehouse channel. Also, as he has been doing for the last half-decade, Smith is on a nonstop concert tour with his band, which has been intact since 2000. For example, this fall the band plays in Seattle, then L.A., the next night in Bozeman, Mont., then the next night in San Diego. On Friday, Sept. 29 Smith plays his first Tahoe gig at the Crystal Bay Casino. The new album opens with the emotional “Little Black Angels.” Smith likes the listener to make his or her own interpretation, but he did say the song was “essentially about love and dying young.” The second track, “When We Stay A While,” describes the events of an entire day and sets the mood for the rest of the record, with the exception of the 12th song, a bonus track not listed on CD’s back cover. “My Morning Scene” describes a couple on a rainy day, presumably in Smith’s hometown New York City. It’s not surprising a songwriter of such substance would be a voracious reader. Smith said he alternates between fiction and nonfiction, the topics ranging from philosophy to biography to politics. He highly recommends John Perkins’ “Confessions of an Economic Hitman.” The aforementioned final song “I Feel More Like I Did Back Then (Than I Do Right Now)” was inspired by the book “Immortality” by Milan Kundera. Undoubtedly the most controversial song on the album, it’s also the most rocking and makes a trip to the North Shore well worth it. Mofro here Thursday Smith also is a big fan of J.J. Grey and his band Mofro, which plays at Crystal Bay Casino on Thursday, Oct. 5. “He’s fantastic,” Smith said. “He’s one of those self-assured people who knows who he is and what he’s doing. He’s carving out a nice identity and nitch for himself.” Mofro plays swampy funk and blues and has a new album, “Lochloosa,” which addresses the environmental crisis caused by overdevelopment in Northern Florida. The concert costs $15 at the door.

NEW TIMES San Luis Obispo County’s News & Entertainment Weekly

September 21, 2006 | by Glen Starkey

Jonah Smith

NYC tunesmith Jonah Smith brings his jazzy, soulful, rock'n'roll piano stylings to Downtown Brew on Saturday, Sept. 23. Basically a rootsy balladeer, he's a shy, dry-humored storyteller. He's playing with local acts Longview and Siko in a benefit concert called Remembering Jimmy Inlow. A $7 donation is requested at the door.

Wall Street Journal

August 01, 2006

Jonah Smith

You don't find much rock that features the Fender Rhodes electric piano these days, but its warm, ringing sound is perfect for Mr. Smith's easygoing, soulful music, which calls to mind J.J. Cale, early Van Morrison and Ben Harper. As a vocalist, he's got a nasal twang that doesn't quite correspond to his Brooklyn, N.Y., home address. But it works on his lovely, comfortable ballads "Stay Awhile" (which appeared on one of his previous CDs) and "Little Black Angels," as well as his head-bobbing, up-tempo tunes "My Morning Scene" and "When We Say Goodnight." His lyrics have a sampler-like simplicity that makes them sound axiomatic, and his choruses seem to insist we sing along. Mr. Smith's band is an efficient unit that provides a gentle lilt -- guitarist David Soler's discreet performance is particularly affecting -- and his guests, including Bill Frisell on guitar, Garth Hudson on accordion and Carrie Rodriguez on vocal and fiddle, know what to do when called upon.

Citizen-Times

July 28, 2006 | by Jedd Ferris

Jonah Smith: New York singer-songwriter brings soul revival

Here’s a new one for the next big thing category. New York City’s Jonah Smith has recently broken out of the underground realm and nationally exposed his freshly innovative throwback sounds — a revival of classic soul infused with a hipster attitude and hint of Nashville songwriting prowess.

What immediately mesmerizes, though, is his voice, which can be as thickly sweet as Van Morrison or rocking a la Chris Robinson. It blends well with the melodic flavor of his vintage Fender Rhodes keyboard romps, all making for a refreshingly original style of breezy modern rock with limitless appeal.

“I listen to so much different music and it all kind of filters through my own lens,” Smith says. “I hope it then comes out sounding unique. I’ve heard my music referred to as jazz, but I don’t feel like it’s that. I like my songs tight and arranged, which leaves little room for guesswork.”

Smith cites old school voices in soul such as Ray Charles and Sam Cooke as influences, but he also likes newer singer-songwriters including Ray LaMontagne and Asheville’s own Malcolm Holcombe, who Smith covers on his new record with his take on the tunesmith’s “Dressed in White.”

“When I first heard one of his records, I had one of those moments where I realized this was something I needed to know about,” Smith says about Holcombe. “I later checked out one of his shows, met him at bar in Brooklyn, and he’s been really generous and kind to me.”

Smith moved to New York in 2000, formed a band and started gigging around the club scene. A few years later he entered a contest in Relix Magazine called the Jam Off. After hosting Smith at a music showcase, the publisher of the magazine decided to form a record label and made Smith the flagship artist.

Just last month Relix Records released Smith’s self-titled debut. The tight collection of 11 soul alternative tunes has guest appearances by jazz guitarist Bill Frissell and vocalist/fiddler Carrie Rodriguez. The album was recorded at the famous Bearsville Studios in Woodstock, N.Y., and produced by Lee Townsend, whose resume includes work with Frissell and John Scofield.

The album’s first single, the light and airy “My Morning Scene,” has been recently breaking into independent radio.

“I finally had a decent budget and worked in a great studio,” says Smith. “I wanted to make a record that was organic and rootsy, while being warm and not overproduced.”

During the studio sessions in Woodstock, Smith met local resident and rock legend Levon Helm of The Band and was invited to play at one of the famous drummer’s Midnight Ramble Sessions at his barn.

Helm has not been the only one to take notice. Since May, Smith has been touring heavily and has recently shared the stage with Little Feat, who invited him out on two occasions to sing their classic “Dixie Chicken.”

“That was a dream come true,” says Smith. “A lot of people have been really good to us, and let us sit in front of their crowds.”

In between a summer schedule opening for the likes of Susan Tedeschi, Los Lonely Boys and Xavier Rudd, Smith and his band will make a stop in Asheville on Saturday to perform at Bele Chere at the Coxe Avenue Stage at noon.

allmusic.com

July 24, 2006 | by Hal Horowitz

Jonah Smith - Review

Mixing blue-eyed soul vocals with swampy Southern Americana, Jonah Smith taps into a distinctive and inviting singer/songwriter groove on his nationally distributed debut for the Relix label (he has two previous indie records). The sound is similar to that of the Band, reinforced by the appearance of that group's organist/horn player, Garth Hudson. Even though Hudson only officially contributes to one track, his presence looms large over the project. Still, this is very much Smith's album, and it is his songs and especially his warm voice — somewhat like a combination of the Band's Levon Helm and Richard Manuel — that makes these tunes come alive. Most songs ride a midtempo rhythm, barely breaking a sweat but connecting by sheer melodic force and Smith's charming, low-key singing. There is also a touch of Elton John's Tumbleweed Connection in the rootsy sound. The production and especially the sympathetic horn charts support the songs in supple and subtle ways. "Everything Is New," in particular, floats by like a dream you want to remember more of. Characters in Smith's songs are generally a sad lot, but all are searching for, and expect to find, better days. David Soler's guitar, especially his pedal steel, bolsters these songs without calling undue attention to itself. The unhurried quality of the album in no way makes it bland. Rather, these gorgeous songs drift on clouds of electric piano with traces of gospel, jazz, and blues added to the Southern singer/songwriter style. Smith's talented four-piece band supports the sound without overwhelming the material. Those familiar with the work of Randall Bramblett are encouraged to check out Smith, since both wade in similar waters. An extra track not listed on the back cover, "I Feel More Like I Did Back Then (Than I Do Right Now)," finds Smith edging into Dylan's late-'60s period. There is a hypnotic quality to this release and production that, like the best albums, stays on the back burner yet beckons the listener back for another spin.

Harp

July 19, 2006 | by Andy Tennille

Jonah Smith

On his self-titled debut album for Relix Records, New York-based singer-songwriter Jonah Smith’s smoky vocals and articulate songwriting are at the forefront of an eleven-song album that skips effortlessly from bouncy jazz to heartfelt soul, to country-tinged Americana to straight-up rock ‘n roll.

On “Killing Time,” guitarist David Soler’s simple opening riff drops into soaring slide fills during the chorus that accentuates Smith’s raspy wails as drummer Marko Djordjevic and bassist Ben Rubin lay down a solid rock rhythm. Legendary jazz guitarist Bill Frisell lends a hand on “Stay Awhile,” while former organ maestro Garth Hudson of the Band fame stops in to provide some gentle accordion support on “Cast a Long Shadow.”

Upon first listen, one might find the smattering of genres a bit scattershot, but the album’s diversity enables Smith to showcase his incredible versatility as an artist and spotlight his Bill Withers-meets-Dr. John funky growl.

New York Press

July 06, 2006 | by Ernest Barteldes

STAY AWHILE: The first big step for Jonah Smith

Listening to New York-based singer/songwriter Jonah Smith’s self-titled debut album, it’s impossible not to notice several old-school influences, ranging from soul pioneers Aretha Franklin and Stevie Wonder to Steve Winwood and jam-band icons such as Phish. He also rides the John Mayer/Dave Matthews bandwagon of bringing jazz-inflected tunes into a poppish realm—not such a bad thing. After all, it’s because young players such as these—Norah Jones and Jonny Lang also come to mind—that we happily saw the boy band phenom fade away into oblivion.

Through his music, Smith blends blues, jazz, rock and even some country sounds to his own advantage as he sings, while skillfully hitting the keys of his Rhodes piano. The tunes catch your heart quite quickly, right from the first track, “Little Black Angels,” a slow soul-tinged original all the way through polished gems such as “Stay Awhile” and “Killing Time.”

The fact that he’s been performing with the same group of musicians since he came to New York—saxophonist Bob Reynolds, drummer Marko Djordjevic, guitarist David Soler and bassist Ben Rubin—is a great help, and their groove comes together well on the disc. The high quality of the music the band achieves is surprising and doesn’t wane after repeated spins. If Smith can sound as good in a live setting, he may be playing larger stages soon enough.

July 7. Joe’s Pub, 425 Lafayette St. (betw. Astor Pl. & E. 4th St.), 212-239-6200; 9:30; $ 25 + two drink min.

World Cafe

June 19, 2006 | by David Dye

Jonah Smith: The Roots of Pop

With a soulful vocal delivery and a Fender Rhodes at his fingertips, New York City songwriter Jonah Smith has brought together a variety of classic influences to craft a unique and modern sound. A devotee of pop, soul and jazz, Smith writes songs that are best categorized as "roots music," as he skillfully blends fundamental elements into a sound that's both progressive and accessible.

Smith relocated from Boston to New York in 2000 and quickly got to work assembling a backup band to perform his compositions. Accompanied by saxophone, bass, guitar and drums, Smith and his band began attracting notice for their blue-eyed soul and Nashville-inspired Americana. As the group honed its skills performing around the city, Smith's songwriting continued to evolve and mature, as heard on 2003's Beneath the Underdog.

The Relix label soon came calling, and next week releases Smith's self-titled CD. With guest appearances by jazz guitarist Bill Frisell and fiddler/vocalist Carrie Rodriguez, the disc provides an appealing blend of distinctive American music styles with engaging songwriting.

npr

June 19, 2006 | by David Dye

Jonah Smith: The Roots of Pop

With a soulful vocal delivery and a Fender Rhodes at his fingertips, New York City songwriter Jonah Smith had brought together a variety of classic influences to craft a unique and modern sound. A devotee of pop, sould and jazz, Smith writes songs that are best categorized as "roots music," as he skillfully blends fundamental elements into a sound that's both progressive and accessible.

Smith relocated from Boston to New York in 2000 and quickly got to work assembling a backup band to perform his compositions. Accompanied by saxophone, bass, guitar and drums, Smith and his band began attracting notice for their blue-eyed soul and Nashville-inspired Americana. As the group honed its skills performing around the city, Smith's songwriting continued to evolve and mature, as heard on 2003's "Beneath the Underdog."

The Relix label soon came calling, and next week releases Smith's self-titled CD. With guest appearances by jazz guitarist Bill Frisell and fiddler/vocalist Carrie Rodriguez, the disc provides an appealing blend of distinctive American music styles with engaging songwriting.

Entertainment Today

June 02, 2006 | by Steven Rosen

Record Review

Blessed with a great Southern drawl of a voice- even though he's a New York singer-songwriter - Jonah Smith recalls Levon Helm or Jesse Winchester on his self-titled album, his first to get national release. And he writes the kind of soulfully lolling, slightly desperate songs that might well have once been performed by The Band, too. (In fact, The Band's Garth Hudson puts iin a guest appearance on the cut "Cast A Long Shadow".) As a writer, he's a romantic at heart, although one who understands melancholy as the flip side of tenderness. So songs like "Stay Awhile" (with Carrie Rodriguez), "Killing Time" and "When We Say Goodnight" have a depth that reveal Smith isn't just putting new words to a familiar roots-rock style. He's expounding hard earned wisdom. He also plays Fender Rhodes piano, giving the songs a swirling, pumping gravitas. As a result, the songs sound important. What more could a new singer-songwrtier ask for?

Falls Church News Press

May 30, 2006 | by Mike Hume

"Press Pass with Jonah Smith"

In the writing field, those in the know tell you that the gateway to greatness comes from studying the works of others. In the case of songwriter Jonah Smith, that research and legwork is helping him cruise down the road to widespread recognition… a road that his immense talent is rendering quite smooth.

His list of influences runs 79 names long, only to be capped by the superlative qualifier “lots and lots of other people.” He is a confessed live music addict. On his recent west coast tour leg (a first for the budding Smith), he arrived in Los Angeles exhausted, only to drive 45 minutes to see Kelley Joe Phelps play a show.

“Sometimes I’ll go months without seeing a show and it feels like I’m starving my soul,” Smith says.

That’s not exactly how I’d describe deprivation from the works of William Faulkner, but that’s because Smith doesn’t view his devotion to music as some necessary evil he must endure to advance his craft. To put it simply, he loves music. He loves music, and in particular his lengthy list of influences, not just for the demonstration of talent, but because Smith views their art as a doorway to something more profound.

“They aren’t just able to write well, or sing well, or play well,” Smith says. “They create an atmosphere, a vibe that invites you in. It transports you somewhere else. I love to go to shows and have that experience.”

Not only have those artists provided Smith with some transcendental experiences over the years, they’ve also given him some interesting ideas, even in the practical field. Earlier this year while playing a Katrina benefit concert in New York, Smith lifted the idea of using a stomp board (essentially a flat piece of wood with holes drilled into it) to help keep time during his solo shows. He busted it out for the first time on the west coast swing. He likes it, but it isn’t perfect quite yet.

“Like all good wooden instruments it needs some time to break in,” Smith says.

It’s acute, deeper-than-most musical insights like those that help make Smith’s latest self-titled album such a pleasure to listen too. The theoretical types can pick apart the melody overlays, chordal progressions and rhythmic intricacies, but to the lay listener, the album simply comes off as sweep-you-off-your-feet good.

Blending genres like a musical smoothie, Smith’s songs pick you up with Rhodes riffs, educate you with his deeper-than-most lyrics delivered with a weathered voice, and drop you off five minutes up the road, all the wiser for pressing the play button. He makes you reexamine the ordinary and revisit original observations, not through any “CSI” science, but by coaxing your mind onto a more transcendent train of thought.

“I believe that the role of the artist is to take the things you see every day and show others the beauty in them,” Smith says.

It’s a practice he’s been refining for three albums now, with his third the first that wasn’t produced on a shoestring-budget.

“What’s comparable between this album and the first two is that it’s the same songwriter and the same band. That’s about it,” Smith says. “We got a real budget and got to work with a real producer [Lee Townsend (Bill Frisell, John Scofield)]. It’s a really exciting thing.”

The tightness of the compositions is impossible to miss, and no doubt the fruits of Smith’s long relationship with his band. He’s played with all of them since moving to Brooklyn from Syracuse, N.Y. in 2000 and has been banging around with bassist Ben Rubin for 10 years. Perhaps they’ve absorbed each others musical timing through osmosis, packed shoulder to shoulder in cramped vans and hotel rooms as they’ve roamed the roads of the U.S. playing gigs.

“We’ve stuck through some of the tougher times,” Smith says. “We’ve done a lot of work ourselves. Sometimes that bears fruit, sometimes you look like a real turkey when you show up for a show and no one knows who you are.”

With an effort as strong as Jonah Smith, the lack of recognition might not last too much longer, particularly once Smith has the opportunity to send his listeners on their own personal musical journey.

Jonah’s music will transport him, in a quite literal sense, to Northern Virginia and the State Theatre next Thursday, June 1. Where you’ll go when you hear him is anyone’s guess.

RELIX Magazine

May 01, 2006 | by Anthony DeCurtis

Jonah Smith - Jonah Smith (RELIX Records 2006)

"The first virtue you notice about this fine new album, the inaugural release of Relix Records, is the immediacy of its appeal. "Little Black Angels," its opening track, starts out slow and funky, a bit like Aretha Franklin's "I Never Loved a Man (The Way I Love You)." Then Jonah Smith's electric piano yields to his voice, which is as soulful and satisfying as a spoonful of Tupelo honey.

The next virtue you notice is how well-made these songs are, how, for example, without trying too hard,the choruses of "Stay Awhile" and "Killing Time" amply deliver on the promises made by their understated verses.The melodies simultaneously sound fresh and intimately familiar. By the time you notice the evocative imagery in the lyrics ("climbing on the roof in your high-heeled shoes"), the sophistication that underlies the five-piece band's restraint, and the easy intelligence of the arrangements, it's clear that the album isn't going to run out of virtues any time soon.

More than merely rewarding repeated listens, Jonah Smith seduces you into its world by means of sheer sonic pleasure. Only later do you come to understand the complex means of that seduction,and how masterfully they've been employed. And when you understand that, you know that Jonah Smith is a spellbinding talent whose time has arrived."

For Those Who Know

July 30, 2005 | by Jim Grady

Interview w/Jonah Smith

Like a wounded hound dog lying in pain and crying for help, Jonah Smith's crooning voice cuts the still, silent West Virginia air with a sense of unfamiliarity that is all too unfamiliar. He has been a staple in the downtown NYC jazz-funk fusion scene for several years now, and has even been the winner of Relix's Jam-Off! contest the last two years, but he has still not gained the deserved recognition that usually accompanies such a well-respected and experienced musician. From his voice and playing style come comparisons to his influences, such as Herbie Hancock, Stevie Wonder, and Jeff Buckley. But, Smith's talents venture far beyond the limited scope of his amazingly talented forefathers. He is just a recipient of the fruitless nods to his contemporary heroes that always seem to follow relatively new, yet undiscovered, acts, and not of any sort of personal accolades or positive press.

Smith and his band—Ben Rubin on bass, Bob Reynolds on saxophone, David Soler on guitar, and Marco Djordjevic on drums—played at the Ninth Annual All Good Music Festival in the rolling hills of Masontown, West Virginia, this past weekend. They were not one of the festival's largest draws; in fact, they were not even invited to play on the main stage, only the small Funk Box side stage; but they were certainly one of the best, funkiest acts to grace either stage. Opening with a single from the band's debut album, Smith and Co. ripped from the outset. They effortlessly coasted from song to song with musical grace and an apparent grasp on how to construct a setlist that is at once cohesive and at the same time expansive and improvisational in nature. They ended their set with a cover of a Jeff Buckley song and almost everyone in attendance wanted to experience some more funk/jazz/soul from this energetic, mind-altering quintet.

Jonah Smith and his band seem to have an extremely bright future ahead of them. They are currently booked to play at several different festivals along the East Coast and they are prepared to take the rest of the country by storm. I had the great opportunity to speak with the man behind the band, Jonah Smith. We had a short chat, but it revealed some interesting aspects of Smith and his approach to music, including his eclectic influences, the band's name before its present name, and why The Big Lebowski is his favorite movie.

Jim Grady: Tell me about your influences, personally and the band as a collective whole.

Jonah Smith: I started out listening to a lot of classic rock, Stevie Wonder, John Hiatt, Allison Kraus. Lately, I've been listening to some strange country. Everyone in the band listens to different stuff. My sax player listens to a lot of jazz, a lot of modern jazz, Chris Potter, Joshua Redman. Ben (Rubin, bass player) listens to the same stuff that I do: funk.

JG: Tell me about the evolution of the band.

JS: You listen to our first record and you'll hear that my songs used to be a lot more structured with complex harmony. Now, I've really just tried to strip it down. Focus on the melody and the song and keep it as simple as possible. That's really the difference.

JG: How do you get the groove going? Do you practice the groove or is it just improvised?

JS: You would think that we practice. When we get together to rehearse, we work on new songs. And all that other stuff just happens.

JG: Tell me about the Jeff Buckley cover. Why did you pick Jeff Buckley?

JS: I just love that tune and I love Jeff Buckley. I used to do that tune once in a while when the band needed a break, I would do it solo. Then, one night David (Soler, guitarist) kind of just knew it and he played along with me and then we started doing it as a duet. Then, finally, we're like, “F**k it, let's do it as a band.” We rehearsed it for the first time two days ago. And, then we're like, “Let's just do it.”

JG: You guys seem really calm, real relaxed out there.

JS: Well, you know, it could be the tranquilizers (laughs).

JG: Not to get too personal, but do you guys drink before you play?

JS: I sometimes have a beer or a drink. My drummer (Marco Djordjevik) never drinks. He's sober.

JG: You guys like having a clear mindset before you start?

JS: Yeah, I don't ever get wasted. But, then again, I may have a beer with dinner before I start. I can't get stoned before I play cause I'll forget all the lyrics.

JG: What about the roots of the band? Are you guys from New York or where?

JS: Actually, the band began with me and Ben in Burlington , Vermont . Eleven years ago, we started playing together. Lots of different outfits we did in Burlington . And, then we both moved to Boston and he went to Berkeley and I started a new band. We had a different drummer and were called something else. And, then, we all moved to New York five years ago and I met David in a bar and we started talking. We met our drummer, Marco, in New York , too.

JG: What were you called before that?

JS: In Boston , we were called Deluxe .

JG: What about the jamband scene? Do you guys think you have a place in the jamband scene? You won the JamOff!. How was that?

JS: Yeah, winning the JamOff! was a little misleading because it's a song contest and that's what I do--I write songs. We're not really considered a jamband. We will consciously jam out on occasion, but the bulk of what we do is really concentrate on songs. Whether or not we have a place in the jamband scene is really up for the scene to decide, not us. We love playing these festivals. We enjoy the crowd.

JG: What's your favorite movie?

JS: Probably The Big Lebowski .

JG: Why?

JS: Well, because the first time the band was on tour in Europe , our guitar player only had one movie and it was The Big Lebowski . And, we watched it every night after every gig. So, we all know every word in the movie.

Hartford Advocate

October 30, 2003 | by Thomas Pizzola

LOCAL MOTION

Jonah Smith, keyboardist/vocalist/principal songwriter for the Jonah Smith Band, said that on any night, given the right circumstances, the band can lock into the right groove and then the "shit goes off." Well, judging from the band's performance at Sully's last Saturday, I can definitely say, that all the planets were aligned and the circumstances were right, because to put it bluntly — the shit went off.

The "shit" being a display of soulful musical prowess that left the small but enthusiastic crowd begging for more. In fact, the band masterfully blended soul, jazz, funk, rock and even the blues into one tasty musical stew. It's a hearty musical mixture, one that really sticks to your ribs and keeps your feet moving all night long.

It all starts with Smith. His deep, rich voice and energetic runs up the Rhodes remind one of a young Stevie Wonder, shattering all notions that a white boy can't have any soul. Throughout the set, I was impressed with his vocal prowess. He really knows how to bring the emotion out of every syllable that comes from his mouth. It's an awesome display of talent.

But, as good as Smith's voice is, his backing band matches him note for note. The rhythm section of bassist Ben Rubin and drummer Marko Djordjevic is extremely tight, able to shift from a laid-back funk groove to a more hectic jazz groove at the drop of a hat. Saxophone player Bob Reynolds ably squonks and skronks his sax along to the beat and guitarist David Soler, the band's not-so-secret weapon, handles all the changes in style and tempo with aplomb.

Smith, in a rare display of humility, told me that he's lucky to be playing with the band, because they make it all happen.

The band opened with the jazz-blues groove of "Billy and the Sandman" setting the tone for the evening. From there, the band steadily and surely built momentum and a monstrous groove as they played a selection of songs off their new CD, Beneath the Underdog, interspersed with older ones.

"Swamps of Georgia" featured a freaked out psychedelic intro by Soler that led right into a righteously funky groove and some crazed free jazz solos from Reynolds. "Last Goodbye" was a straight-ahead jazz-rock song, with a subtle hook and some impassioned singing from Smith. "Graceful Pose" started out slowly, on a smooth jazz tip, before violently switching gears with a nasty slide guitar solo, and then ending as quietly as it began. They closed with a ripping cover of Ornette Coleman's "Ramblin'", which allowed the band to cut loose and jam, ending the set with a funky flourish.

Jonah Smith proved that he and his band were definitely the "shit" on this night.

The Syracuse New Times

October 22, 2003

JONAH AND THE WAIL

Listening to Jonah Smith is revelatory. The Brooklyn-based singer/keyboardist's self-released disc Beneath the Underdog recalls those early-morning moments when you nod to the rising sun with a smile and think that maybe life is one long Folgers commercial and waking up is always.

Half Joe Cocker and half John Popper, his husky drawl originates from a place deeper than those crooners. Like his hero Stevie Wonder, there's a soul in his soul when he sings, "even on the darkest days, well, there's beauty to see."

JamBase.com

April 12, 2003 | by Robert Krevolin

JONAH SMITH'S BLOWIN' UP THE SPOT

Through our sense of taste we are able to capture an essence and keep hold of it for a bit. We think about it; how it felt, the texture and sensations as our mind paints the picture. Be it good or bad, taste is a preserver of that essence. You may choose to relish in one, while washing the other away immediately. It all depends on the feel.

When a voice hits, it stirs the soul in much the same way. At first note we secure a piece and indulge ourselves, feeling for what we are hearing and what is being said. If it pleases us, we choose to savor the passion and brilliance of the song and its message. As in taste, the initial touch is left preserved, a lasting impression of words lingering after the sound of the voice is gone leaving you feeling the voice and all that it carries.

But all too often, there are those voices that don't taste so good. And then Jonah Smith comes along and cooks up some gourmet soul stew for you. Straight real and intelligent in their craftsmanship, Jonah Smith and his band are warming it up urban-soul style with more flavors than the Iron Chef. For the past two and a half years, the quintet has been seasoning things up in New York City and around the East Coast, as well as hits in clubs and festivals in Europe, and is continuing to gain critical acclaim for their music’s distinct colorations and virtuosity.

Blowing up the Spot

In a one hour slot

Draped in genuine lyricisim, Jonah Smith's smoky and commanding delivery hits deep as he coats the music in the velvet of Fender Rhodes.

"As a songwriter, I try to keep things balanced: melody, harmony, lyrics, chordal movement. If I write a tune that's all over the place chordally, I'll often come back after that with a really simple tune that was just kicking around in my head. Hopefully, it all sounds like me."

Backed by the worldly talents of an ultra-dynamic rhythm section, the music is stretched beyond the limits that most self-contained in genre rarely see. The world-renowned skills of drummer Marko Djordjevic and silky-sweet bass playing of Ben Rubin hold down the back. The linguistic guitar and pedal steel work of the David Soler layers beautiful accents into the music as tenor man Bob Reynolds blows warm and moving, often leading the band into the further reaches. Each ingredient is complimentary to the elegance of Jonah Smith's music, who, like a true storyteller and scholar of song, invokes the personal emotions of experience truly speaking from the heart.

"We're just trying to provide something original to the scene. All of my players are great improvisers, but we try to build on what we accomplished the night before. We'll work out an arrangement for a tune that will be really tight, but once we play it like that for awhile, it inevitablely changes into something else, a different feel, mood, tempo, whatever, so we don't get tired of playing it."

On the band's debut record, Industry Rule (2001), Jonah and his mates deliver an intelligent and expanding array of sonic enhancement often touching on the other worlds of improvisational electronica to introduce you to a song. The band’s prelude to the real sweet R&B cut “Tone of Your Voice” illuminates the quintet’s capacity to delve into the technics of drum n bass. “Juan’s Cue” is a bit harder, with a darkened tone underneath a lead line harkening back the Crusaders. The record’s title track presents the in-the-pocket funk with that tight break found within the 1970s work of Grover Washington, Jr. Mainly though, the Blues is the dominant force. Tracks like “Billy and the Sandman” and “Open a Letter to an Old Lover” really talk the Blues in moments where Jonah’s literal and heartfelt songwriting truly shine. As a whole Industry Rule is an exceptional and fitting first release, perfectly highlighting the group’s many talents. Beginning in May, following the recording of their album with producer Jason Olaine (John Scofield, Chris Potter, Kurt Rosenwinkel), the band will travel to their European home of Spain and then possibly other parts of Europe for a summer run before returning to the States to promote the record.

"Other than that, it's just about spreading the music. People can read all of the quotes they want about an artist, they can look at their picture, but what it really comes down to is does the music move you…We try to play just what the song calls for. We really try to leave the ego out of our music…we're just trying to provide something original to the scene.

"The fact that people can't really categorize our music is pleasing to me. To me, that means we're on the right path. Hopefully, eventually we'll have a sound that is just associated with us. You hear it on the radio and you know who it is immediately. No one could really categorize Frank Zappa or Tom Waits, they're just American originals."

New York Sunday Post

March 23, 2003 | by Ben Silverman

MUSIC INDUSTRY MEETS ITS FUTURE

Ever since the MP3 format was widely adopted, the major recording labels have been scrambling to get a piece of the action online.

While the major labels have done battle with the digital music terrorists, musicians from around the world have appropriated new technology and created avenues of distribution and marketing.

Be it the ability to sell records through Amazon.com or a simple Web site to promote upcoming shows, artists have been empowered like never before. Their reliance on the traditional industry players and managers, lawyers and booking agents is no longer a given.

What is a given, however, is that there hasn't been a breakout artist who has risen from the routers, switches and fiber optics of the online world. But this may soon change.

Jonah Smith has been called "One of the most important voices in modern soul," something the Syracuse, N.Y., native—and Brooklyn-based musician—doesn't take for granted.

For the past few years, Smith has been hooked up with CornerBand.com, an online music firm whose goal it is to help artists remove the barriers to success set up by the traditional music industry.

The arrangement has paid off, as Smith's band has been able to tour steadily and push out close to one million downloads of its songs.

“A lot of people in the business are number crunchers and don't have ears and vision”, Smith said. “It's very hard to break through, so you find friends where you can.”

Hartford Advocate

March 06, 2003

JONAH ON MY MIND

New York's best-kept secret … Drawing from jazz, rock, blues and folk, this modern soul amalgam is the hottest thing around with their recently sold-out show at the legendary Blue Note Jazz Club in New York. With an unusual sound of urban folk and roots rock, Jonah Smith's electric groove transcends jazz, rock or funk.

Creative Loafing Atlanta

February 12, 2003 | by (Hutchinson)

Like running partners SOULIVE, Jonah Smith and his band appropriate a certain amount of cool from some elusive bygone era of soul jazz. But once Smith lays a cocked wrist on the Fender Rhodes, and releases his unique throaty vocals, this group proves it has something distinct to offer.

The Boston Globe

January 02, 2003 | by Christopher Muther

Mood Indigo

[Jonah] and his band perform a soft blend of blues, folk, and soul. The sound is quite striking, especially when Smith's world-weary voice is factored into the equation.

Modern Drummer

November 01, 2002

Soulful and sophisticated, vocalist/keyboardist Jonah Smith comes about as close to a neo-Steely Dan musical mentality as you can imagine, with hip-hop, funk, blues, and jazz variations.

The Citizen's Voice

April 26, 2002

Fronted by Jonah Smith, the band bearing this New Yorker's name creates a musical fusion of rock, soul, funk, r&b, and country. In addition to being superb instrumentalists, the band also draws it's power from Smith's unique voice, which has been compared to Mike Hucknall of Simply Red, and his interpretive mannerisms as he plays the piano.

...The band generates a very distinctive sound by incorporating pedal steel guitar, sax and Smith's Fender Rhodes piano. In fact, Smith is one of the few musicians who has brought back the sound of this instrument, which more or less disappeared with the invasion of the synthesizer in the late '70s.

...It's only a matter of time before the whole world stands up and takes notice of just what the Jonah Smith band has to offer.

LA People Connection

March 01, 2002 | by Steve Nathan

EXPLORING THE TERRAIN WITH JONAH SMITH

A few months ago I asked musicians and record label representatives to participate in an article that I am writing about publicity and what it takes for a musician to get signed to a recording contract - that article is forthcoming. One of the people that responded was Jonah Smith. I remember receiving Jonah's press kit in the mail, placing the cd in my cd player while I read through press clippings and a biography. As I listened to Jonah's CD, I started to hear lyrics that were so intelligent and composition that was so intricate and professional, that I knew I needed to focus my attention on the music, not the press material, in order to fully appreciate what I was hearing. I immersed myself in the music; occasionally reading the liner notes (yes, they do contain the lyrics for you to read — something I always appreciate).

After many more times listening to the CD, and after seeing Jonah Smith perform live, I have reached two conclusions. First, Jonah Smith will be very successful, and whichever label he signs with should expect a good return on its investment. Second, if you are looking for a gift for yourself or for someone else, and are open to indie musicians, buy Jonah's CD while it is available — you will not be disappointed.

When I began seriously listening to music, I listened to mostly rock. Many of the groups that I listened to were exploring sounds outside of the traditional "rock" sound. Consider King Crimson, Frank Zappa, Pink Floyd, and Steely Dan (to name but a few), and you see the broad range of sounds that coexisted with Aerosmith, Eric Clapton, and The Allman Brothers. This varied group of musicians nonetheless contained enough similar elements that listeners, like me, did not feel that we were listening to different genres of music. We were, instead, drawn toward the different interpretations and the boundary testing of these musicians within the rock genre.

Like other great musicians, Jonah's music “is capable of taking personal and universal truths that we could relate to and lyrically combining them with instrumental overlays that are catchy without being cliché.”

Jonah Smith's music follows in the tradition of exploring the interplay at the boundaries of different genres of music, such as funk and R&B while still appealing to rock sensibilities. I think of Jonah's sound as a cross between Steely Dan and Boz Skaggs, each of whom is capable of taking personal and universal truths that we could relate to and lyrically combining them with instrumental overlays that are catchy without being cliché.

Many of the tracks on "Industry Rule" seem biographical and are easy to relate to. On the title track, Jonah sings about the times people doubted him ("people wondering how I'm gonna deal with the pressure/ people wondering how I'm gonna try to survive in the city"). Jonah ignores the doubters and continues playing his music only to receive a letter from a former lover (which he is surprised even found him) asking how he is doing and if he is still playing music. Jonah's response in "Open Letter to an Old Lover" ("open your eyes/you decide/how am I/well, I'm living like a pauper/and I'm working like a dog/with a burning wick for temper/and nothing to call my own") allows Jonah to express his own doubts and his desires for comforts past on the road toward life as a professional musician.

"Industry Rule" is a special listening experience; an intelligent blend of lyrical wit and wisdom served over a soul/funk/rock backing.

Time Out New York

August 31, 2001

[Jonah] plays a righteous rhodes electric piano and gets some sweet, soulful backing from his band. If he's in motion as an artist, he could wind up a hipper Joe Jackson.