Jerron Paxton heads way deep into old time blues roots as he notes how Things Done Changed.

Release Date: 18th October 2024

Label: Smithsonian Folkways

Format: CD / digital

the future of the blues

We can probably blame Dave Marsh for his “I have seen Rock and Roll future…” quote which has come in handy over the years. The expectation is that Things Done Changed will see us witness “The future of the Blues using the heritage of the Blues.” Nice twist and with a Ronnie Scott’s launch gig and a Jools Holland invite in his pocket, his profile is at a sharp peak.

He’s a multi-instrumentalist multi-tasker armed with guitar, banjo, harmonica, piano and bones… and, to add to that tagline, the sound of 20s and 30s Black America with a 21st century voice. Nice PR and to be fair, blurb that delivers on the promise. The generations are bridged too with the contributions of his grandmother to a song or two. Not something you hear every day.

rustic rawness

Meanwhile…”Can’t stand this funny way of doin‘” he bemoans in the title track. Things might have gone astray with his woman but maybe the bigger picture is the one at which he’s lookin’. It’s a real eye opening, deep immersion into the full on, old time (olde tyme even) Cajun, blues and ragtime roots. There’s a real vibrancy and dexterity to the string playing on a storming What’s Gonna Become Of Me and It’s All Over Now. And then take in the harp workout on Little Zydeco; the rustic rawness becomes embedded rather than touched upon in cap doffing acknowledgement.

Piano chops get showcased on Oxtail Blues – I’m guessing the upright – which might be the American roots version of a parlour/parlor ballad. Yes, familiar themes are trawled and tropes are checked.- “You’ll never get to heaven when you die” indeed. Graveyards, tombstones, rock, gravel and the trials of the working man litter the mental images conjured by the Paxton soundtrack. However, the key is the authenticity with which Jerron brings to the party.

no denying the roots

All that’s missing is a patch of two of authentic groove crackles and a low-fi button pressing to take the rawness to another level. Having said that, the clarity offers the up close and personal nature. Like you can almost feel his breath and watch the strings vibrate. Things might have done changed, but Jerron Paxton is making sure that there’s no denying the roots.

Playing the blues on Louis Armstrong’s piano – how’s that for authenticity:

Jerron Paxton online: Website / Facebook / Instagram

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