"I host several programs monthly on KGNU, Boulder's community radio station. Though you might consider his music folk, I find his songs work in almost every format. Whether Americana, folk, country or free-form, Jason's work always resonates, the voice of a unique American artist."
"This is one truly easygoing, congenial and engaging album. With guitarists Rich Currier and Dan Dameron as nearly all the support, it's really lean. Jason Bennett's songs feel gentle despite the turmoil often within them. The one cover is Bob Dylan's "Shooting Star," an excellently chosen complement to the originals. An aura of wisdom and lessons learned permeates the set. From the opener "Too Damn Fast," a pitch for taking an easy pace of life, to the closer, "Daddy's Hand" for his son, the album quickly becomes a welcome friend. Nice to make your acquaintance, Jason." --Review of Jason Bennett's album "Slow It Down, Take a Step Back"
Local musician gets help from friends for Dylan tribute
THE GAZETTEDETAILSJASON BENNETT
When: 8 p.m. Saturday
Where: Pikes Perk, 5965 N. Academy Blvd.
Cost: Free
More Information: bennettfolk.com
Local musician Jason Bennett hopes to take Bob Dylan to the Grammys.
Or at least his music. Bennett produced and performed on an album of Dylan covers, “Positively Pikes Peak: The Pikes Peak Region Sings Bob Dylan.”
“I found out a few years ago that the Grammys are open to anybody,” Bennett said. “You just have to get the record company through. I said, ‘Shoot, I got seven albums out, I’ve sold in about 30 different countries, maybe I’ll give it a shot.’”
His shot hit the mark. Bennett recently received a confirmation letter from the music guild that his company was accepted. Next, his album will be screened, and then has a chance to be an entrant nomination in the Best Folk Album category.
Bennett, who started writing music as a teen and has continued to pen his own songs ever since, has long drawn inspiration from Dylan’s unusual sound.
“It was so raw, so rugged,” he said. “It wasn’t what you heard on the radio. Sandpaper voice and real lyrics — it wasn’t pristine and polished stuff. That’s what drew me to it.”
The 13-track album is a collaboration between the same number of Colorado Springs-based musicians and a benefit for COPPeR, the Cultural Office of the Pikes Peak Region. The artists are trying to raise $3,000 for the nonprofit organization, which uses art to address such issues as economic development, education, tourism, regional branding and civic life.
It isn’t the first philanthropic venture for Bennett, who takes time from his “typical, uninspiring corporate America business job” to raise funds for those in need.
Bennett produced performed in a concert that helped send Colorado Springs Children’s Chorale performers to South Africa. When the Nicaraguan government razed a women’s health center in Mulukuku, he participated in an album of the same name to help raise money for repair.
He said changing the world isn’t his goal, but helping the community in any way he can is.
“I’ve always been into doing anything to help out,” he says. “I don’t expect to make a lot of money for my music anyway; I’m not the big commercial type.”
Though he’s received a little national recognition before — his song “Too Much Paperwork” was featured on PBS’ “Roadtrip Nation” — his ultimate goal is to have a major artist record one of his songs.
“I fancy myself more of a writer than a performer,” Bennett says.
Bennett’s eighth album, “Walsenburg Line,” a four-song EP, is slated for release in late summer.
Positively Pikes Peak
The Pikes Peak Region Sings Bob Dylan
(Eleven Mile Records)(Full disclosure: Sales of this CD benefit COPPeR — Cultural Office of the Pikes Peak Region — of which the reviewer’s wife is a board member.)
Bob Dylan’s upcoming 70th birthday already is generating new interest in his music. (Indeed, people at Columbia Records are working overtime to ensure this.) When faced with such hype, it’s always worthwhile to consider the less obvious choices out there. On Positively Pikes Peak, thirteen musical artists from the Pikes Peak region cover a selection of Bob Dylan’s songs. (Its title is a take-off on Dylan’s “Positively 4th Street.”) The result is not only an enjoyable showcase for local talent, but a good sampler of the songwriter’s less high-profile efforts: only one of the 13 songs here was a Top Forty single for Dylan. Most of the artists perform in a simple, folk-based style, but nearly all of them bring their own touch to the songs. Lindsay Weidmann opens the disc with a lovely performance of “Boots of Spanish Leather,” singing in an airy soprano over acoustic guitars and spare keyboards. Ted Shinn brings just a hint of a Celtic feel to “Time Passes Slowly.” Andrew de Naray adds eerie, theremin-like atmospherics to “Tomorrow Is a Long Time.” “Baby, You’ve Been on My Mind” and “Tell Ol’ Bill” both get the approach most commonly associated with Dylan — just acoustic guitar, harmonica and vocals — from Jeff Moats and Jeremy Hodges, respectively. Randy Ruebsamen lays some spare electric guitar and slide guitar over a dry snare drum’s tattoo on “Not Dark Yet.” Rick Stahl performs “Lay Lady Lay” with a mixture of strummed and picked acoustic guitars, steel guitar (courtesy of Rich Currier) and bongos, until a solid rhythm section kicks in after the first chorus. That’s the first full-fledged band arrangement to show up on the album; Steele Diamond Louis & Hall follow it with the fullest, as they trade off lead vocals line by line on “You Ain’t Goin’ Nowhere.” Heather Gunn sings “Meet Me in the Morning” with a little bit of blues inflection over acoustic and slide guitar and a strutting rhythm. Barry Beard strips “Tonight I’ll Be Staying Here with You” to just voice and guitar; Ryan Kulp takes the same approach to “I Dreamed I Saw Saint Augustine,” until he adds a whistling solo on the bridge. Bill Wallbaum and Misti Walker sing a fine duet on “Make You Feel My Love” over piano, guitar and synthesizer. Jason Bennett closes the album with the only explicitly political song on the disc, “Let Me Die in My Footsteps.” This one shows how Dylan’s best work still speaks to the present time: “There’s always been people who have to cause fear/They’ve been talking about wars for many long years/And I’ve read all their statements/And I’ve not said a word/But now, Lord God, let my poor voice be heard.” Positively Pikes Peak is an excellent disc that’s sure to please any Dylan fan, and probably make a few new ones.
The underlying theme of Jason Bennett's latest album is summarized in the title, which seems to echo his desire for simplicity, reflected in tracks like "Too Damn Fast," "Less Is More," and "Too Much Paperwork." "Daddy's Hand" is a sweet lullaby-style ballad in which he advises his son to "take it slow, drink it all in." And he tells of his own sense of urgency that his son is growing up too fast. As he tells his child to savor time, the land, nature, he is striving to do the same himself. Track one "Too Damn Fast" starts with thunder and rain accompanied by a deep western guitar track with lilting steel guitar lines woven in. The effect of the music underlying Jason's gentle and melodic voice is soothing, slow, dream-like. "Too damn fast, too damn fast, someone slow it down and make it last. . . " is the quiet cry of this song, and the effect is achieved. Bennett gets in touch with nature and love in songs like "Shooting Star" and "Fog Rolling In," both songs you'd like to hear him sing under the stars in front of a campfire. "Too Much Paperwork" is more deliberate in its message. He decries paperwork, noise, filth, in a track with a guitar effect on the lead that's noisy and electronic, echoing the meaning of the words. Very cool tune here. Tracks in the album are supported by guitar, steel guitar, harmonica, and Jason's artful folk voice with a touch of twang. Listening in is like taking an excursion into the mountains, drinking in all that you can, and leaving with a sense of having found what's most important in life. I'd recommend this album in a heartbeat!
Rambles.net - November 4, 2006 "As relevant now, it seems, as it was when written in the 60's, is Jason's cover of Bob Dylan's "Let Me Die in my Footsteps." Bennett does a wonderful job in trying to live up to one of his greatest musical influences. His emulation of Dylan's singing style is in no way forced, but is lovingly and successfully attempted. If there were one song I would hope to be pushed for radio time, it would be this one. I admire Bennett for the certain bravery in which he covered this Dylan tune out of the vast options available, all the more because "Let Me Die in my Footsteps" was never released on any Dylan LP. Though Bennett's voice is not as arresting as Dylan's, it is certainly easier to listen to. 'Mindchange' is a solid indie folk album."
COLORADO SPRINGS INDEPENDENT 9/28/06 "I've never been cool enough to be a rock star," says folk musician Jason Bennett. Granted, while he exhibits a certain inner awareness and calm demeanor, Bennett's not immediately striking in person. Still, the singer's easy tone and thoughtful manner make him both an easy conversationalist and a convincing singer-songwriter. "I like to just play softly in the crowd," he says. "I don't like to put on a show. That's not my style." This unassuming, introspective quality is certainly distinctive of his latest and fourth CD, 'Mindchange'. On it, Bennett comes across as both world-weary and hopeful, naive and cynical. It's sweetly melancholic, acoustic folk that effortlessly mixes with country - not unlike the early material of the singer's hero, Bob Dylan. Bennett balks, though, when asked to compare his sound to contemporary country. Despite the twangy edges of the record and the frequent use of mandolins and fiddles, he's quick to point out that his music lacks the "boring lyrics" and flashiness of that genre. "I can't stand it at all," Bennett says.
COLORADO SPRINGS GAZETTE 9/29/2006 "Mindchange" shows Bennett's growth as writer/performer Jason Bennett takes a big step up on this album. The production quality is clear and reveals layers of guitars and shimmering bits of mandolin. Bennett worked with local multi-instrumentalists Chuck Haas and Rich Currier for the album, and they helped him create a fuller sound without compromising his commitment to raw acoustic folk. The album also shows signs that Bennett's songwriting is strengthening. Although a couple of songs are too repetitive, most are blessed with likable melodies and earnest , revealing lyrics. The title track explores the small and large choices Bennett is faced with in his life. "Without the Moon" is a twangy love song baked in the type of tenderness that makes you blush and grin. References to "school pictures on the fridge" and "walking home from school" ground the song between the grandiose proclamations of love in the chorus. There are plenty of gems here, but "Tequila" deserves extra recognition. The spooky composition is certainly the most unique on the album - guitars create steps that seem to descend into the heart of desolate misery. A low harp whine gives off a sense of foreboding, and the lyrics have a sense of finality to them. If this album is any evidence, Bennett's momentum is building. -J. Adrian Stanley Colorado Springs Gazette 9/29/2006
Bennett's "Self-Portrait" Portrays Talented Man Title: "Self-Portrait" by Jason Bennett Style: Folk, Blues, Rock, Country Personnel: Jason Bennett (vocals, acoustic guitar, harmonica), Cleve Clark (harmony, vocals, bass, keyboards), A.J. Clark (electric and acoustic guitars, dobro, juice harp, harmony vocals), Bryan Simpson (mandolin, fiddle), Brandon Trey Parr (drums, percussion), Cliff Sandifer (fiddle, dobro), Junior Knight (steel guitar) Source of Inspiration: "I kind of wanted to cross over from the really rootsy folk sound to a more commercial sound," Bennett says of this, his second CD. Brothers Cleve Clark and A.J. Clark were a big help to Bennett, who says they added the "heft" he was looking for. Aside from that, Bennett says a musical hero of his inspired a lot of the sound. "I'm a (Bob) Dylan freak," he says. Albums he wishes he'd made: Bob Dylan's "Blood on the Tracks" and "Time out of Mind" and the Byrd's "Ballad of Easy Rider." His most rock 'n' roll moment: "Sometimes when I'm playing in crowds, people sit and listen to every word," Bennett says. "I'm kind of a quiet guy--I don't think I qualify as a rock 'n' roller." What "making it" would look like: "My ultimate goal is to have other artists do my songs," Bennett says. "I want to make it more as a songwriter than a perfomer." CD vitals: Eight songs, 30 minutes Test drive: www.cdbaby.com/cd/jasonbennett2 Available at: Barnes & Noble at Chapel Hills Mall, Borders at Southgate, and www.cdbaby.com Review: It would be a pleasure to see some of Bennett's materials from "Self Portrait" make it into the hands of a Nashville star. Many popular country tunes have predicatable lyrics and subject matter, but Bennett has been able to craft songs with catchy beats and down-home twang with lyrics that reach beyond a first grade reading level. "Ain't Selling Out," the exclamation point of the album, and "Snap My Fingers" would merge nicely into the world of country pop, and "Stormy Weather Coming Down" is a gem with big instrumental sound and emotional vocals. Bennett's sense of humor shows on the simple acoustic, "I'm About Done," and "The Ballad of Jake Spoon" harks back to the time of Hank Williams and Woody Guthrie. The album also features two blues numbers. Bennett's songwriting ability seems to have no difficulty genre-hopping, but his voice seems less accustomed to the transition. He has a wonderful twanging voice for country songs, but it takes a deeper, more powerful voice to sing the blues. The bashful Bennett probably would rather see someone else sing his songs, anyway, and a true bluesman could make good of the beautiful love song "Bring It On" and the playful attitude of "Talkin' Rude Blues." Bennett's songs are strong and emotional without overpowering the listener or being trite, stale or sentimental. Catch 'em live: Bennett will play Pike's Perk, 14 S. Tejon St., at 8 p.m. August 28
"On his new album "Acoustic Harbor", Jason Bennett takes one of those quantum leaps that earnest artists have every now and then. With more and more recording studios starting to resemble mission control, Jason goes old school; an inexpensive four-track recorder, a microphone, a guitar and an empty laundry room. The result is ten songs that are incredibly well-crafted and emotionally immediate. The opener "How Will She Ever Find Me" is a catchy-as-hell country blues. "I Cried For The First Hundred Miles" is the kind of Hank Williams/ Faron Young heartbreaker that you've been wishing someone would write again. And in the socially concious "Uh-Huh", JB's lyrics are as tough and forceful as brass knuckles on concrete. Nowadays with everything on radio sounding so pristine and pretty, it's a thrill to hear music with some grit and gravity. Eschewing the technology, with just his voice and guitar, Bennett pulls the listener through the speakers back to that lonely room and into the moment this story began."
"Bennett's honest voice is the centerpiece of his songs. It's best when he lets it fly with a Dylanesque what-the-hell attitude. The voice is complemented by fine guitar and harmonica work, haunting cello and lyrics that have something to say. Singer-songwriter fans should enjoy the tales of lost love and lost souls on his debut cd, "The Atascadero Sessions."
"A definite country-rock feel permeates this recording with both acoustic and electric guitar, mandolin, drums, keyboard, fiddle and dobro. As the title suggests, the recording gives you a glimpse of Jason as a singer/songwriter and his influences, with diverse tracks like the blues-tinged "Bring It On" with its lonely guitar and dobro, or the country-flavored "The Ballad of Jake Spoon" with its quirky intro. The CD itself is a self portrait of sorts with bare-bones recordings as well as full fledged productions, starts and stops and ends with a live "on-air" recording of "Talkin' Rude Blues." Fans of Jason will enjoy this recording, and it should win him others."
