Photo byDoug Deutsch Publicity Services

Blues guitarist Jon Geiger is prepping for the release of a new album. It’s titled "Live At Harvelle’s” and has a drop date of October 13th, 2024. But first, for those of you not yet familiar with the artist in question, a bit o’ background.

Jon Geiger

Photo byChip Schutzman

According to his official website and other online sources, Jon Geiger is an American singer, songwriter, and musician. He is a New York native and California-based artist and a “former student” at the Berklee College of Music in Boston, where he had scored “a full scholarship.” His rockin’ resume also includes touring nationally and appearing at last year’s Woodystock Blues Festival in Lake Havasu City, Arizona. During his time in Austin, Texas he performed alongside “numerous great musicians while playing Antone’s and the Texas' numerous blues haunts.” He has opened for such other artists as John Mayall, Doyle Bramhall, Joe Ely, Robben Ford, and Charlie Sexton.

Signature Sound

Jon Geiger’s signature sound is a blend of blues, jazz, and rock. His sources of inspiration include the music of such musicians as B.B. King, Eric Clapton, and two former bandmates of Miles Davis, Mike Stern and John Scofield.

"Live At Harvelle’s"

"Live At Harvelle’s" is a live, 13-track two-disc album of both covers and original material written by Geiger. It has a running time of 86 minutes. Here Geiger leads the way on guitar and vocals. He is backed by other uncredited yet strong, effective artists. This album was recorded live at the well-known music venue Harvelle’s in Santa Monica, California, where Geiger regularly performed.

Track by Track

The album opener is the original “Bullet.” Here the listener is drawn in by some strong guitar work that arguably sets the overall tone for the work. This heavy blues-rocker focuses on the thought that there’s nothing in life that “a bullet won’t cure.”

It is somehow reminiscent of early Clapton and has a definite shuffle sound. In fact, this is confirmed in a recent communique: “[It’s a] hard-driving Texas shuffle with sophisticated, harmonic chord changes. [It] blends a palette of influences, from John Scofield and Robben Ford to Freddy King, Peter Green, and Cream-era Clapton."

The second selection is the song “I Dream.” It’s a softer, slow blues bit that combines B.B. King-like guitar with Hendrix-reminiscent psychedelic lyrics. A recent email adds that this is an original song with an intentional “'Are You Experienced'/'Angel' vibe” and that this metaphorical, stormy relationship song does, indeed, include “a nod to Hendrix, and the solos reminiscent of B.B. King."

The next number is the decidedly intense “Desert of My Heart.” Another original offering, it concerns a man’s lack of emotional response to an attractive woman. This, too, is reminiscent of Clapton. Geiger specifically included “driving toms reminiscent of Cream's ‘Disraeli Gears’ and ‘Tales of Brave Ulysses’ [to] set the mood.”

Geiger then covers the Bill Withers’ classic “Ain’t No Sunshine.” He injects this familiar favorite with his personal fretwork working hard to be true to the tune while also “reaching down deep to capture the audience, going from a whisper, building to a height of intensity." The bottom line is that having some noteworthy covers mixed in with original numbers is a great way to make a connection with an audience.

Not to be confused with The Celtic Woman’s 2017 song “The Voice”, this driving song of the same name is a Bo Diddley-like Geiger original. This funky, sturdy, stop-time track is reportedly a fan fave and works well with a live audience.

“Feeling Good” is Geiger’s effective audio adaptation of a positive piece co-written by Anthony Newley and Leslie Bricuss and 1964 and more famously covered by Nina Simone in 1965. He gives it a new jazz-injected arrangement.

The cover cuts continue with Geiger’s tuneful take on the tune titled “Texas Flyer.” Geiger growlingly transforms the track, most famously recorded by Freddie King, into an intense, uptempo, moody piece.

The mood musically changes with Geiger’s “Guardian Angel.” This one focuses on the personal guardian angel and the other forces that guide Geiger. It has a real rock influence to it that makes it vaguely reminiscent of the Rolling Stones among other acts.

“Prison of Love” follows here. It’s Geiger’s driving blues cover of Robben Ford’s soulful song from 1992 about the “could’ves” and “should’ves” of past relationships.

The original “Don’t Hang Me Out To Dry” is next. This hot hit is about ending it with a red-flagged female. This blues rocker comes complete with a rapid rhythm, gutsy guitar riff, and a catchy hook.

The intense originals continue with “Day To Day.” It is perhaps one of Geiger’s most uninsistently imaginative compositions. Here he musically melds multiple music genres including hip-hop, jazz, psychedelia, rock, and soul.

Also included here is “These Blues.” This one is also an original. It’s a powerful, passionate piece that is interestingly both a ballad and a call-and-response cut.

The closing cut is “Cross To Bear.” It is Geiger’s own adaptation of a Gregg Allman track. It is his own, ardent, tuneful tip of the hat to the work of the legendary, late Gregg Allman. Breathing new life into the work of a performer no longer with us is an intriguing way of ending an album.

Overall…

Overall, this new release is an ample example of Geiger’s musical abilities as a singer, songwriter, musician, and live performer. It specifically showcases his experienced, unembellished vocals, inspired guitar work, and oft’times imaginative composing as exemplified by both his clever combination of traditional and improvisational choices. While some might note the limits of these in-house live recordings, any perceived audio issues of this brawny, big-city set add to the honesty of the live album concept.

As your rockin’ reviewer can tell you, Harvelle’s can be a happenin’ hot spot where a wall of thrashing flesh can undoubtedly affect the overall sound. Thus, any perceived audio imperfections only add an atmosphere of genuineness (free excess applause) letting the listener get a true sense of the live music while seated comfortably at home. So, check out Jon Geiger’s “Live At Harvelle’s” and you’ll be “Feeling Good.”