Jon Herington is the veteran touring and recording guitarist for Steely Dan and The Dukes of September Rhythm Revue (featuring Donald Fagen, Boz Scaggs, and Michael McDonald), and the lead singer, guitarist, and songwriter for the New York City based JON HERINGTON BAND. Jon's newest solo release, "Time On My Hands," (nominated for Vintage Guitar Magazine "ALBUM of the YEAR" for 2013 Hall of Fame) reflects the bluesy, driving rock that had its gestation in the club scene, and is now available at jonherington.com, Amazon and on iTunes. The undeniable chemistry of the band, built on a lifetime of collaboration with Dennis Espantman on bass and Frank Pagano on drums, is clearly evident in this collection of ten original songs.
Jon's love for music surfaced early, and he studied piano, saxophone, and harmony in his grade school years. Just before his high school years, however, he developed a passion for pop music and the electric guitar, and soon was writing songs and performing with his own band near his New Jersey Shore home doing opening slots for local hero Bruce Springsteen, beginning a performing career that has continued ever since. College followed, with extensive musical studies in both classical and jazz composition and theory at Rutgers University, and private jazz guitar study, with the help of a National Endowment for the Arts grant, with the late, great jazz guitarist, Harry Leahey. Next came several years of study with the late Dennis Sandole, the acclaimed music teacher from Philadelphia, Pennsylvania who once taught the late greats James Moody and John Coltrane.
Which was the first record you bought with your own money?
I'm not really sure whether you could call it "my own money," but I remember the first single I bought was called "Big Girls Don't Cry" by the Four Seasons, and I still love that track to this day. But perhaps a more important record buying day was the day I first bought any long play albums: I came home with Cream's "Disraeli Gears;" Jimi Hendrix's "Are You Experienced;" and the Beatles' white album. All of those record purchases still define me in some way today, and I still love them all.
How would you define the present time in musical terms?
Varied and massive. There is an unbelievable amount of music available at the click of a finger on a phone nowadays. That is the most astonishing shift in my musical lifetime - when I was young, it was a thrill to hear any live music in the world. It didn't happen often, and you didn't hear music everywhere all of the time like you do now, in every restaurant, elevator, shopping mall, Doctor's office, etc. I'm afraid all that omnipresent music devalues music for most of the population. On the other hand, for people who are truly interested in exploring the vast range of music in the world, this is the best time to be alive to do that.
What was the first solo you learned from a record — and can you still play it?
I'm pretty sure it was "Sunshine Of Your Love" by Cream, but I'm sure I wasn't playing it very well. I could probably play it pretty well even today - I still think it's a great one. It has a kind of rhythmic freedom I love; it sounds expressive like a singer.
Which recording of your own (or as a sideman) are you most proud of, and why?
That's a tough question. I would have to say I'm equally proud of all of the last three "songs" records we've done. I have my favorite records for different reasons – I like that I was able to get a lot of guitar playing on "Time On My Hands," and there are particular songs on all three of those records which I think are stronger songs than some of the others. But they all feel like accomplishments I'm proud of.
What’s the difference between playing live and playing in a studio?
There are a lot of differences. Often, the absence of a crowd in the studio yields a more intimate feeling. Playing live, it often feels like you get an extra boost of energy from an enthusiastic crowd. Playing live it always feels fun and risky. In the studio, however, it's a great place to create and invent. Especially if you have the time, great things can happen if you are patient and trying to develop something in the studio. It's a place where a lot of discoveries can be made.
What’s the difference between a good gig and a bad gig?
What it pays. How it sounds. Who you're playing with. What music you're playing. How you feel.
What’s the difference between a good guitar and a bad guitar?
How it sounds. How it plays.
Do you play electric and acoustic? Do you approach the two differently?
I do. Yes, I approach them differently. Because the setup of each instrument is completely different, they have to be approached technically in a different way. And because they have different sounds, I'll go to each particular instrument for its particular sound. So the types of parts that get played on each instrument are naturally different.
Free Download
What do you dream about?
In the literal sense, it's difficult to say, because I rarely remember my dreams the next morning. In the figurative sense, I don't do much dreaming anymore. I'm concentrating on enjoying the present tense now, whatever it brings me.
Do you sound like yourself on other people’s guitars, in other instruments?
Yes. It can't be helped. That can be a good thing or a bad thing, depending on one's point of view. It's mostly a good thing for me.
Michael Leonhart - trumpet, voice, guitar, bul bul ƒ Jon Herington - acoustic and electric guitars, dobro
Which living artist (music, or other arts) would you like to collaborate with?
I don't dream about collaboration with other artists at all. Most of my solo work feels pretty personal to me, and I'm comfortable doing it myself and with one or two trusted collaborators who I've been working with for many years now.
What dead artist would you like to have collaborated with?
I find it difficult (and somewhat pointless) to indulge in that kind of fantasy, but I bet it would have been fun to play on a John Lennon record.
What’s your latest project about?
It's a collection of songs which we're probably going to call "Adult Entertainment." We're having fun writing the songs, and it's looking like it will be a very upbeat, fun record with some funny, entertaining lyrics and a sort of sonic nod to a mid sixties era of record making that we love.
Discography
LIVE 2 Jul 2012
solo acoustic 4 Dec 2011
![Jonherington2[1]](http://s3.amazonaws.com/vibedeck-production/releases/26683/artworks/preview/jonherington2[1].jpg)
shine (shine shine) 10 Oct 2010
Pulse And Cadence 16 Aug 2008
Like So 4 Dec 2000
Gear
Guitars:
Gibson custom shop SG
Gibson custom shop CS 336
Gibson reissue 1954 Goldtop Les Paul
Gibson ES 335
Fender Telecaster
Fender Tele-Sonic
Wysocki Tele
Amps:
Guytron GT 100 FV
Bludotone Bludotone-Drive
Bludotone J-Rod 50"
Pedals:
Robert Keeley Fuzz Head (on Shine Shine Shine only)
Ethos Overdrive (direct only)
Software:
ProTools
Jon's CD "Time On My Hands" has been nominated for Album of the Year by Vintage Guitar magazine, people can help by logging in to vote: http://www.vintageguitar.com/hall-of-fame/
http://www.jonherington.com/
Photo: Jon Gorr
Jon's love for music surfaced early, and he studied piano, saxophone, and harmony in his grade school years. Just before his high school years, however, he developed a passion for pop music and the electric guitar, and soon was writing songs and performing with his own band near his New Jersey Shore home doing opening slots for local hero Bruce Springsteen, beginning a performing career that has continued ever since. College followed, with extensive musical studies in both classical and jazz composition and theory at Rutgers University, and private jazz guitar study, with the help of a National Endowment for the Arts grant, with the late, great jazz guitarist, Harry Leahey. Next came several years of study with the late Dennis Sandole, the acclaimed music teacher from Philadelphia, Pennsylvania who once taught the late greats James Moody and John Coltrane.
Which was the first record you bought with your own money?
I'm not really sure whether you could call it "my own money," but I remember the first single I bought was called "Big Girls Don't Cry" by the Four Seasons, and I still love that track to this day. But perhaps a more important record buying day was the day I first bought any long play albums: I came home with Cream's "Disraeli Gears;" Jimi Hendrix's "Are You Experienced;" and the Beatles' white album. All of those record purchases still define me in some way today, and I still love them all.
How would you define the present time in musical terms?
Varied and massive. There is an unbelievable amount of music available at the click of a finger on a phone nowadays. That is the most astonishing shift in my musical lifetime - when I was young, it was a thrill to hear any live music in the world. It didn't happen often, and you didn't hear music everywhere all of the time like you do now, in every restaurant, elevator, shopping mall, Doctor's office, etc. I'm afraid all that omnipresent music devalues music for most of the population. On the other hand, for people who are truly interested in exploring the vast range of music in the world, this is the best time to be alive to do that.
What was the first solo you learned from a record — and can you still play it?
I'm pretty sure it was "Sunshine Of Your Love" by Cream, but I'm sure I wasn't playing it very well. I could probably play it pretty well even today - I still think it's a great one. It has a kind of rhythmic freedom I love; it sounds expressive like a singer.
Which recording of your own (or as a sideman) are you most proud of, and why?
That's a tough question. I would have to say I'm equally proud of all of the last three "songs" records we've done. I have my favorite records for different reasons – I like that I was able to get a lot of guitar playing on "Time On My Hands," and there are particular songs on all three of those records which I think are stronger songs than some of the others. But they all feel like accomplishments I'm proud of.
What’s the difference between playing live and playing in a studio?
There are a lot of differences. Often, the absence of a crowd in the studio yields a more intimate feeling. Playing live, it often feels like you get an extra boost of energy from an enthusiastic crowd. Playing live it always feels fun and risky. In the studio, however, it's a great place to create and invent. Especially if you have the time, great things can happen if you are patient and trying to develop something in the studio. It's a place where a lot of discoveries can be made.
What’s the difference between a good gig and a bad gig?
What it pays. How it sounds. Who you're playing with. What music you're playing. How you feel.
What’s the difference between a good guitar and a bad guitar?
How it sounds. How it plays.
Do you play electric and acoustic? Do you approach the two differently?
I do. Yes, I approach them differently. Because the setup of each instrument is completely different, they have to be approached technically in a different way. And because they have different sounds, I'll go to each particular instrument for its particular sound. So the types of parts that get played on each instrument are naturally different.
Free Download
What do you dream about?
In the literal sense, it's difficult to say, because I rarely remember my dreams the next morning. In the figurative sense, I don't do much dreaming anymore. I'm concentrating on enjoying the present tense now, whatever it brings me.
Do you sound like yourself on other people’s guitars, in other instruments?
Yes. It can't be helped. That can be a good thing or a bad thing, depending on one's point of view. It's mostly a good thing for me.
Michael Leonhart - trumpet, voice, guitar, bul bul ƒ Jon Herington - acoustic and electric guitars, dobro
Which living artist (music, or other arts) would you like to collaborate with?
I don't dream about collaboration with other artists at all. Most of my solo work feels pretty personal to me, and I'm comfortable doing it myself and with one or two trusted collaborators who I've been working with for many years now.
What dead artist would you like to have collaborated with?
I find it difficult (and somewhat pointless) to indulge in that kind of fantasy, but I bet it would have been fun to play on a John Lennon record.
What’s your latest project about?
It's a collection of songs which we're probably going to call "Adult Entertainment." We're having fun writing the songs, and it's looking like it will be a very upbeat, fun record with some funny, entertaining lyrics and a sort of sonic nod to a mid sixties era of record making that we love.
Discography
LIVE 2 Jul 2012 solo acoustic 4 Dec 2011 shine (shine shine) 10 Oct 2010 Pulse And Cadence 16 Aug 2008 Like So 4 Dec 2000
Some of Jon's recording highlights (aside from "Time On My Hands," "shine (shine shine)," "Like So," and "Pulse and Cadence") are the Walter Becker release, "Circus Money;" the newest Donald Fagen release, "Sunken Condos," as well as his prior release "Morph the Cat;" the Steely Dan albums "Two Against Nature" (Grammy Award Winner) and "Everything Must Go;" Jim Beard's five recordings (the first four co-produced by Jon); two Bill Evans records, "Escape" and "Starfish and the Moon;" Michael "Patches" Stewart's "Penetration;" Bob Berg's "Riddles" and "Virtual Reality;" Lucy Kaplansky's "10 Year Night;" Michael Brecker's "Now You See It...(Now You Don't); " Randy Brecker's "Toe to Toe;" Victor Bailey's "Bottoms Up;" Chroma's "Music on the Edge" (with Mike Stern and others); Rob Morsberger's "The End of Physics," "Relativity [Blues]," "A Periodic Rush of Waves," and "The Chronicle of a Literal Man;" and Lynne Robyn's "Red Bird in Snow," one of Jon's production efforts. Jon can also be seen on Steely Dan's live video and DVD and is featured on the "Making of Aja" video/dvd, from the brilliant Classic Albums series. Jon's current work remains a combination of free-lancing as a guitarist and producer in New York, song-writing and band-leading work with his own group, and world-wide touring in support of some of the world's most renowned musical artists.
Gear
Guitars:
Gibson custom shop SG
Gibson custom shop CS 336
Gibson reissue 1954 Goldtop Les Paul
Gibson ES 335
Fender Telecaster
Fender Tele-Sonic
Amps:
Guytron GT 100 FV
Bludotone Bludotone-Drive
Pedals:
Robert Keeley Fuzz Head (on Shine Shine Shine only)
Ethos Overdrive (direct only)
Software:
ProTools
- See more at: http://guitarkadia.com/emon/interviews/jon-herington-interview-winner-of-giveaway-teaser/#sthash.np0tFsYD.dpuf
Gibson custom shop SG
Gibson custom shop CS 336
Gibson reissue 1954 Goldtop Les Paul
Gibson ES 335
Fender Telecaster
Fender Tele-Sonic
Amps:
Guytron GT 100 FV
Bludotone Bludotone-Drive
Pedals:
Robert Keeley Fuzz Head (on Shine Shine Shine only)
Ethos Overdrive (direct only)
Software:
ProTools
- See more at: http://guitarkadia.com/emon/interviews/jon-herington-interview-winner-of-giveaway-teaser/#sthash.np0tFsYD.dpuf
Guitars:
Gibson custom shop SG
Gibson custom shop CS 336
Gibson reissue 1954 Goldtop Les Paul
Gibson ES 335
Fender Telecaster
Fender Tele-Sonic
Wysocki Tele
Amps:
Guytron GT 100 FV
Bludotone Bludotone-Drive
Bludotone J-Rod 50"
Pedals:
Robert Keeley Fuzz Head (on Shine Shine Shine only)
Ethos Overdrive (direct only)
Software:
ProTools
A complete gear's description here
Guitars:
Gibson custom shop SG
Gibson custom shop CS 336
Gibson reissue 1954 Goldtop Les Paul
Gibson ES 335
Fender Telecaster
Fender Tele-Sonic
Amps:
Guytron GT 100 FV
Bludotone Bludotone-Drive
Pedals:
Robert Keeley Fuzz Head (on Shine Shine Shine only)
Ethos Overdrive (direct only)
Software:
ProTools
- See more at: http://guitarkadia.com/emon/interviews/jon-herington-interview-winner-of-giveaway-teaser/#sthash.np0tFsYD.dpuf
Gibson custom shop SG
Gibson custom shop CS 336
Gibson reissue 1954 Goldtop Les Paul
Gibson ES 335
Fender Telecaster
Fender Tele-Sonic
Amps:
Guytron GT 100 FV
Bludotone Bludotone-Drive
Pedals:
Robert Keeley Fuzz Head (on Shine Shine Shine only)
Ethos Overdrive (direct only)
Software:
ProTools
- See more at: http://guitarkadia.com/emon/interviews/jon-herington-interview-winner-of-giveaway-teaser/#sthash.np0tFsYD.dpuf
Jon's CD "Time On My Hands" has been nominated for Album of the Year by Vintage Guitar magazine, people can help by logging in to vote: http://www.vintageguitar.com/hall-of-fame/
http://www.jonherington.com/
Thanks to Susan Johnson for his kindness
