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Richard Hart Emerges With Blue Swing
Guitar heroes are few and far between, and sometimes they don’t even know that they are one until someone taps them on the shoulder and tells them, as is the case with Richard Hart. Hart released his first solo album Fearless Shores from Innervision Records in 2006, and has since been carving out a niche for himself composing original bebop-tinged samba blends. His forthcoming record Blue Swing is much of himself and more having developed a laudable familiarity with the guitars he owns and evolving as a showman by continually to perform live.
He admits, “I haven’t really been looking for a new guitar. I am content with the models I have now. I get just the right tones from them. I use a Cyber Twin SE amp that gives versatility to playing and a Polytone Mini Brute II in the small venues for that small intimate venue feel.”
The new recording features a few musicians from his previous release like saxophonist Ron Munn, in addition to a cast of new ones who approached Hart about working with him including drummer Gene Fuchs, trumpet/flugelhornist Roger Lester, and bassist Justin O’Neil. Hart explains how he got together with these musicians. “I met Gene Fuchs because he heard about a jazz guitarist playing at Rebecca’s House of Coffee in Elk City, Oklahoma. I asked him to sit in and he was able to navigate any spontaneous improv tunes I was composing or trying out at the venue, which is more demanding of any player and Gene has been able to do that. Meanwhile, Roger Lester had come to Elk City to the local music store and spoke with a guy who works there that he was playing in a band in Amarillo. He was told about me [by] Patrick Swindell [from] Patrick Swindell and the Pizzazz Band. He was looking for a guitarist so he left his card. I then called Roger and left a message, and Patrick called Roger and said this Richard guy is legit and we started doing gigs together.” Hart extols about Lester, “great player.”
Hart continues that he met Justin O’Neil, “sometime around the past Christmas ’09. He brought three 3 players from Western Oklahoma State College to perform with Gene and I. A few days after the gig, I gave Justin a call about coming back to play at Rebecca’s again with no prior practice or charts. It all fell into place well enough. We’ve been together working ever since.”
Hart describes about the new album Blue Swing, “The new CD Blue Swing has mostly original bebop on it. The first six are traditional mixes with bebop, and the last two tunes are more Latin-bossa nova-samba.”
He notes that when the band is performing live, the audience is often visibly affected by the more Latin-dance oriented tunes, “Audiences respond to ‘Bimbo’ and ‘Can’t Pass You By’ (from Fearless Shores) the most. Whenever we play Latin or Brazilian jazz, they seem to stop whatever they are doing to just listen -- a great feeling.”
He discusses what components make a tune resonate with audiences. “The importance of using chordal accompaniment which enhances the melody line or mood you are trying to get across to the audience.”
He explains how he translates these directions to the musicians who put the material together especially when the band is playing live, “I tell them to relax and enjoy themselves. Let’s keep it open, moving and spontaneous. Our rehearsals are slim to none. My musicians live in different cities and some play with other bands as well, but they are always able to step up and make the gigs captivating to the audiences.
Blue Swing takes Hart up a notch in the bebop direction from his previous album Fearless Shores. He reveals how his musical influences have made an impact on him and his style of playing. “I look up to and am influenced by past greats such as Barney Kessel, Nat King Cole Trio, Wes Montgomery, Tai Farlow, Stan Getz, and Paul Desmond. Also my friend and saxophonist Ron Munn on both recordings Fearless Shores and Blue Swing has influenced how I write to get that interpretative style of his along with mine to make the tunes pop out to the listener.”
A number of tracks on Fearless Shores are featured in the indie film The Lawn Boy released from the Texas-based GAG Order Films. Hart describes how he became involved with the production company. “I was flying from Las Vegas to Amarillo to perform in Oklahoma. I met a gentleman by the name of Jason Prisoc while on the flight and we struck up a conversation about where we were going and what we were doing. Got around to my jazz guitar playing, recording, etc. and he said that he had a close friend who was a film producer by the name of Tim Grace and that I should send my CD to him because he was always looking for instrumental material, especially jazz for his films. So I contacted Tim Grace by email, sent the CD and heard absolutely nothing for 8 months.”
Hart recalls that by the ninth month, “I get a lengthy email apologizing for not getting back to me sooner because he was in post production on The Lawn Boy and would I be interested in signing a mechanical licensing agreement for the motion picture -- 7 songs all listed with credits, titles, and record label. Like I’d say no,” he chortles, “but I retained my copyrights and publishing rights to all material. I was hopeful that there will be interest and this is a blessing and great opportunity for me.”
Hart enthuses, “The music fit the scenes. Yes, having my songs in the film portrays a whole different interpretation or concept of the songs than I originally had when I had written them.”
Though Hart has not been booked for any summer jazz festivals, he tells, “I will continue to play at the local supper clubs and cafes in Western Oklahoma and the Texas Panhandle.”
He shares that he has been occupied in other endeavors which relate to his music including, “working on drafts for a beginning jazz guitar instruction book with CD and sample rhythm tracks so the student can really open up the creativity and spontaneous side of their soloing potential.”
Richard Hart has evolved into a guitarist for all times whether he is playing ‘50s swing, ‘60s bebop, ‘70s blues, or modern day Latin dance. His music is designed for all generations to relate to and enjoy. His fusion of jazz, blues, swing, and Latin breeds has a way of affecting audiences to come in touch with the refined sensations of pleasure and a love for life.
