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BTD ARTIST INTERVIEW WITH JACK PHILLIPS
I also understand you were brought up in a musical family, can you tell us more about that?
My mother was a fine pianist. She once entered a piano competition that was judged by Artur Rubenstein. I grew up hearing her play her grand piano and when I was a teen we got a second grand piano in our living room, very unusual. We would play piano duets once in a while. Both of my grandmothers played the piano and one was responsible for a lot of musical concerts in my home town.
You are a wonderful piano player, I play the piano as well, so I can really relate. Do you own a piano now and what brand is it? If you could dream of having any piano in the world, which one would it be and why?
I have my grandmother’s Steinway. Because she was so involved with musical concerts in my home town, many famous pianists have played it at the parties in her home after the concerts. I’ve always loved Steinway best and if I had the room I’d love to have a concert grand.
How would you best describe your music to a heavy metal rocker?
My music is piano-based and not guitar-based. But some of the earliest rock music was piano-based, e.g., Jerry Lee Lewis, Fats Domino, Little Richard and people like that. I’m closer to Elton John, Billy Joel and Bruce Hornsby.
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ROBERT BARRY FRANCOS REVIEW OF NIGHT AND DAY
Jack Phillips
Night and Day
Magnolia Group Records
Jack has a nice musical sound that is somewhere between Billy Joel and Elton John,
as in the opening original “I Love New York,” mixed with a bit of New Orleans
jazz, especially on the likes of “The Old Grey Hat,” and maybe even some soft Southern
Rock with “No One’s Home.” The second half of the CD (aka “the flip side”) is mostly
jazz/standard sounding, such as “Let’s Drink to Us” and “Take Them to
Manhattan.” A more commercial rockin’ sound is given in “No More Waitin’,” one
of the better cuts here. The album concludes with a I-IV-V instrumental that
relies on a ragin’ guitar by Caleb Quaye on “Down in the Jungle Room” (assuming
that’s a Graceland reference). Phillips’ voice is a bit rough at times, but it is
unique and actually works really well with the styles he brings forward, which
I would say is a highly boogie, almost Cajun-focused sound, with a deep southern
tone. It’s an enjoyable listen, especially when he gets his soft jazz boots on.
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