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Peter Janson Bio

IN BRIEF
Peter Janson concerts offer world class solo guitar music with artistry, superb technical mastery, and heartfelt passion.. His music is a treat not only for guitar-lovers, but for anyone with a passion for acoustic folk, Celtic, jazz, or world music with a contemporary twist.

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Printer-friendly Peter Janson press kit

Fans, agents, venues, and promoters can find booking information
simply by clicking to one of our electronic press kits
EPK at Sonicbids or EPK at Reverb Nation

When you click one of the links above, you will go to our EPK at Sonicbids or to our EPK at Reverb Nation. At both links you can view a bio and reviews, look at pictures and a video, and listen to live performance audio samples. The Sonicbids EPK is better to see technical requirements and sample set lists, and if you want to you can just make one click and print out the entire kit in a printer-friendly version. The Reverb Nation EPK is better if you want to place widgets with songs and more on your website calendar or in emails to your mail list. If you need more info give us a call - we're friendly.

*call EWM Records at 508-238-3270

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Peter Janson press reviews

Peter Janson & Friends - Beautiful Day
NA Retailer, May 2007 Expo Edition - Randy Alberts - 2007
Releasing an album that is soulful, meditative, and virtuosic is not easy, but that's exactly what Peter Janson and Friends have accomplished in Beautiful Day. Janson, perhaps the leading contemporary acoustic fingerstyle guitarist today, and his Friends - a collection of eight first-call jazz, folk, and world music live and session players - deftly avoid overcooking the good melodies with the band's immense chops while still fanning the flames of this thoughtful, reflective music.

Suitable for the New Age, jazz, folk, world beat, and Celtic store shelves, the superb musicianship and songwriting of Beautiful Day feature Janson's warm, clear fingerpicked guitar melodies and leads alongside soulful vocals, earthy drums, acoustic stand-up bass, and subtle lush keyboards and pianos.

"Waterfall" is reminiscent of Alex de Grassi's early Windham Hill Days, and Raymond Gonzalez's great wordless melodies harmonizing with Janson's guitar on the mellow title track create a soothing lullaby for any occasion. The wide keyboard pad, high grand piano notes, warm acoustic bass walks, and Janson's explorative, unique combination of melodic chord and lead playing on the 10-minute "December Morning Sun" are simply beautiful.

Peter Janson & Friends - Beautiful Day
The Minor 7th - Alan Fark - 2007
In the 1980s the Windham Hill label assumed stewardship of a meditative acoustic sound which was often simplistic in composition but soaring in spirit. Although Michael Hedges (who was a label-mate) referred tongue-in-cheek to Windham Hill's new age music as "California Hot Tub Music," artists such as Liz Story and George Winston really did prove the converse to the prevailing truism in jazz that dazzling musical complexity need be a prerequisite to evoke artistic mysticism.

Peter Janson has rediscovered Windham Hill's vibe on "Beautiful Day," an elemental and atmospheric collection of world-jazz fingerstyle songs. The vibe succeeds not only because of a consistent deference to introspection, but because of Janson's collaboration with well-chosen sidemen. Steve Hunt is on keyboards, bringing with him a resumé that includes stints with Freddie Hubbard, Stanley Clarke and Allan Holdsworth. Bertram Lehmann on percussion has played with Joe Zawinul, John Lockwood on bass with Pat Metheny. Jamie Bonk (on second guitar) has been nominated as "guitarist of the year" by Smooth Jazz Canada. There is a drone-like beauty to the aptly-named opening track, "Mantra for Mieka." "Waterfall" opens with sounds of placid water... to be replaced by torrents of guitar lines played with a sinusoidal urgency. "December Morning Sun" begins like an ambient overture from Brian Eno and remains on-theme as a somewhat formless tone poem even as more traditional instruments assume control. "Beautiful Day" is beautifully captivating in a way that a state of nirvana must willingly claim an ascetic practitioner.

Peter Janson & Friends - Beautiful Day
NAR - Both Sides Now - RJ Lannan and Bill Binkelman opine - 2006
Bill says... Being a big fan of Peter Janson’s first three solo acoustic guitar albums, I was curious to see what he would do in an ensemble setting. Would Janson’s evocative and frequently plaintive melodies be glossed over with too much polish and/or would the accompanists intrude upon the aesthetic I was so used to from past releases?

No worries, mate, as Beautiful Day is a stunning album, to say the least. Within a few minutes into the first track, I realized I was hearing an evolution in Janson’s music that captured his “essence” while transforming it into a fuller more atmospheric and textured “whole.” This CD can best be described as “autumn driving music” filled with smooth melodies that are often tinted with melancholy and reflection yet sometimes a warm cheerfulness as well. The addition of percussion, another guitar, bass, wordless vocals (on two tracks) and some excellent electronic keyboards (courtesy of Steve Hunt) adds a lot to Janson’s already evocative and rich music, which I thought was pretty damn good to begin with (evidenced by my glowing reviews of past recordings).

Highlights are many: “Mantra for Mieka” with delicate guitar, hand percussion, and subdued bass, the wonderfully moody “Spirit Dances” (mixing a sly bluesy mood and sparkling guitar with sensual rhythms), the short sunny title track, an almost ten-minute long minimalist tone poem “December Morning Sun” (I’d actually consider this quasi-ambient in the way it patiently unwinds with piano, synth textures, and bass all pirouetting around each other), and the breezy relaxed “walking-along-the beach” feeling of “Dragonfly” (a cross between John Balint and Bruce BecVar) with hand drums, guitar, wordless vocals, synth washes and some subtle jazzy organ fills at the end.

Put simply, Beautiful Day is a perfect album with many memorable moments. Bravo to Peter Janson and his assorted guest stars, including Jamie Bonk (whose own guitar/ensemble albums this reminds me of at times). Beautiful Day is easily one of the best releases of recent years and is recommended without reservation to fans of the new age/adult contemporary genre.

RJ says... I had to go up the mountain the other day and build a waterfall for a client so I took Peter Janson & Friends along for the ride. Clear blue skies, brisk morning breezes and the sun just getting ready to warm things up. The conditions were perfect for some contemporary and precarious jazz instrumentals from a well-known and highly talented guitarist. And his friends of course. The album is called Beautiful Day and it was apropos to my time with the music. Fingerstyle guitarist Peter Janson usually does a solo act, but on this album he wanted to make a statement. Something like many hands make the workload light or like try to attain harmony and peace on the planet. So he assembled some outstanding musicians and their collaborative effort is a tribute to cooperation. You have to start somewhere.

Joining Peter is Canadian Guitarist of the Year Jamie Bonk, switching out on bass are Chris Lopes, John Lockwood, and Henrik Bridger, Steve Hunt on keyboards, Bertram Lehman on percussion, Raymond Gonzalez on mandolin and Julie Woods on vocals.

The opening track is called Mantra for Mieka and it puts mellow back on the map. Janson's acoustic prowess coordinated with the gentle keyboards score is a tranquil hymn for any mood. The mantra might be for peace, harmony or a crack just wide enough for a restive spirit to flow though and find solace. In either case it is a terrific opening for a Beautiful Day. There's almost fifty minutes of magic on the album broken down into seven tracks. Spirit Dance is one of the longest and best. It features the talents of Bonk (NAR Interviewer and guitarist extraordinaire) and groovin' bassist Lockwood that bounces the theme around like a jazz and contemporary ball with its own source of energy. Great cut.

No matter how many times I play the album, my spirits pick up every time December Morning Sun comes up on the rotation. This is the tune with the closet association New Age and, of course is one of my favorites. It runs the full gamut between minimalism, jazz and contemporary and the mood is frosty and clear. It is the soundtrack for watching big, puffy flakes of snow fall as the sun rises. Yes, I’ve seen it!

Finally Dragonfly, a contemporary ballad for a flight of fancy featuring the sultry background vocals of Julie Woods. It is punchy, fun loving music to watch the sun play peek-a-boo with the clouds, or to count the ripples on a still pond, or to journey to a land of placid beauty. There is light, warmth and freedom in the music.

The cast has got more hours on sessions and backup gigs than an overworked ambulance driver. Together they expertly mesh their talents to make one brilliant album that will add just the right musical ambience for just about any positive occasion. The music is that good. You can take Peter Janson & Friends anywhere and they will do you proud.

Peter Janson - Firelight Moonlight
Dirty Linen Magazine - TJ McGrath - 2005
Solo acoustic guitar playing is far from a dying art form, but it takes a careful listener to catch all of the subtle grace and beauty from accomplished six-string players as they perform. Peter Janson's third album, Firelight Moonlight, dips into jazz, folk, classical, and world music. The original and personal songs are sophisticated and clever enough to keep you on the edge of your seat, and you can't help but fall in love with some of these rare beauties like "Naissance," "A Clear Stillness," and "Perched In the Soul." Janson, who obviously has taken to heart his fair share of Michael Hedges, Leo Kottke, and Will Ackerman, plays with natural ease and sensory transcendence.

Peter Janson - Firelight Moonlight
Wind & Wire - Bill Binkelman - 2004
Peter Janson has become one of the more consummate acoustic guitarists recording instrumental music in today's world. His compositions are always brimming with grace, charm, and sincerity. From a technical standpoint, he accomplishes this with simplicity and economy yet still displays undeniable talent. His latest collection of songs, Firelight Moonlight, clearly illustrates his remarkable artistic vision and deep sense of commitment to his muse.

Whether the opening up-tempo "Dancing Beneath the Stars," which has a carefree feel to it with its subdued but still lively refrain, or the very next piece, "Under a Shady Tree," the gentility of which speaks of solitude, reflection, and fond remembrance, Janson is an artist who rewards the listener with instantly accessible acoustic guitar music. He never descends into pop formulaic safety, nor does he fill his songs with pointless noodling that screams "Look at how good a guitar player I am." Instead, the ten selections here reveal an artist who allows his soul and spirit to be visible through the music's notes, chords, melodies and tempos. He offers us a rare gift, indeed - a glimpse into the human condition at its most real. Few other guitarists are capable of this (Ken Bonfield is one who comes to mind).

From the playful cover version of Pierre Bensusan's "Wu Wei" to the soft jazzy ballad "Moonlight" to the Emily Dickinson-inspired "Perched in the Soul" (an ideal "new age music" guitar instrumental cast in the mold of Will Ackerman's best work), to the closing somberness of "A Clear Stillness," Janson never hits a false note. One hesitates to use the word "professional" when addressing such evocative and artistic work, but besides having the soul of a poet and abundant talent, Janson is also a musician who values the cold mechanical side of things. The CD is only 44 minutes long, which in my opinion, is ideal (there are way too many artists who fill the need to pack a CD as if it were a suitcase intended for a two-week trip) and the engineering is uncluttered with artificial gimmickry. Graphics are understated yet fit the music's inherent beauty; the liner notes detail each composition's origin and inspiration and the notes' presentation itself is spot on. In short, every aspect of the album is flawless. Peter Janson is now "three out of three" (his previous albums are 2001's Sometimes From Here and 1999's Across The Bridge). Firelight Moonlight belongs in every acoustic guitar lover’s collection - you will not be disappointed. My highest recommendation.

Peter Janson - Sometimes From Here
Instrumental Weekly - JimmyD - 2002
Music for the End of Summer...
The transition between the seasons is always an interesting experience. This time of year in particular signals the end of frivolity and lazy days and points to the busier times of autumn and winter. Schools will soon be full again, beaches will become vacant and the days will once again begin to shorten. After my first listen to Peter Janson's Sometimes From Here, I knew I had found the perfect soundtrack for these few remaining days of summer.

Full of pure emotion and distinct guitar playing, Peter has kicked open a heavy door with this album. I get plenty of acoustic instrumental work, solo guitar especially, and it takes a little something extra in this arena to find praise on The Instrumental Weekly. Of the ten tracks, not one strays from the path to perfection, as each takes its time in developing, never placing any undue stress on the listener. A casual listener could easily discern multiple influences in Peter's finger work, ranging from classical and jazz to folk and more contemporary instrumental styles. A diehard fan of solo guitar will discover that Peter has set a new standard within this genre, one that won't be easy to meet for a lesser artist.

As you make your way through Sometimes From Here, it becomes obvious that Peter is drawing upon inspiration from deeper wells than most artists would ever consider exploring. Each note has a very real emotional weight that is difficult to describe in mere words. Though I don't believe that any of these tracks were necessarily intended to reflect sadness (with the exception of "Even When It Rains"), perhaps it is simply the human condition to find a more melancholy side to music of this caliber. You could be in the greatest mood of your life and find much inspiration in this album, while at the same time you could go through a dark night of the soul with Sometimes From Here playing softly in the background. Perhaps this potential duality is why I find this recording so captivating.

Some highlights here include the subtle but powerful "Painting Australia", a piece not about the land down under, but rather about being out of place, and trying to understand the unknown. The title track is a bit brighter, and reflects the idea of change, and how it invariably affects all of us from time to time. "Fushigi", a Japanese word that infers the strange and odd, does a wonderful job bringing these universal themes into the light. Lastly, "Memories Half Forgotten" strikes me as a piece about nothing in particular, and for that, is all that much more interesting.

By now you've probably figured out that I really enjoyed this album. Many promising artists come and go over, but I am sincere when I say that Peter Janson is going to be an important voice in contemporary instrumental circles. If Sometimes From Here is any indication, Mr. Janson has a lot to share with us, and hopefully, sooner rather than later, his guitar will once again serve to enlighten and enrapture.

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Quotes

"The most beautiful guitar music of our time."
Mansfield Music & Arts Society - Ken Butler

"Remarkable artistic vision... every aspect of the album [Firelight Moonlight] is flawless... belongs in every acoustic guitar lover's collection. My highest recommendation."
Wind & Wire - Bill Binkelman

"Peter has set a new standard within this genre. ...Peter Janson is going to be an important voice in contemporary instrumental circles."
Instrumental Weekly - JimmtD

"I really enjoyed listening to your songs... and was blown away by your compositions and technical ability... you will be on the top of our list for shows in 2006. I'm also going to recommend your CDs to all my friends."
Plymouth Folk and Blues Concerts - Jay Ottaway

"Refreshing... masterful..."
The Mass Media - Andrew Ross Davis

"Although Peter Janson has been influenced by some of contemporary music's greatest artists, his style remains his own. His fingerstyle performances are earthy, sparkling, and evocative. Rating: excellent (five stars)."
NAR Sounding Board - RJ Lannan

"...magnificently represents fingerstyle guitar playing at its best. A rare 10+!"
Spirit of Change - Ming Yuan

"Sometimes From Here holds the significantly unique honor of garnering the most astounding listener response of any disc that has aired in its entirety on New Age Sampler. A must own disc of the first order."
WWSP-FM - Steve Berndt

"I love, love, love your music! It will be a pleasure to play it on Nightscapes."
Nightscapes.com - Anne Williams

"I listened to your CD all the way from Washington to Syracuse (which means it went around a few times) and love it, just as I loved your performance."
Singer/songwriter - Tim Harrison

"Your music is a pleasure to play. Most every time I play one of your CDs, I get phone calls asking for information about it. Firelight Moonlight is awesome!"
KTEP-FM - Jamey Osborne

"A hearty WELL DONE! to you on this fantastic release!"
KOPN-FM - Steve Jerrett

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Photo Gallery - click photo to enlarge

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contact us

If you have any questions, comments, or concerns please contact us at:

EWM Records
PO Box 1513
Easton, MA 02334
508-238-3270
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