 By Cristina Carrazza -- Regional Head, Midwest
Although you may have not heard of his name, chances are we have all heard Jason Reeve’s music at some point. While he may be credited as co-writer of distinguished songs, such as Colbie Caillat’s “Bubbly,” this Iowa native is more than just a talented songwriter. His highly acclaimed full length debut, “The Magnificent Adventures of Heartache and Other Frightening Tales” is a beautiful collection of poignant tracks that showcase Jason’s thriving potential. As he is getting ready to release his second major label album, “The Lovesick” I got the chance to talk to Jason to learn more about this promising singer songwriter.
Cristina: First of all, introduce yourself.
Jason: My name is Jason Reeves. I am a lost boy. I write songs sometimes, and sing then sometimes. I climb trees and run up mountains. I get lost in the wilderness and come back and write more songs.
CC: Lost boy in the Peter Pan or literal sense?
JR: I all senses of the way. But in the Peter Pan sense the most.
CC: How would you describe your music? Or songwriting in general?
JR: I would describe it as honest. The only thing I try to do when I write is be as real and as immediate as I can, in terms of the emotions and the feelings I am trying to capture. I’m just trying to be honest, that’s really it. There’s nothing else to say other than that. I don’t know what my songs are beyond that. They are just my life.
CC: Listening to some of the things people have said about you, I think you’ve relayed that honesty and they see a sense of truth and reality in your music.
JR: Thank you for saying that. That is my ultimate goal. To be honest and real. That’s the deal. That’s what music is: feeling. At least for me, it makes me feel when you listen to it. That’s because the people that are making it put their feelings into it.
CC: Speaking of emotions, your first album had a very interesting title.
JR: Thank you! And very long too.
CC: You have had a very interesting music career so far. Some of you co-writes have been huge hits, especially the Colbie Caillat songs. The timing of the release of your first major full length was right around the time “Bubbly” was getting some airplay. So how was that for you? I guess it’s interesting to think that so many people have heard your music but they don’t know it comes from you.
JR: Yeah, that’s a strange thing for me. A lot of the time people don’t know some of the songs I’ve written. I’ve been lucky to write with so many people and some of those songs have hits. For the most part, people know that I wrote the Colbie songs but I’ve written some other ones too. It’s kind of amazing that I get to write music and anything that allows me to do that is incredible. That has opened so many doors for me that I wouldn’t have even found on my own. I guess that’s the way I think about it. I’ve been making my music for a long time. That was my first label record. I’m not going to stop making my music if my songs never become famous, with me singing them. That’s ok, that’s not why I do it.
CC: And how is that transition from writing with others and then claiming some songs as your own and performing them yourself?
JR: It’s different. It’s a lot easier when you write a song and let somebody else do all the work after that. After you write it, you have to go play it and promote it and all sorts of things. It’s kind of crazy. But I’m happy that while I’m not doing that, I can go back and write some more songs and let them do it. Sometimes I get a break and that’s good. It’s a balance, it goes back and forth.
CC: Is there a particular song that you like to keep for yourself?
JR: Hm, that is a good question. I definitely keep them if they connect to me directly. It’s not necessarily the case that I won’t let anyone else sing them, because obviously all the songs I write I write from something of my perspective. When it’s with somebody else you have to balance that and it becomes both of your feelings, and hopefully you feel something similar. There are songs that I write and I know I want to keep for myself. Sometimes it’s really easy to know that and sometimes it’s not. Maybe I’ll think I don’t want a song because it’s not right for me at the moment and after some time I’ll realize I actually do. If nobody has taken it by then, I’ll do it. It’s very random.
CC: I’m also saying that because “The Magnificent Adventures of Heartache and Other Frightening Tales” was pretty long, which is a great thing.
JR: I write so many songs. With that one, there were no rules. There are a set of rules that go along with being on a major label. But sadly, this new album only has eleven songs. I’ll just have to save the rest for the next one. Someday there aren’t going to be records anymore. Whenever I finish a song someday, I’ll probably put it on Itunes or something and it’ll be a continuous streaming thing.
CC: Your first album was also interesting in that it started off as an independent release and was then picked up by a major label. What can people expect from “The Lovesick” since it’s your first strictly major-label debut.
JR: Yeah, it’s definitely different. But I think the reason for that is the fact that it’s been more than three years since I recorded that last album. I’ve changed a lot. The two songs we have released from it so far sound very different. I think that’s how the album kind of goes. None of the songs sound exactly like each other. That was my goal when I made this record, having a variety of sounds. Each song is a different emotion. It’s a continuation from the last record in the way that it’s a story about my life and how love comes in and out of it. In life, you feel differently and go through these phases where you feel drastically different. I just wanted it to sound like that too.
CC: You mentioned it was different. Is it different musically or is it something that inspired you to make it such a diverse album?
JR: How it got recorded was sort of an accident. I was in the studio with the producer, Adam Smith, and I just took more chances. I wasn’t afraid to try using different sounds I’ve never used before. I think it was that freedom and spontaneity. People might think that my label forced me to make this record but to be honest they didn’t hear it until it was done. I did it all on purpose the way it is.
CC: And where do you think that freedom came from? Was it the fact that you were an established songwriter or you were trying to look for a change?
JR: Everybody that creates any kind of art should always be trying to grow and expand. I can always go back to playing songs on my acoustic guitar, that’s easy for me. I could probably make a record right now, in an hour, playing it that way. I’m not afraid of being able to do that. But it’s not easy to do something like I just did with my new record. It’s a big step and it’s a big chance artistically for me. I don’t know if I’m going to be willing to do that any other time but right now. It’s the moment for that.
CC: What are you hoping people will take away from it?
JR: My goals are the same whenever I write songs. I just want them to take away any sort of meaning that applies to them as a listener. I have my meaning and how it makes me feel, but that doesn’t mean I want everyone else to feel that same way about it or think the same things when they hear it. My only goal is to tell the truth in the lyrics. Hopefully through that people can see their life in those songs in some way.
CC: What do you want your legacy to be in the music business? You have been involved with it in some many different aspects of it…
JR: Wow. I’m not sure. I am most concerned with my songwriting. I would rather be known as a writer than anything else. I don’t want to be known as an amazing guitar player or singer. That’s not my goal and that’s not why I do it. I think I would rather be known for my writing in the end. That’s what I care about the most.
CC: You seem to be so involved with connecting with people through your music. So how has it been getting back on the road and playing these songs live and seeing first hands their reactions?
JR: It’s incredible. The best part about live music is that it’s shared energy. You give the crowd something and the crowd gives you back something. It’s this beautiful balance of that. It doesn’t happen when you’re writing music. When you are writing, its just you and the song. You give yourself to the song. But the song might give you something back but not in the same way a crowd can. It’s rewarding to see that immediately. People might react that way when they are listening at home but you don’t feel it or see it.
CC: What are your plans in the immediate future to support “The Lovesick”?
JR: I’m going on a radio tour next month. I’m sure in the spring I’ll go on a more classic tour. I’ll probably be touring for the rest of the year.
CC: Any last random thought to end this?
JR: I think the state of the world is very scary. Terrifying, in fact. I don’t think there are many things that have the potential to heal it or fix it more than music and love and the way they work together. Music is one of the only universal languages that pretty much everyone can relate to. Everyone likes music, maybe not the same kind. No politicians, and no money, and no war can do anything for us that put us further into this hole. I think the world will realize that if we find what means we have left to spread peace and love, which are very few, then we might have a chance. It’s interesting to think of music as somehow being that eternal and universal language. Maybe someday this whole universe will all connect to some insanely beautiful vibration that we haven’t found yet. And that’s what I’m looking for. I don’t thin I have found it yet. But I want to be a part of looking for it. |
|
