I see music in colour and shapes so how can there be genres.
Every sound like souls, not perfect. Infinite shades and shapes that can't be categorized.
They all feel different and the same, It never stops
Its spiritual when you don't try to define it but instead fall into it completely
Mike Stevens
My Latest Recording on StonyPlain Records Available Everywhere
A Review from Paris France
Slide guitar knew Bob Brozman and Kelly Joe Phelps, electric guitar Jimi Hendrix, bass Charlie Mingus, Jaco Pastorius and Stanley Clarke, piano Monk, Bill Evans, Glenn Gould and Keith Jarrett, and drums Art Blakey, Tony Williams and Tony Allen. Canadian harmonicist Mike Stevens is certainly of this calibre: both virtuoso and pioneer of new territories, as well as miscegenations that are still little explored. Coming from the long bluegrass and trad americana tradition, he has been working for more than 35 years to push its limits, subjuguating each audience in front of which he performs. For his eighth solo album (to which must be added those committed with Matt Andersen, as well as the one with Raymond McClain), this equivalent in terms of eclecticism of what Ry Cooder represents for the six strings persists and signs: without the slightest demonstration of sterile esbroufe, this all-terrain of the pocket instrument cheerfully spans genres and styles as outdated fences, while leaving the majority of contemporary harmonicalists riveted to the ground. Alternately reggae ("Like A Little Bird"), funky Louisiana way ("Bad In A Good Way", "Put Your Phone Down"), swamp stomp à guimbarde ("Ida Red"), country speedé ("Watermelon Pie"), disheveled bluegrass ("Grumbling Old Man, Grumbling Old Woman" or the hectic adaptation of the "Orange Blossom Special" standard, worthy of the Olympic Games), boogie blues ("Devil's Bride"), or even contemplative folk ("The Wreck Of The Edmund Fitzgerald", "Jesse's Request" or the autobiographical "Living In Sarnia"), it welcomes vocalists Polly Harris and Cory James Mitchell on two of the six sung tracks, to ensure the vocal lead vocals on four others, while the rest Is 100% instrumental. To be noted in the same breathtaking register, electric guitarist Kevin Breit, whose jazzy soli would not have departed the best of Steely Dan. As iconoclastic as that of any gifted self-taught, his virtuosity leaves you stunned, but Mike does not neglect the magical ingredient that preserves any true acrobat of vain performance: fun. A record as stunning as it is jubilant! Patrick Dallongeville Paris-Move, Blues Magazine, Illico & BluesBoarder PARIS-MOVE, April 23rd 2022
