Jondo Trio and the Big Blues

Posted on 02. Mar, 2017 by Tim Bushong in News

I love power trios—from The James Gang to ZZ Top to Rush to King’s X (Lovewar? Anyone? Lovewar?), I’ve always liked a stripped-down meat-and-potatoes approach to rock. Nate Mosley, Stu Way, and Paul Osborn together form this power trio called “The Jondo Trio,” and they rolled in to record a full-length CD titled “Scraps From The Borderland” in April of 2016.

Jondo Trio Live

Originally Nate had wanted to record 2 or 3 songs, and then perhaps continue (sort of a studio audition), but I assured him unequivocally that he would have so much fun recording here, and that he would be so pleased with the results that he would end up recording the whole thing here anyway, so he may as well just plan on it. An offer you can’t refuse…?

 

Nate Mosley and "Old Blue"

Paul has a wonderful DW kit, and it sounded beautiful, especially since he’s a really consistent hitter. Balanced playing and a deep groove pocket from the drummer helps so much in achieving drum tones—I can’t emphasize it enough. I ended up using a lot of the room sound in the final mix (miced with an MXL R80 ribbon into a Joe Meek preamp), and those drum tones were just peachy. And no—I repeat NO—drum triggers were used on this recording. They’re fine on some material, and can be very helpful (see here), but this recording is 100% true, organic drum goodness.

Paul Osborn

Here’s a sample of the drums from the breakdown in “Ain’t No Grave,” and you can just hear Nate’s live vocals peeking through.

Stu Way on bass

Stu Way (no relation to Pete—get it?) held down a big, fat low end with his 5-string Schecter bass taken direct through my SansAmp Bass Driver, and for most of the bass tracks I ended up using both a UAD LA-2A and a UAD Cambridge EQ plugin, with an occasional Voxengo Boogex or a Tessla saturation in the chain just for variety and some additional “juice.”

Nate and his Fender Music Master

 

I hadn’t heard much of the material, and I didn’t know how much doubling of the guitars we would be needing to do, but early in the tracking I decided to do something a little differently with his guitar, and that was to take a direct signal from his pickups as well as micing up his Fender Deluxe rig. Here’s the isolated tone: Ain’t No Grave Guitar

UAD Nigel, SIR impulse Reverb, and Boogex

Nate’s trusty old blue Les Paul carried most of the rhythm weight, and a 70′s Fender Music Master along with a really cool 60′s Gretsch Corvette (loaded with a single DeArmond pickup) filled out the roster. The Fender gave us a particularly cool ZZ Top-style solo blues tone, heard especially on “Jesus Walk.”

I rarely get such immediate and positive (visceral, even!) responses from other musicians as I do when I play this material for other studio clients and friends. Maybe it’s the genre, but the combination of songs, style, production, musicianship, and Nate’s manly, testosterone-laden vocals all add up to cook a rich gumbo of blues-rock that just satisfies.

 

Nate's "Lap" gutar

All together now! Gang vocals...

Order this CD right now—you won’t regret it.

 

A little X/Y technique for a big acoustic sound

BTW—since recording this project they added Chris Dafforn on keys, and are no longer in the power trio hall of fame…but they sound even better! Here’s a sample of the opening song, which features Chris on trumpet (and myself on trombone). I almost forgot about the horns!

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We're live!

The producer and the produced.

Sing it, brother

 

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