Things Done Changed Jerron Paxton

• 1 Things Done Changed 05:15
• 2 Baby Days Blues 03:16
• 3 It's All over Now 02:48
• 4 Little Zydeco 02:40
• 5 So Much Weed 04:07
• 6 What's Gonna Become of Me 03:48
• 7 Mississippi Bottom 03:54
• 8 Out in This World 04:32
• 9 All and All Blues 02:35
• 10 Brown Bear Blues 04:04
• 11 Oxtail Blues 03:08
• 12 Tombstone Disposition 03:42
• Total Runtime 43:49

Info for Things Done Changed

Growing up in Los Angeles, Jerron Paxton would sit with an ear by the radio, eagerly absorbing the nuances and history of Black American traditional music that connect him to his ancestral roots in the South. A songwriter, inheritor of tradition, and a walking, talking jukebox, Paxton approaches his craft with equal part wit and reverence, with a knack for leg-pulling and cracking wise. Things Done Changed is an album of original songs that sound beamed in from nearly a century ago, when jazz and blues were performed as a means of both personal and cultural survival. Lick by lick, Paxton builds a bridge between generations gone and generations to come, singing the heartaches and joys of the past and present.

Born and raised in South Central Los Angeles, Paxton's music is steeped in the rich cultural heritage of the Great Migration. His family’s journey from Shreveport, Louisiana, to the Athens neighborhood of South LA in the 1950s laid the foundation for his appreciation of Southern Black culture. As an only child, he spent much of his upbringing absorbing the culture his family had taken with them to California from the South. Paxton grew up very close with his grandmother, often shadowing her mannerisms and adopting them as his own. While Futurama or King of the Hill were on the family TV, he’d find himself sitting down with her, practicing banjo chords he’d heard on her favorite records. Since relocating from Los Angeles to New York City in 2007, Paxton has found an embracing audience within the city's diverse cultural communities and vibrant music scene. He discovered that New Yorkers are sensitive to the kind of authenticity in storytelling that he was exposed to as a child

“Things Done Changed is my way of honoring the culture I come from,” says Paxton. “I grew up playing for the last generation of folks who grew up listening to Black banjo players … Born from the lives of the people who raised me, I hope these songs resonate with listeners as a continuation of our shared history.”

“Paxton is “virtually the only music-maker of his generation—playing guitar, banjo, piano and violin, among other implements—to fully assimilate the blues idiom of the 1920s and ‘30s.” — The Wall Street Journal

“Paxton shifts from piano to guitar to fiddle to a five-string banjo that looks like he timetraveled to the 1920s, stole it from a juke joint, and dropped it on the ground a few times on the way back.” — The Village Voice

“His singing voice is of a kind that one just falls into; it wraps around you, cradles you, and doesn’t let go, and his delivery is what I would call “singing storytelling” (in the true tradition of the blues)....If you have a chance to see Paxton in concert, grab it with both hands.” — The Snycopated Times

“He is not merely a preservationist mining bygone decades for esoteric material or works that fit a certain aesthetic or brand. He simply takes music that is significant to his identity, his culture, and his experience and showcases it for a broader audience. Its value does not reside solely in its history or in the authentic replication of that history, but also exists in its present, its relevance to modern times, and its future, as well.” — The Bluegrass Situation

Jerron Paxton, vocals, guitar, piano, banjo, harmonica

Jerron "Blind Boy" Paxton
has earned a reputation for transporting audiences back to the 1920's and making them wish they could stay there for good. Blind Boy Paxton may be one of the greatest multi-instrumentalists that you have not heard of. Yet. And time is getting short, fast.

Jerron performed to a sold out audience at the Lead Belly Tribute at Carnegie Hall on February 4, 2016 along with Buddy Guy, Eric Burdon, Edgar Winter, Kenny Wayne Shepherd, and other stars. It is no exaggeration to say that Paxton made a huge impression. In the two years since his incredible performance at that star-studded show in one of the world's great concert houses, Paxton's own star has been rising fast. He opened for Buddy Guy at B.B. Kings in NYC; for Robert Cray at the Reading PA Blues Festival, and performed at numerous other festivals including: Woodford Folk Festival & Byron Bay Blues Festival in Australia; Calgary Folk Festival in Canada; Jewel City Jam in Huntington WV; Freihofers Jazz Festival in Saratoga Springs FL; Clearwater Festival in Croton-on-The Hudson NY; Fayetteville Roots Festival in Fayetteville AR: Cambridge Folk Festival in the UK., Harvest Time Rhythm & Blues Festival in Ireland; and headlined the 2017 Brooklyn Folk Festival.

Jerron Paxton is a two-time participant in the Keeping The Blues Alive Cruise and is the new Artistic Director of the Port Townsend Acoustic Blues Festival & Workshop at Centrum in Port Townsend, WA.

Paxton was featured on CNN's Great Big Story and appeared in the multi award winning music documentary AMERICAN EPIC produced by Robert Redford, Jack White & T-Bone Burnett. In October and November 2018 Jerron 'Blind Boy' Paxton will be touring the U.S. with the musicians from this groundbreaking AMERICAN EPIC SESSIONS music documentary.

This young musician sings and plays banjo, guitar, piano, fiddle, harmonica, Cajun accordion, and the bones (percussion). Paxton has an eerie ability to transform traditional jazz, blues, folk, and country into the here and now, and make it real. In addition, he mesmerizes audiences with his humor and storytelling. He's a world-class talent and a uniquely colorful character that has been on the cover of Living Blues Magazine and the Village Voice, and has been interviewed on FOX News. Paxton's sound is influenced by the likes of Fats Waller and "Blind" Lemon Jefferson. According to Will Friedwald in the Wall Street Journal, Paxton is "virtually the only music-maker of his generation—playing guitar, banjo, piano and violin, among other implements—to fully assimilate the blues idiom of the 1920s and '30s."

This album contains no booklet.