High Diving: DOCD02
This is an exceptionally fine album. Jon has honed his craft
since recording "Lonely as the Moon". This one has a great supporting cast,
Janet Russell, Pressgang's George Whitfield to name but two, but it's the partnership
with fiddler Dave Moss that really sharpens the focus, encouraging Jon to deploy
both musicians and his own considerable talents to the optimum effect. Musically
the whole album is a pleasure to listen to, and lyrically and emotionally the
songs cover a satisfying spectrum of the human condition. The CD starts with
Jon's troubadour's view of The State of The Nation, "Castles In The Sand", gives
us history and social change ("Where The Heroes Used To Play" and the Bob Copper
inspired "Heavy Horses"), takes us inside the human heart with the ironic "Falling"
and the romantic "Dance With Me", philosophises with "Chance To Fly" and "High
Diving", and still has the confidence to do a traditional ballad and a splendid
version of Dave Bentons "Jericho". This is recorded confirmation that Jon Harvison
is one of contemporary folk music's finest exponents. Robb Johnson, Folk
On Tap 1998.
This CD, which I believe to be Jon's second offering arrives with probably the most laid back cover I have ever seen, tastefully carried over on to the on-body printing. What of the content? thirteen tracks, mostly Harvy songs accompanied by Jon's guitar with the assistance of George Whitfield on accordion the ubiquitous Phill Hare on guitar, Ian Hulm on flute, Mick Danby on bass and Dave Moss on fiddle and bouzouki. Help is given on the backing vocals by Dave Moss and Janet Russel.
A great deal of thought has obviously gone into the arrangements, tasteful use of the musicians, Jon himself obviously feels more comfortable this time around. This is a fine honest open album, as you might expect from the lyric of the title track, political awareness and personal sensitivity. Best of luck, Jon. Buzz 1998
This is an impressive and mature release. For Jon, it marks both a step forward (in self - production terms, from his previous CD Lonely as the Moon) and a step back (not only in the sense that he revisits a few of his earlier songs, but also in the sense that here he takes a step back from the microphone, within the context of a better-integrated sound picture).As well as showcasing Jon's recent material the CD also fulfils his declared intention to set down "definitive" versions of some of his oft requested earlier songs; seeing Dance With Me on the track listing, you think oh no not again, but it's third time lucky here as far as I think this new version can truthfully claim to capture the song's special mood and quality, it's compelling yet relaxed lilt generating it's own gentle momentum. I reckon that with High Diving Jon has produced another quality "calling card", but one which this time not only almost does him full justice as a more than capable writer and performer/interpreter but also represents his current thinking while hinting at further potential. A creditable and satisfying collection that ought to bring Jon no little acclaim. Tykes News 1998
Lonely as the Moon. CD DOCD01 - Cassette DOMC01
Jon Harvison is another folk club / scene stalwart and his
début CD 'Lonely as the Moon cleverly displays his musical versatility
and his ability to pen modern folk songs that draw you in with their storytelling
style. Not the greatest vocalist, he still posses a strong set of pipes that
admirably get on with the task, and with the assistance of Tom McConville, Steafan
Hannigan, Phil Hare and a host of folk 'names', he manages to impress with the
quality of his songwriting and solid arrangements best demonstrated in the celebratory
'Turning of the year' and the driving 'Last Collier'. There's much here to suggest
that Harvison is a name we're going to hear a lot about in the future.
Rock 'n' Reel Aug 1995.
Jon's lyrics are not of the deep personal experience variety and therefore remain intelligible to others. He can also write a good chorus and his guitar work sounds good enough to survive without the big- band album backing, I would place him well to the fore of the singer/songwriter genre. Rob Scrase. Folkwrite March 1995.
Jon Harvison has obviously been around and his experience shows in this CD. He demonstrates great sensitivity in the good lyrics of his self-penned songs. A pleasant, easy listening CD. Tony Dean.Folk Buzz Summer 1995.
A West Yorkshire modern singer/songwriter/guitarist, his cassette/CD features a cast of excellent musicians. Musically the album is never less than excellent, as are the lyrics (his songs are starting to surface in others repertoires).A friend of mine recently saw him in Newcastle and told me that he was excellent, I have no cause to doubt her. Mike Ollies. Folk Roundabout, June 1995.
Anyone who has come across Jon at festivals or whilst on tour will know him to be thoughtful, helpful, generous and friendly. This is exactly the sort of album you would expect from such a person.
Overall the arrangements are simple and unobtrusive, with backing vocals and instruments coming in just where you would want them to. The tracks vary from the near acoustic rock and roll of "Mask", through "Turning of the year", which is bound to become a standard amongst traditional singers and out the other side to the country feel of "One Horse Cowboy" stopping at contemporary folk on the way. The gentleness of the tracks like "Friends" and "Late in the Night" contrasts with the anger of "Last Collier" (a hymn to people and institutions that have disappeared from society). My personal favourite is "Lost in the night", which has caused me much embarrassment at the traffic lights when other motorists have caught me joining in the chorus!.
The hardest decision you have to make with this album is where to file it, at the Johny Collins or at the Lyle Lovett end of the collection, however you place it is a valuable addition to any current folk collection, my solution is to stick it in the CD player and listen to it. The only real criticism is that it should be made illegal to sell albums without the words, it makes stealing the songs just that little bit harder. Tony Warren, Folk London.