by Jane Lambert

Remembering Blind Boone: Ken Lovern Turns History Into Music

There is something fitting about ending a story with a song called “Good Things.” After the hardship, uncertainty and extraordinary circumstances explored throughout Blind Boone the Musical, Ken Lovern’s fourth and final single arrives with a sense of warmth and forward motion. It settles into the groove and lets the music do what it does best – brings people together.

At the centre of the track is Lisa Henry, whose vocals give “Good Things” its human warmth. There is an easy to her performance that immediately draws you in. She is surrounded by the unmistakable sound of OJT (Organ Jazz Trio), the Kansas City organ-jazz outfit with whom Lovern spent more than thirteen years performing at the city’s Green Lady Lounge.

That history matters. Lovern isn’t approaching organ jazz as an aesthetic borrowed for the occasion; it is part of his musical vocabulary. The Hammond organ sits comfortably at the heart of the arrangement, giving the track its earthy character while the rhythm section keeps everything moving with the relaxed confidence of musicians who know exactly where the groove is. And then there is Robert Rebeck’s shaker.

It might sound like a small detail, but it is precisely those details that give “Good Things” its personality. The shaker adds another rhythmic layer to the arrangement, contributing to the sense that this is music made to be experienced physically. You can feel the pulse as much as hear it.

Listen here:

The emphasis on groove is central to Lovern’s wider approach. His work on Blind Boone the Musical has never been about creating a museum piece reconstruction of nineteenth-century music. Instead, he takes the history of Boone and filters it through the musical traditions that have shaped his own life: jazz, ragtime, blues, gospel, classical music and contemporary American sounds. “Good Things” perhaps captures that philosophy better than any of the previous singles.

The earlier releases have taken listeners through very different chapters of Boone’s story. “Quindaro” looked towards his family’s history and the search for freedom. “School for the Blind” explored the young Boone’s developing musical abilities. “Boone Plays It Back” introduced the virtuoso and the extraordinary talent that would eventually make him a celebrated performer. Here, the atmosphere is different.

That doesn’t mean the track ignores the complexity behind Boone’s story. Quite the opposite. The warmth of “Good Things” feels more meaningful because we know what has come before it. Boone’s achievements existed alongside blindness, racism, exploitation and the many barriers faced by Black performers in nineteenth and early twentieth-century America. To end the project’s sequence of singles with a song that embraces optimism feels less like glossing over those realities and more like acknowledging the resilience that allowed Boone to overcome them.

There is also a pleasing circularity to the release. Lovern began this project after discovering Boone’s story almost by accident, becoming fascinated by a musician who had once been famous enough for a Kansas City theatre to bear his name but had since slipped from popular memory. Now, through these songs, Boone’s story is being placed back into the musical conversation. “Good Things” works because Lisa Henry’s vocals, OJT’s organ driven groove and Rebeck’s percussion combine into something loose, soulful and unmistakably alive.

And perhaps that is exactly how this chapter should end. Not with a solemn farewell, but with real groove. Not with the past being put to bed, but with the feeling that there is more music still to discover. With “Good Things,” Ken Lovern closes the singles campaign for Blind Boone the Musical on an uplifting note.

About Ken Lovern

Ken Lovern is a Kansas City based composer, jazz organist and storyteller whose work blends the influences of jazz, ragtime, blues, gospel, classical and American roots music. He is the creator, composer and lyricist behind Blind Boone the Musical, an original historical musical fantasy exploring the life of Missouri pianist and composer John William “Blind” Boone.

Lovern has spent more than three decades performing and composing across a wide range of musical styles. For more than thirteen years, he played Hammond organ with his group OJT (Organ Jazz Trio) at Kansas City’s legendary Green Lady Lounge, performing four or five nights a week and becoming a familiar presence in the city’s celebrated jazz scene. His jazz compositions can also be heard across numerous OJT releases, including the album Ground Level.

With Blind Boone the Musical, Lovern combines his experience as a live jazz musician with theatrical storytelling to bring the remarkable story of Blind Boone to contemporary audiences. The full project, including vinyl and CD editions and a companion graphic novel, is set for release September 2, 2026.

08.18.26

by Jane Lambert

Winchester 7 & The Runners: Where Classic Rock Meets the Strange New World

There is something inherently appealing about a band that refuses to take the obvious route. Winchester 7 & The Runners could have returned to the familiar territory of conventional guitars, familiar arrangements and familiar indie rock formulas. But instead, they put an electric tenor ukulele at the centre of the operation and built an entire musical identity around it.

On No Worse For Wear, that decision feels less like a gimmick and more like a statement of intent.

Across the EP, Winchester 7 & The Runners draw freely from sixties rock, surf, garage, classic pop and the more melodic side of alternative and indie rock. Yet the record is not an exercise in retro imitation. There is too much contemporary thinking in the songwriting, and too much personality in the performances for that. The result is music that can sound of the past in one moment and then distinctly of the moment the next.

Listen here:

Opening with Waitin’ Here For You, the band immediately establish their credentials. The drums have that wonderfully physical quality that makes you imagine the song being played in a crowded room rather than assembled entirely inside a computer. Guitars rise around the vocal, harmonies add colour, and the melody has enough lift to make the track feel instantly accessible. But beneath the upbeat exterior is one of the record’s recurring ideas: connection.

That’s where No Worse For Wear becomes more interesting than a straightforward indie rock EP. These songs are concerned with what it means to be human in an increasingly mediated world. Social media, algorithms, artificial intelligence and the changing economics of music all sit somewhere in the background, but Winchester 7 rarely approaches them directly enough to become preachy. Instead, they become the scenery surrounding the characters in the songs.

The World From My Bed is perhaps the clearest example. Its premise is immediately recognisable – that we have access to more information than any generation before us, yet somehow the simplest experiences can feel further away. The song’s invitation to step outside and watch the sunset feels almost radical in its simplicity. Musically, the track swings along with an infectious indie rock looseness, while Airinna Namara’s contribution adds another layer to an already engaging arrangement. It’s one of those songs that makes its point without appearing to be making a point at all.

Elsewhere, I’m Goin’ Down explores the more vulnerable side of the record. The darker vocal tone and grittier guitar textures create a sense of uncertainty, but the song’s melodic centre refuses to give in completely. There is still light in it, and that balance between struggle and hope runs throughout the EP.

Then comes Ballad of the Bishop of Eastwood, one of the record’s most intriguing pieces. Built around a dramatic stomp and an old-school rock groove, it has the atmosphere of a story being told after midnight. The vocals remain comparatively restrained against larger guitar textures, creating an unusual tension between intimacy and scale. It is a reminder that Winchester 7 & The Runners aren’t simply interested in writing catchy songs. They are interested in characters, scenes and little worlds.

The Talk takes that instinct in a more playful direction. Stop start rhythms, cheeky vocals and a particularly memorable hook give the track a loose rock’n’roll energy. It feels spontaneous without being careless, and the arrangement allows the personality of the project to come right to the front. Then 10 Easy Steps turns the volume up again.

Here, the band’s influences seem to collide in particularly satisfying fashion. There are echoes of sixties rock alongside the swagger of early 2000’s indie, while the electric ukulele gives everything a characteristically Winchester 7 twist. It has the kind of riff-driven momentum that makes it easy to imagine becoming a live favourite.

By contrast, The Way You Moved brings the EP towards a more reflective conclusion. With Jenny Conlee of The Decemberists contributing keyboards and Guy Page of Coach Party handling drums and mixing, the song introduces a softer, more atmospheric side to the project. There is some distortion and gentle psychedelic textures surrounding a surprisingly intimate performance. It is perhaps the moment where the emotional heart of No Worse For Wear becomes most apparent.

For all its references to technology and contemporary culture, this isn’t really an album about machines. It is an album about people trying to remain connected while surrounded by machines. And this distinction matters.

Winchester 7 & The Runners aren’t attempting to position themselves outside the modern world. Their use of livestreams, digital distribution, visual media and even the AI-powered Continuum Relay demonstrates precisely the opposite. They are embracing the tools available to independent musicians while asking what those tools should ultimately be used for. The answer seems simple: communication.

And that’s what makes No Worse For Wear such an appealing indie record. It has hooks without becoming disposable, ideas without becoming academic, and nostalgia without becoming trapped in the past. Most importantly, it has a recognisable personality. The electric tenor ukulele may be the unusual headline, but it isn’t the real story. The real story is songwriting.

Winchester 7 & The Runners understand that however dramatically the music industry changes, however sophisticated the technology becomes, and however many algorithms stand between an artist and an audience, a good song still has the ability to make somebody stop, listen and feel something. No Worse For Wear is a record built around that belief. And perhaps that’s why, beneath all the noise of the modern world, it sounds remarkably human.

Connect with Winchester 7 & The Runners on their Website

08.14.26

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH KEN LOVERN

Some of the most important moments in a person’s life happen before anyone knows what they will become. A child displays an unusual gift, someone takes notice and a single act of encouragement can alter the course of a life. For John William “Blind” Boone, one of America’s great musical pioneers, that moment came when a former Confederate general recognised something extraordinary in a young boy and decided he deserved the opportunity to develop it.

“School for the Blind,” the third single from Kansas City composer and jazz organist Ken Lovern’s Blind Boone the Musical, tells that remarkable chapter in Boone’s story. Set in post Civil War Missouri, the song explores Francis Cockrell’s efforts to persuade the people of Warrensburg to help nine-year-old Boone travel to St. Louis to study music at the Missouri School for the Blind.

The accompanying video brings that history into the present, combining artwork from the project’s companion graphic novel with archival photographs, historical imagery and footage of the musicians recording the song.

We caught up with Ken to talk about the remarkable relationship between Cockrell and Boone, the importance of showing the community that helped nurture the young musician’s talent, and the creative process behind bringing this pivotal chapter of Blind Boone the Musical to life on screen.

Tell us the story of this track. Why did you choose to visualize it specifically in this way?

In the song “School for the Blind,” former Confederate General Francis Cockrell is convincing the town of Warrensburg, Missouri to help young John Boone attend the Missouri State School for the Blind in St. Louis.

After the Civil War, Blind Boone’s mother, Rachel Boone, finds employment in the home of Francis Cockrell. Cockrell is immediately taken with young John Boone. Boone is a cheerful, charming, and enchanting child, and he imitates bird calls and other sounds he hears. Boone plays the tin whistle and forms a musical group with the other neighborhood children. He is a very talented child with a lot of potential.

Cockrell becomes a champion for Boone, and arranges for Boone to attend the Missouri School for the Blind in St. Louis where Boone can study music. Cockrell convinces the town elders to help him finance the education and the train fare to St. Louis. In the fall of 1872, nine-year-old Boone travels alone 225 miles to St. Louis. While Boone only attended this school for a few semesters, this time was instrumental in developing his ability to play piano. Francis Cockrell was correct when he realized that Boone had talents that deserved cultivating, and he convinced an entire town to help.

What was the inspiration behind this new video (visuals, storyline, etc.)?

I wanted to show the musicians creating the music for this track, and I also wanted to tell the story of the town of Warrensburg supporting young John Boone.

What was the process of making the video?

I used images from the Blind Boone the Musical comic book and historical images to help tell the story. I was particular interested in trying to explain Francis Cockrell’s motivation in helping this child of a former enslaved person.

I used video images captured during the recording of the track to show the musicians. My intent was to weave the musician images with the historical images and comic book art to convey the captivating story of Blind Boone.

Keep up with Ken Lovern and Blind Boone the Musical here.

08.04.26

by Jane Lambert

Apropos Brings Soul Music’s Past and Future Together on Latest Single “10th Floor”

There are certain artists whose music feels connected to a much larger conversation. Artists who understand that every generation adds another layer to the sounds that came before it. With his latest single, “10th Floor,” the Detroit singer-songwriter Apropos draws from decades of soul tradition while creating something that is unmistakably his own.

From the opening moments, “10th Floor” establishes a world of warmth and atmosphere. The track moves with smooth confidence, built around rich piano melodies, subtle grooves and Apropos’s distinctive vocals. His voice has the character of classic soul – full of texture, full of emotionv-vwhile the production places the song firmly within the landscape of contemporary R&B.

“10th Floor” explores the memories attached to certain places and the way a shared moment can transform an ordinary space into something meaningful. It is a song about connection, and the comfort found in creating a private world with another person.

Apropos understands that some of the most powerful emotions exist in quieter moments. In the conversations after the excitement has faded, the familiar routines and the memories that continue to return long after an experience has passed. He captures those feelings with sincerity.

Produced by Jake Bass, “10th Floor” brings together organic soul influences and contemporary production techniques with impressive balance. The arrangement is carefully considered, from the layered harmonies to the subtle instrumental details, to contribute to the overall mood. The song creates an atmosphere that honours the emotional foundation of soul music.

Apropos’s journey adds another layer of meaning to this release. After gaining national attention with his appearance on The Voice, he stepped away from the spotlight to focus on rebuilding his voice and refining his artistic direction. That time of reflection has led to music that feels more focused and confident, shaped by experience and a deeper understanding of his own creative identity. Throughout his career, Apropos has embraced the idea of being a bridge between generations of music. The influence of Detroit soul, gospel traditions and classic R&B can be felt throughout, but they are woven into a contemporary sound that speaks to today’s listeners.

Apropos demonstrates clarity here. “10th Floor” is very much a statement of artistic purpose from a musician who understands where he comes from while continuing to explore where he can go.

Keep up with everything Apropos on his Website

08.04.26

by Jane Lambert

George Collins Turns Happiness Into a Groove with Soulful New Single “Happiness Looks Good on You”

There is something wonderfully underestimated about a genuinely happy song. Not a song that simply throws a few optimistic words over a predictable melody, but a song that understands that joy requires honesty. Happiness is most powerful when it has been earned; when it comes after uncertainty, disappointment and the inevitable twists and turns that life throws our way.

George Collins understands this perfectly. With “Happiness Looks Good on You,” he avoids the trap of writing a simple feel good anthem. Forget trying to box it neatly into one genre. Americana? Soul? Roots? Gospel? New Orleans rhythm and blues? The truth is that great songs rarely care about the labels we attach to them. They simply find their own space, and Collins’s latest offering does exactly that. Drawing inspiration from the timeless sounds of artists such as The Staple Singers, Dr. John, Allen Toussaint, and The Neville Brothers, he creates a track that feels both familiar and completely alive.

Listen in here:

From the opening moments, “Happiness Looks Good on You” carries a warmth that is impossible to resist. The Hammond organ rolls gently beneath the arrangement, the horns add flashes of colour and excitement and the groove settles into that rare space where sophistication and pure enjoyment exist side by side. It’s music made by people who understand that sometimes the best songs are the ones that make you instinctively move before you even realise you’re doing it.

But beneath the irresistible rhythm sits the real strength of the song: the writing. Collins is not interested in pretending that happiness is effortless. Here, he celebrates the people who have endured difficult chapters and come out stronger on the other side. It is a song about friendship, encouragement and the quiet victories that deserve to be recognised.

And then comes the gospel choir, taking the track from uplifting to genuinely celebratory. The handclaps, soaring harmonies and joyful energy of the finale make it feel like a room full of people gathering together to celebrate life itself. It is impossible not to smile as the song reaches its conclusion.

With his latest single, “Happiness Looks Good on You,” Collins has created a cheerful song, reminding us that optimism is not naïve, and joy is not superficial.

And with New Ways of Getting Old showcasing even more of his thoughtful songwriting, there has never been a better time to discover an artist who understands that great songs don’t need to shout. They simple need to connect with the listener.

Follow George Collins on his Website HERE

07.16.26

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’S WITH KEN LOVERN

When Ken Lovern set out to create Blind Boone the Musical, he wasn’t simply writing songs. He was uncovering an overlooked chapter of American history. Through an ambitious blend of jazz, theatrical storytelling and historical research, the Kansas City composer and jazz organist is bringing the remarkable life of Missouri pianist John William “Blind” Boone to a whole new generation.

The project’s latest single, “Quindaro,” shifts the focus from Boone himself to the courageous journey of his mother, Rachel, bringing together the story of the Underground Railroad, the historic free state town of Quindaro, and the events that ultimately shaped one of America’s most extraordinary musicians. Accompanied by a striking visual narrative that combines original comic book artwork, archival imagery and footage from the recording sessions, the release demonstrates the scale and vision behind Blind Boone the Musical.

We caught up with Ken to discuss the inspiration behind “Quindaro,” the symbolism woven into its music, the creative process behind the video and why preserving stories like Blind Boone’s has never been more important than now.

Tell us the story of this track. Why did you choose to visualize it specifically in this way?

Quindaro is part of the story of Rachel Boone as told in the musical historical fantasy, “Blind Boone the Musical.”

The song’s setting is just before sunset in late Summer 1863, near Miami, Missouri in north central Missouri. A group of escaped and freed former enslaved persons, called “contrabands” by the Union Army, are heading west to Kansas in search of freedom and a better life. Their immediate goal is to reach the river port town of Quindaro on the Kansas side of the Missouri river and a known stop on the Underground Railroad. They sing to tell their story and their reasons for heading to the Free State of Kansas.

At dawn, the freedom seekers continue walking west to Quindaro. Rachel twisted her ankle the previous day, and it has swollen through the night. She is unable to walk. She will remain in central Missouri and give birth to John William Boone, who will become the prodigy and performing legend “Blind Boone.”

The cowbell beat that begins Quindaro is a standard “bell pattern” that forms the basis for much of the music of sub-Saharan Africa. The migration of this cross-rhythmic figure into the Americas introduced new rhythms to American music that did not exist in Europe. Some musicologist trace the “swing” of American blues and jazz to this pattern.

In the song Quindaro, the bell pattern remains consistent while the underlying pulse of the shaker and the bass drum alternate from a 6/8 beat to a 4/4 beat. Shifting the underlying pulse from 6/8 to 4/4 symbolizes the forced migration of the Africans to the Americas.

What was the inspiration behind this new video (visuals , storyline, etc.)?

The video features art from the companion comic book, video from the recording sessions, photos, and historical maps and drawings. My goal was to tell the story of the freedom seekers along with the experience of the musicians. The viewer can see through the maps and drawings the perilous journey from the Missouri side of the river at Parkville to the Kansas side of the river at Quindaro.

What was the process of making the video?

To create the video, I drew on images from several sources. To present the story of Blind Boone the Musical in a clear and linear manner, I collaborated with Gutter Studios to develop a comic book adaptation.

While recording Quindaro, I filmed videos of the musicians performing. I interspersed those videos with the comic book images and vintage maps and drawings to visually tell the story.

The video represents the dramatic story of freedom seekers from one hundred and sixty-three years ago and the joy of musicians performing today.

Connect with Ken Lovern and Blind Boone the Musical HERE