Then he heard Oscar Peterson, and his tiny mind was blown.
But he really wanted to play football or teach himself Beatles songs on guitar, so after a year of lessons on the ivories, age 6, he let it go. When he was about 4, just tall enough to reach the keys, Jack would use two hands to hit the bass notes for his brother's 12-bar blues. There was always music on the turntable-her Joni Mitchell, his Cannonball Adderley-plus guitars lying around and a piano in the corner. Jack's mom and dad were a psychologist and a professor, but both played as well. It all goes back to Melton Mowbry, a small British town known more for churning out pork pies than gifted musicians. Colouring is rounded out by bassist Dom Potts, guitarist Sean Reilly, and drummer Alex Johnson-a lithe, powerful team for this mercurial but driven music. And as for form, the singer/pianist/producer isn't alone.
London's Jack Kenworthy imbues his work with a wide-eyed relatability, whether he's exploring elation, obsession, or even melancholy over a swirl of lush house rhythm, post-dubstep atmosphere, art rock eclecticism, and sticky hooks. In a similar sense, Colouring is the culmination of several sonic hues-instrumental and electronic, pop and underground, heart and body-but the aim is all feeling. London's Jack Kenworthy imbues his work with a wide-eyed relatability, whether he's exploring elation Read Full Bio Fifties painter Mark Rothko, known for his large solid swaths of color, once claimed to have no real interest in the color itself or whatever form it took, only in expressing simple human emotions.
CrossfadePlaylistSample.Fifties painter Mark Rothko, known for his large solid swaths of color, once claimed to have no real interest in the color itself or whatever form it took, only in expressing simple human emotions.
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