
ORANGE BLOSSOMS, produced by long-time cohort Dan Prothero and Grey, was recorded in north Florida and boasts some of Grey’s most profound and moving music to date. The album features 12 songs (including 11 Grey originals) inspired by Grey’s life experiences and visionary observations. With long-time friend and guitarist Daryl Hance, bassist/organist Adam Scone, drummer Anthony Cole, and the Hercules Horns of saxophonist Art Edmaiston and trumpeter Dennis Marion, Grey moves effortlessly from gospel-tent fervor to Southern-fried rockers to deeply emotional soul. ORANGE BLOSSOMS is a groove-driven masterpiece fueled by JJ’s gritty, smoldering vocals and intense, funk-infused guitar and keyboard work.
JJ Grey’s songs blend front porch realism with the best musical and literary traditions of the South. Whether it is a narrative passed down to him from his grandmother or the tribulations of a childhood friend, Grey’s ear for detail rings through in true storytelling fashion. His voice delivers with an unflinching strength that makes the personal universal and paints a vivid portrait of an exact time or place. Like his songs, Grey’s rich, soulful vocals are forceful and commanding, seemingly wise and experienced beyond his years.
Grey's songwriting influences are widespread. "I listen to people who tell the story," he says, naming Muddy Waters, Stevie Wonder, Tony Joe White, Jerry Reed, Otis Redding, Dr. John, Sly & The Family Stone, Van Morrison, Bill Withers and Dan Penn. What these writers and performers have in common is a love for simplicity and the ability to evoke complex emotions with a minimal number of words and notes. As a performer, Grey is influenced by the sexually charged blues of Howlin' Wolf, the country soul of George Jones, the hard funk of James Brown, and the smooth R&B of Donny Hathaway, as well as local personalities like street preachers and radio disc jockeys of his youth.
In 2001 Grey’s debut album, BLACKWATER, was released under the name Mofro (a name Grey conjured up while working at a local lumberyard). Soon thereafter JJ, along with guitarist Daryl Hance, hit the road hard (playing over 175 shows a year) with an ever-changing Mofro line-up. A National Public Radio feature in 2001 brought JJ’s music to scores of new listeners, helping to open doors at press, radio and venues across the country. 2004’s LOCHLOOSA brought Grey even more attention, as the band performed at the first Bonnaroo in 2005 and opened for Widespread Panic, Ben Harper, Galactic, B.B. King and Jeff Beck. Word of their live shows spread quickly, and offers to appear at festivals and concerts around the world increased.
2007 was a watershed year for Grey. The release of COUNTRY GHETTO brought widespread critical and popular acclaim, garnering piles of positive press with reviews and features running everywhere from The New York Times and USA Today, to Harp and Paste magazines. Commercial and public radio embraced Grey as well, as COUNTRY GHETTO received regular rotation on nearly 100 stations and was featured on hundreds more. In addition to countless live in-studio performances at stations around the country, he and the band appeared on National Public Radio’s World Café, the syndicated program E-Town, and played live on the Paul Jones Show on BBC2 in the UK.
JJ Grey & Mofro toured constantly in 2007. He and the band played over 120 dates headlining clubs and concert halls and performing at scores of festivals across the United States and Europe. Highlights included The Voodoo Music Experience, SXSW, The New Orleans Jazz & Heritage Fest, Wakarusa, Langerado, The Austin City Limits Festival and a Southeast run with the Allman Brothers. On Labor Day weekend 2007, Grey was able to fulfill a lifelong dream by hosting his own roots music festival, The Blackwater Sol Revue in St. Augustine, Florida. The all-day event featured Los Lobos, Tony Joe White and Florida favorites The Legendary JC’s and The Lee Boys. The second annual Blackwater Sol Revue happens on August 30, 2008 and features one of JJ’s favorite performers, Toots And The Maytals.
From gritty funk and juke joint romps to contemplative country soul and blistering rockers, Grey’s music is in a class by itself, at once contemporary and classic. Now, with his latest release, ORANGE BLOSSOMS, JJ Grey will bring his singular musical vision and hip-shaking, soulful live show to his ever-growing fan base, showing how his songs speak to people all over the world and how far-reaching his Southern roots can spread.
Art Edmaiston
Dennis Marion
Anthony Cole

By: Hal Horowitz
It's difficult to find a review of JJ Grey's music that doesn't use the word "swamp" to describe his blend of deep Southern soul and murky funk. So that's taken care of in the first sentence here, which leaves plenty of room to focus on his fourth album's low-key yet surging backwoods R&B. The disc's title and title track refer to Grey's home state of Florida's official flower, but there is little that is floral or sunshiny about his music. Rather, the Jacksonville-based Grey prefers to hover in the gloaming, layering horns and backing vocals over grinding, midtempo blue-eyed soul. This is the most elaborately produced of his albums, but like the chitlin' circuit blues in his blood, there is nothing slick about it. Similar to the illicit affair at the heart of "Everything Good Is Bad," the disc's only cover (the original was done by the obscure act 100 Proof [Aged in Soul]), Grey's music generally stays in the shadows. The funeral piano that opens "She Don't Know" is jazzy yet ominous and sounds as humid and muggy as his hometown on an August night. Ditto for the strings that appear at the song's end and pop up like wild weeds throughout this dozen-song set. Grey has matured into a compelling vocalist and it is his emotional yet subtle singing that elevates this already powerful material. His sluggish Southern drawl on the funky "WYLF" (short for "what you're looking for") infuses a laconic, easygoing, almost lazy feel, a distinguishing characteristic of his style. That's brought into sharp relief on the sticky, sweaty sex of "Move It On," a sly, nearly seven-minute deliberate groover that sounds like something the Temptations might have recorded if they had been bred in the South. Although Grey deserves the bulk of the credit for this disc's unassuming success, longtime co-producer Dan Prothero (who has worked on every Grey/Mofro project) and in-the-pocket drummer Anthony Cole are crucial elements of the stealthy vibe. It's an album that grows on you slowly like moss at the base of a withered old tree and transports you to the dank, mosquito-infested bayou at the heart of Grey's evocative sound.

NOW WE’RE COOKING"
Interview: Jamie Hailstone
“I grew up when the 'root hog or die' days were still fresh in the minds of my parents and grandparents. I was brought up to earn it and not waste it, to respect womanhood and promote manhood, and to be thankful for what you got. By today's standards, we ourselves, and most of the folks we knew, lived below the so-called 'poverty line'. We were land and culture rich, and dollar poor, but I wouldn't trade my upbringing for any other.

JJ Grey & MOFRO have been voted one of the 10 best CDs of 2007 by WFUV. They are in great company with Amy Winehouse, Spoon, Mavis Staples, Jose Gonzalez, Radiohead, Wilco, Neil Young, Lucinda Williams and Nick Lowe. If you haven't picked up your copy of Country Ghetto, it's in stores now and available by clicking the store link above.