This PR Toolkit is available to help Venues presenting concerts by Jack Norton with their promotions and publicity efforts. We are here to help too! Jack is a very entertaining person to be interviewed. Newspapers, radio and television love having him as a guest. Please contact us to schedule an interview with Jack. Finally, Jack has a full-time publicist that is happy to contact any local or area media outlets you recommend. Please email Darby (Jack’s publicist) with any questions or suggestions to help spread the word. Thanks!
Hokum Blues and Vaudeville Folk
Jack Norton is an Emmy Award winning singer-songwriter performing hokum blues and vaudeville folk music.
(scroll down for a longer description and bio)
SOCIAL MEDIA & WEB LINKS
Photo by Darby Johnson for Brizo Media Group
LONG DESCRIPTION (aka “BIO”)
Emmy Award winning singer-songwriter Jack Norton specializes in performing hokum blues and vaudeville folk music from the 1920s and 1930s. Hailed by one reviewer as “so authentic to the era you can practically hear the scratches of an old 78 phonograph record in Jack’s voice,” Norton delights audiences with his fresh and original interpretations of songs by artists like Blind Blake, Blind Willie McTell, Jimmie Rodgers and Robert Johnson.
Norton claims to be the estranged grandson of minstrel yodeler Emmett Miller (who recorded “Lovesick Blues” almost three decades before Hank Williams). There’s a problem with Jack’s family tree, however. In other interviews the artist has claimed to be the descendant of Charlie Chaplin, Howard Hughes, Howlin’ Wolf and P.T. Barnum as well. Perhaps the spirit of Barnum’s humbug sense of showmanship is most akin to Jack’s playful bending of the truth.
Over the years, New Orleans, Shreveport and Macon, Georgia have all been reported as Norton’s birthplace. He says he was born on October 29, 1929 marking himself as a Great Depression baby. This claim would also mean that Jack Norton looks incredibly youthful for a man pushing ninety years old today, so it’s best to take this birthdate with a grain of salt.
Truthfully, not much is known about Jack’s personal life and the enigmatic artist seems to like it that way. Newspaper clippings and reports place Jack performing in the streets of Toronto and Detroit in the early 1990s, and by the close of that decade Norton was linked to friendships with authors Hubert Selby Jr., Nasdijj and Nick Tosches (who hailed Norton as “my hope for the future of America!” in his seminal book “Country: The Twisted Roots of Rock’n’Roll”). Early in his career, Norton frequently appeared on BBC’s Radio 1 at the invite of legendary DJ John Peel – who was a huge fan of young Jack’s early recordings.
There appears to be some truth to Jack’s claims that Leon Redbone and Dave Van Ronk were his guitar teachers, as Norton toured with the later extensively during the folk legend’s final years.
Perhaps most surprising, is that Norton’s accounts of growing up with ukulele oddball Tiny Tim as his babysitter actually have been confirmed to be true! An article in People Magazine from 1994 verified their relationship and a photo shows a young Jack serving as one of the groomsmen in Mr. Tip Toe Through The Tulips’ wedding.
Regardless of the level of hokum which has shrouded Jack’s personal life in mystery, what can’t be denied is Norton’s incredibly prolific body of work over the years. He has recorded dozens of albums: working with everyone from jazz luminaries like Vince Giordano to writing songs for The Florida Project – an Oscar nominated film starring Willem Dafoe.
After time spent in Los Angeles and New York City, Norton relocated to Nashville – first staying with the widow of Townes van Zandt, while trying to get a place of his own. It was in Tennessee that Jack’s career took an unexpected turn: he and wife Kitty created a children’s TV show for the PBS affiliate in Nashville. The self funded and self produced show was unlike anything broadcast on PBS Kids. Inspired by the unlikely pairing of TV’s Soul Train and Hee Haw, Jack and Kitty’s uniquely DIY series became a runaway hit: eventually airing on over 150 PBS member stations across America. Broadcast partnerships with AFN Family Network, Trinity Broadcast Network and KidzBop’s OnDemand channel brought the series to 174 countries worldwide. Eventually, Jack and Kitty’s work would see six regional Emmy Award nominations.
Film seemed like a natural progression for the self-taught production duo, and a series of progressive, avant-garde shorts followed. In 2015, the Norton’s had a hit in art house cinemas and film festivals with the quirky and bizarre documentary feature Jug Band Hokum which includes appearances by Garrison Keillor, rap legends Bone Thugs N Harmony, bluesman Charlie Parr and Grammy Award winner Dom Flemons of the Carolina Chocolate Drops.
Through his hectic production schedule with films and television, Norton continues to pursue his first love: music and performance.
In addition to his work as a solo artist, Norton records as one half of the (creatively named) folk duo “Jack and Kitty”. His wife has always been his frequent co-collaborator. A special fan site called The Only Constant Is Chaos was created to carefully curate, present and archive the many projects of the artistic high school sweethearts. Brizo Media Group, the duo’s production company and record label, recently launched “The Archives Series” – new albums by Jack Norton made from old out-of-print releases, bootlegs, demo sessions, live recordings and previously unreleased tracks.
In 2019, Jack is touring as a solo artist to promote his new album Busker’s Blues, which is a return, of sorts, to Norton’s early days of singing the blues on the street corners of Toronto and Detroit. It’s just a voice and a guitar – belonging to an eccentric young man ready to take on the world with his unique blend of ragtime folk, Delta blues and beatnik jive…all served with a vaudevillian’s wit and the wink of a carnival huckster’s eye.
ARTIST TECHNICAL REQUIREMENTS
Jack needs one chair (without arms or wheels). If venue is providing sound, one vocal microphone (on a boom stand) and one DI (for acoustic guitar) is needed. If DI is not available, an instrument mic (on a boom stand) is fine too. Ideally, artist prefers two on-stage monitors.