Ryan Hartt

Be About It!

Far-Tone Records

Connecticut-based harmonica player, singer, and songwriter Ryan Hartt grew up listening to his father’s big band records. Drawn to the blues at an early age, Hartt became both a rock-solid harmonica player and a soulful vocalist. Inspired by his love of West Coast blues, he moved to Los Angeles in the late 1990s, where he absorbed the music firsthand, frequently sitting in with Lynwood Slim, Junior Watson, Rick Holmstrom, and Rod Piazza. Other major influences include Muddy Waters, Little Walter, George “Harmonica” Smith, James Harman, Gary Primich, Hollywood Fats, and William Clarke.

Upon returning to the East Coast in 2000, Hartt formed the powerhouse outfit Ryan Hartt and the Blue Hearts. Led by his passionate vocals and exceptional harmonica playing, the group became a fixture at clubs and festivals throughout the region. They received numerous regional awards and even competed at the Blues Foundation’s International Blues Challenge, where they were finalists in the 2006 “Best Self-Produced CD” competition. Since 2002, Hartt has released three acclaimed albums with the Blue Hearts.

Be About It! marks Hartt’s first solo record, giving him the freedom to collaborate with some of the area’s finest musicians. The lineup includes guitarists Nick Adams, Jad Tariq, and Tom Ferraro; pianist Brooks Milgate; bassists Jeffrey Berg and Mike Law; and drummer Nick Tascano. The album was co-produced by Hartt and Berg, who also recorded, mixed, and mastered it at Walking Stick Studio in Auburn, Massachusetts. All songs were written by Hartt unless otherwise noted.

The album opens with “Breakin’ Even,” as Hartt delivers, “No matter how bad I think about it, I never get even… well I never get ahead, but I’m tryin’ the best I can.” His expressive harmonica work and Jad Tariq’s blistering guitar drive this energetic opener.

“Queen of Everything” follows, a clever and witty tune where Hartt sings, “She’s the queen of everything, I’m the king of what’s left. She gets to drive a big car, I have to take the bus.” Co-producer Berg handles guitar, while bassist Mike Law and drummer Tascano lay down a tight, swinging groove.

On “Old Habits Die Hard,” with its New Orleans second-line feel, Hartt moans, “Old habits die hard, can’t shake you off my mind… I don’t know what to do, old habits die hard,” featuring Tariq on guitar, Berg on bass, and Toscano on drums.

The instrumental “All Night Long,” originally recorded by saxophonist Joe Houston in 1954, finds Hartt blowing his “Mississippi saxophone” in a lively call-and-response arrangement with the band chanting, “All night long, all night long.”

“Nothing Sweet As You,” written by Dave Bartholomew, Bobby Mitchell, and Earl Montgomery and first recorded by Bobby Mitchell & The Toppers in 1954, features Hartt belting, “Baby, you’re so fine, there is nothin’ sweet as you. Kisses through and through. You’re sweet as honey that comes from the bee, you’re sweet as an apple that comes from the tree.”

“I Wonder Why,” written by Mel London and recorded by Otis Rush in 1976, finds Hartt lamenting, “I wonder why that girl won’t treat me right, does everything to drive me mad, ‘cause she won’t come home at night… she keeps me and mistreats me, meanest girl I’ve ever seen.”

“Hawaiian War Chant,” written by Prince Leleiohoku in the 1860s and popularized by Tommy Dorsey’s big band in 1938, is reimagined here as a blues instrumental. Toscano’s rolling tom-toms and Hartt’s fierce harp make it a rhythmic standout.

On “That’s Right, You’re Wrong,” Hartt shouts, “That’s right, you’re wrong, I know you’re doin’ me wrong. That’s right, you’re wrong, you better not do it again,” with Nick Adams providing sharp, rhythmic guitar fills.

The slow-burning “Lonely Hour” captures Hartt at his most soulful as he groans, “Don’t know what time it is, if it’s day or night. Since my baby left, nothing feels alright. All I have is lonely hours ‘cause I didn’t treat my baby right.” Brooks Milgate shines on piano, joined by Ferraro on guitar and Hartt on chromatic harmonica.

On “I Can’t Stop Loving You,” written by Dave Bartholomew, Hartt chants, “I can’t stop it, I can’t stop it, tell me daddy please, I can’t stop it, take that girl,” with Ferraro again providing spirited guitar work.

The album closes with a beautifully tender instrumental version of “You Belong to Me,” written by Pee Wee King, Redd Stewart, and Chilton Price, and first recorded in 1952 by both Joni James and Jo Stafford before being popularized by The Duprees in 1962. Hartt’s harmonica sings the melody with a warmth and sincerity that brings the album to a graceful finish.

Ryan Hartt’s harp playing is nothing short of exquisite. He achieves a full, saxophone-like tone on both chromatic and diatonic harmonicas, and his precision feels effortless. His phrasing and mastery of multiple “positions” evoke the best of Rod Piazza, George “Harmonica” Smith, Kim Wilson, and William Clarke. With its clarity and warmth, Be About It! is a beautifully produced recording that perfectly balances Hartt’s vocals and harp. This album cements his place among today’s elite blues harmonica stylists.

Richard Ludmerer

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