NEWS - NOUVELLES

BIO

JP LeBlanc’s new album “All In My Blood”/ “Je l’ai dans le sang” on the
Acadian Connection label was born and crafted in Canada, and recorded in
Nashville.
The nine song recording is the result of two years of intense musical wood-
shedding, and long-distance songwriting with Toronto-based music
industry journalist Larry LeBlanc.
In recording ““All In My Blood”/ “Je l’ai dans le sang” with acclaimed
Grammy-winning fellow Canadian producer Colin Linden, JP sought
primarily to be the passenger---to have Linden slip into the driver’s seat in
full control.
"Working with Colin, and such incredible musicians felt like the
culmination of everything I’ve worked for," JP says. “I just let Colin do his
job. He raised the bar for me. I came to realize what my musical vision
really is.”
“JP had such a positive attitude,” counters Linden. “It was a pleasure
working with him. He had faith in me and in the process, and all the other
players---none of whom he had previously known—really enjoyed him.
“Larry and I have been friends since I was a kid,” continues Linden. “He
was always an insightful music person, and a knowledgeable resource. A
really creative guy who has seen generations of musicians, and has a
strong sense of what will last. So it didn’t surprise me that he was a gifted
songwriter…. Made me happy though.”
“A beautiful aspect of ‘All In My Blood’/’Je l’ai dans le sang’ was the
freedom in the studio,” says JP. “I was just so happy to finally record our
songs after two years of writing, especially with my favorite producer at the
helm. Realizing that I could play whatever my imagination called for, and
knowing that the musicians would make it sound awesome in minutes.”
A jeans and T-shirt kind of guy, JP can be found most days playing guitar
or writing at his home studio.
“It’s a recording studio/writing room,” he explains. “It’s laid out so that if I
have an idea for a guitar part or lyrics I can jump right on it, and record it
right away.”
Rooted in his Acadian heritage and seamlessly shifting at times between
French and English, “All In My Blood”/ “Je l’ai dans le sang” delves deep

into themes close to JP’s heart—family, growing up within a tight-knit
community, and the push-and-pull between his life on the road touring
Canada, Louisiana, and Europe, and his role as a family man and father.
Still as the two songwriters first began to write, they discovered a common
ground.
“Our music is about making reconnections—reconnecting to our roots, to
our shared Acadian culture, and to both of our families,” says JP. Evident
with such songs as “All In My Blood,” “Ashes In The Wind,” “I'll Keep On
Movin’.” All On Your Own,” and “I Still Dance In The Rain.”
Other songs touch on the two LeBlancs’ shared Acadian/Cajun
backgrounds, and travels as found in songs like “Louisiana Checkbook,”
“Wanda’s Bar (In The French Quarter),” “Danger Zone” as well as “NOLA,”
recorded fully in French.
“All of these songs inform each other,” says Linden. “JP’s French singing
tells you so much about his English singing. His sense of blues is heavily
informed by the French Acadian music of both Canada and Louisiana. It’s a
unique combination.”
Asked the significance of dual French/English album title, JP explains,
“When we realized we had an album of the best songs possible, we
decided we’d name it, ’All In My Blood’ which in French translates to ‘Je l’ai
dans le sang.’
“I felt it was important to acknowledge where I come from in the album’s
title. It’s a way of connecting directly to my roots, and showing pride in my
heritage.
“While Larry and I share the same surname, we are not related. Still, like
me, he’s proud of his Acadian heritage, and I believe us working together
brought him closer to his family’s history.”
JP was born and raised in Bathurst, New Brunswick, a bilingual speck of a
place in New Brunswick; a region rich in Acadian culture, and where
singing, dancing, and playing music come as naturally as walking and
talking.
“Growing up. my family didn’t really celebrate our Acadian heritage at
home,” he reveals. “While we spoke French the music we listened to and
the TV shows we watched were all in English.”
At 11 years old, JP fell in love with the blues and began to play guitar. By
his teen years, he was performing alongside seasoned musicians. At 17, he

recorded his first album, “Take Me Back” which earned an East Coast
Music Award nomination, and a considerable reputation as a distinctive
young Acadian blues voice.
As JP reflects on the road that brought him to present day, he mentions
such revered American blues figures as Buddy Guy, Lightnin’ Hopkins, and
Muddy Waters, and Canadian blues players Colin James, and Garret
Mason.
A pivotal moment in JP’s career came in early 2024 when he represented
Atlantic Canada at the International Blues Challenge in Memphis, standing
shoulder-to-shoulder with some of the world's leading blues talents.
That experience in his mind cemented his place on the international stage,
and drove his passion for putting together what is his most ambitious
album to date with Linden.
JP recalls that it wasn’t until 2004 when he and his band performed at the
Congrès Mondial Acadien in Grand-Pré, Nova Scotia----a festival of Acadian
and Cajun culture and history held every five years---that he truly felt a
sense of deep pride in the family’s culture.
“After our show, there was a big ceremony where they displayed the names
of the Acadian families deported in the Grand Dérangement from that very
spot in 1755, during an expulsion by which many families were separated,
and many people drowned in shipwrecks. That hit me hard. It sparked a
deep interest in my family’s history, and it inspired me to write more in
French. Before that, I had mainly been performing and writing songs in
English.”
In conversation JP will affirm his love for local Acadian folk music
specifically for such groups as 1755, Grand Dérangement, Salebarbes, and
Les gars du nord; for Acadian singers Marie-Jo Thério, Lina Boudreau, and
Lisa Le Blanc; and for Acadian singers/songwriters Pascal Lejeune, Danny
Boudreau and, particularily the late Denis Richard, one of the most multi-
talented figures in Acadian entertainment history.
Among the Louisiana French artists catching his interest over the years are
Zachary Richard, Dewey Balfa (referenced on the album in “I Still Dance In
The Rain”), and Clifton Chenier.
To his immense delight, Larry recruited his friend, Cajun music legend
Steve Riley of the Mamou Playboys, to play accordion on four tracks on the
album, and also play fiddle on “I Still Dance In The Rain.”

“Having Steve Riley from the Mamou Playboys really brought the (Cajun)
sound home,” says JP. “That was the icing on the cake.”
On hearing the songs JP submitted to him to be recorded, Linden was
immediately enthused, “When I first heard JP’s demos, I thought there was
an honesty I was drawn to,” he recalls. “I also heard a very unique take on
his influences and culture that was very compelling.”
Asked what is JP's strength as a guitarist, Linden without hesitation
answers, “JP knows how to go for the sweet notes.”
Linden suggested A-list players for the two sessions at his 1,000 square-
foot, stand-a-lone home studio in his Nashville backyard, dubbed Pinhead
Recorders Studios.
The album was recorded at a fairly fast clip.
For the first session in April, 2024, there was multi-instrumentalist George
Recile, one of New Orleans’ premier drummers, and Bob Dylan’s primary
drummer from 2001 to 2019. He has also worked with Dr. John, Mavis
Staples, Bonnie Raitt, and Keith Richard.
On bass was Linden’s lifelong Toronto collaborator John Dymond who has
toured with celebrated Cape Breton fiddler Natalie MacMaster, and toured
and recorded with k.d. lang, Bruce Cockburn, and Blackie and The Rodeo
Kings. He’s a 5-time Canadian Country Music Assn. bass player of the year
recipient, and Hall of Honour inductee.
The first song recorded was ‘I’ll Keep On Movin,’” decided by Linden. “I
think he chose it to break the ice with the other musicians, just to have fun
in the studio,” says JP “It’s a rockin’ feel good song with lots of guitar.
After the first take there were smiles all around. I’m not sure there was a
second take.”
While the original musicians weren’t available for the second Nashville
session the following December, Linden matched the quality of the earlier
session by bringing in some equally heavy hitters Again he played guitar
on all tracks.
The session included drummer Bryan Owings who has recorded with
Buddy Miller, Wanda Jackson, Alicia Keys, Delbert McClinton, and Lucinda
Williams, and toured with John Prine, and Tony Joe White during the final
decade of his life; and world-class bass player/educator/producer David
Santos who has worked with Billy Joel, Toto, Melissa Etheridge, John
Fogerty, Crosby, Stills, & Nash, and the Neville Brothers.

Linden began producing records in Toronto In the 80’s for other artists
including Mendelson Joe, Morgan Davis, and Jackson Delta, He has since
played on over 500 albums and has produced a 170 albums including by
Colin James, Ray Bonneville, Sue Foley, and he won a Grammy in 2020 for
producing Keb’ Mo’s 5th Grammy Best Americana Album for “Oklahoma.”
“I try and find out what the artist really wants, and then try to do it,”
explains Linden. ”And I try to ensure that it will be a fulfilling and
transformative experience for the artist too. I make a bunch of suggestions
and see what resonates and then come up with a plan that brings out the
spirit! If I can.”
Linden has toured extensively with T Bone Burnett, and co-produced his
2024 album “The Other Side,” and he has produced four albums for Bruce
Cockburn, and toured with him.
He has accompanied Bob Dylan, Greg Allman, Lucinda Williams, Reba
McEntire, Rihannon Giddens, Pistol Annies, Allen Toussaint, and John
Prine.
He was a main musician, music producer and director and songwriter for
the ABC-TV show "Nashville" that ran from 2012 to 2016.
In his career, Linden has also received 25 Juno Award nominations, and 9
wins. He also fronts Blackie and the Rodeo Kings formed in 1996 as a
tribute to one of their favorite Canadian folk artists Willie P. Bennett who
passed away in 2008.
The dark-laced “Danger Zone,” exploring the complexities of the human
psyche, may be the most unexpected track on “All In My Blood”/ “Je l’ai
dans le sang.” Jarring and even disturbing, it’s a gritty song about
depression, anxiety, and loneliness leading to alcohol and substance use
that has faced so many musicians while on tour.
“It’s a song that Larry brought to the table,” says JP. “When I first read the
lyrics I could tell they came from a dark and difficult place, but I wasn’t first
sure who Larry was writing about. The day after receiving them, he told me
it was about Richard Manuel from The Band, who tragically took his life in a
hotel room. A very sad story.”
(On March 4,1986, following a show by The Band at the Cheek to Cheek
Lounge in Winter Park, Florida, (a suburb of Orlando, Florida), pianist/singe
Richard Manuel died by suicide at the nearby Quality Inn. He was 42.)
Nearly a decade later, former bandmate Robbie Robertson unflinchingly
touched on the severity of Manuel’s personal issues. “There were times

when we were just scared to death we didn't know what the next day might
bring, what would come out of this monster that had seeped out of the
woodwork." )
“Recording ‘Danger Zone’ with Colin made it even more special, knowing
that he had later played in The Band in the ’90s,” notes JP.
Conversely, the equally emotional but uplifting track, “All On Your Own”
was inspired by JP’s daughter ´Eve. “After the session I gathered a bunch
of old videos of her, and pieced them together to create a wonderful video,”
he says. “It really hits hard realizing how fast time flies. I know I’m on
borrowed time with my daughter until she graduates, and moves out, so I’m
going to cherish these moments as much as possible.”
A number of the album’s songs were specifically inspired by life in the
Deep American South including “Louisiana Checkbook,” “I Still Dance in
the Rain,” as well as “Wanda’s Bar (In The French Quarter),” about a club
in the historic heart of New Orleans--while the monumental French
language closer “NOLA”---the final track recorded---is an unabashed
tribute to the city’s distinctive music, unique dialects, and annual
celebrations, and festivals.
“I had been working on a guitar riff and melody for a couple of weeks
between our sessions,” recalls JP. “The melody I had in mind just
screamed New Orleans to me. So I decided to write about my time in the
city two years earlier. I had traveled there for an Acadian music festival. At
the time I had never heard the term ‘NOLA’ used to describe New Orleans. I
thought that was kinda cool.
“Since French is my native language, I figured—what better way to capture
my experience in New Orleans than en français?