“I miss how the musicians were more accessible back in the 70's. You could walk into their dressing room because the door was open and strike up a conversation with Buddy Guy and Jr. Wells. I hope the torch will continue to be passed on for the blues to the younger generation. I have faith in the future generations, I fear that we will not be able to pass this beautiful earth on to the children in a healthy environment.”

John Christopher Morgan: Right on Time

California-based John Christopher Morgan was born in Ann Arbor, Michigan in the Detroit, Michigan area. He was exposed at an early age to the R&B Sounds of Motown. His mother was a marimbaist and his father taught band. Both his older brothers were in bands at an early age and there were always musical instruments in the basement. He gravitated at age nine to the drums. In 1979 he toured Europe and performed at the Montreux Jazz Festival on the bill with Weather Report and Willie Bobo. Upon his return to the states, he joined up with Wayne Kramer and Johnny Thunders and moved to NYC with the Band Gang War, who opened for The Clash on the eastern leg of their tour. He would return to the Detroit area and back up such Luminaries as guitarist Jim McCarty and the Detroit Blues Band, Mitch Ryder and The Detroit Wheels, bassist John Fraga of the Willie D. Warren Blues Band, The Rockets, Eddie Burns of the John Lee Hooker Band, and Steve Nardella of the Silvertones. In 1990 he relocated to Los Angeles, California where he recorded on Robert Lucas’ Completely Blue Audioquest’s LP, King Ernest’s King of Hearts CD, and Lester Butler’s of the Red Devils Fame CD “13”. He regularly performs and tours Europe.                                     (John Christopher Morgan / Photo by Douglas Avery)

Journeyman drummer and vocalist John Christopher Morgan did what all smart creatives do when launching a new project. He surrounded himself with a group of the most talented people available and called in favors far and wide to create his debut album Right On Time (2025). Morgan also partnered with the renowned bassist and engineer, Ralph Carter (Eddie Money, Sugaray Rayford) to co-write and co-produce the sessions. Among those guests is the legendary guitarist Albert Lee along with Franck Goldwasser (Mannish Boys),Zach Zunis (Janiva Magness), Martin “Nutty Brown” Gagnon on piano along with his partner in crime vocalist Jamie Wood as well as Viva Vinson and the iconic Marcella Detroit. Blues harp master RJ Mischo sits in on several tracks, and an A-list horn section was brought in for good measure. The thirteen new tracks are a rousing set of blues, roots and soul featuring nine original tunes and a selection of inventively reinterpreted cover songs to round out the dream album.

Interview by Michael Limnios         Special Thanks: Betsie Brown (Blind Raccoon)

How has the music influenced your views of the world? What moment changed your music life the most?

Music has influenced my view of the world by connecting me with people and events I would not have normally come in contact with. Through my brother's band's music and their instruments to practice on, this made me feel at one with my domain.  A musical moment that changed my life was when I first performed in front of an audience and heard their applause. The adulation I felt was like no other experience I’ve ever had.

How do you describe your sound, music philosophy and songbook? What's the balance in music between technique (skills) and soul/emotions?

My sound is a mixture of the music I grew up with when I was younger, Of course Motown played a big role in my life as well as R & B from listening to my brother's records and rehearsals. Rock n Roll was evolving post Beatles emergence and was exploding all over the airways with FM album oriented music.. Later on Blues and Jazz influenced me a lot. My philosophy about music is that it should make you feel good, there are all styles of music and all can be appreciated. Many of the music styles started right here in the good ole USA  are some of my favorites. Technical skills are important but should fall in with the enhancement of the music and not stand out so much as to detract from it. Pouring your soul and emotions into your music is important it gives you a connection with your audience, yourself, and truth.

“I try to keep up with the new music, I don't necessarily try and incorporate it into my music. I like some Hip Hop and Rap. I'll incorporate some of the rhythms into my drum patterns. Ain't we All in It Together off my new release has a bit of Hip Hop feel to it. I can't rap though.” (Detroit born John Christopher Morgan was exposed at an early age to the R&B Sounds of Motown / Photo by Douglas Avery)

What do you miss most nowadays from the music of past? What are your hopes and fears for the future of?

I miss how the musicians were more accessible back in the 70's. You could walk into their dressing room because the door was open and strike up a conversation with Buddy Guy and Jr. Wells. I hope the torch will continue to be passed on for the blues to the younger generation. I have faith in the future generations, I fear that we will not be able to pass this beautiful earth on to the children in a healthy environment.

What are some of the most important lessons you have learned from your experience in the music paths?

I've learned to appreciate my fellow musicians and not be so competitive but to be glad for their successes in the music business.

Are there any memories from gigs, jams, open acts and studio sessions which you’d like to share with us?

Some stand out moments would be playing the Montreux Jazz Festival 1979 in Switzerland and being on the bill with Weather Report. Jaco set his bass on fire like Hendrix that night. Opening for the Clash on their Eastern leg tour of America in 1979. Performing with King Ernest in San Francisco and having famed Chicago blues drummer Francis Clay sit in. Backing Roy Gaines at John Lee Hooker's Boom Boom Room in San Francisco. Touring with famed Rock a Billy guitarist Paul Burlison and Johnny Burnette's son Rocky and recording on Mountain Stage. Backing John Lee Hooker's guitarist Eddie Burns at a blues jam in Windsor, Ontario. Recording LPs with Robert Lucas, Billy Sheets, King Ernest, Lester Butler. Playing opening week at House of Blues in Hollywood with Lester Berler, Kid Ramos,and James Intveld. Performing at the Edmonton Blues Festival with 13 and touring Holland with 13.

“Detroit has always had a burgeoning music scene since going back to Paradise Valley in the 20's, 30. 40's and then a great jazz scene in the post war era. When the automobile factories opened and Henry Ford offered $5 a day, the Blues and country artists got jobs and brought their music with them. And of course there was a great soul and R & B scene in the 50's, 60's, and 70's with Motown and other R & B artists. Music is in Detroit's DNA and will always play a part in music.” (John Christopher Morgan on stage, Edmonton Blues Festival, Canada 2019 / Photo by Marilyn Stringer)

You’ve worked in many different settings, from clubs and studios to open air festivals and juke joints. How do you navigate between these different worlds?

You play to the audience, the size of the club, the style of music for the venue. On festivals I tend to hit and play a little harder also on bigger stages and openair festivals. Clubs I can sometimes get away with playing with brushes. In order to play brushes in larger venues, the band has to come way down in volume which is not always possible. You should always be able to hear every instrument when performing, if not, something has to change in the mix. It' all about listening and responding. The whole ensemble has to hear each other and work together in order to pull off a cohesive sound. And Passion, you need passion in your music.

What are you doing to keep your music relevant today, to develop it and present it to the new generation?

I try to keep up with the new music, I don't necessarily try and incorporate it into my music. I like some Hip Hop and Rap. I'll incorporate some of the rhythms into my drum patterns. Ain't we All in It Together off my new release has a bit of Hip Hop feel to it. I can't rap though.

Why do you think that Detroit music scene continues to generate such a devoted following?

Detroit has always had a burgeoning music scene since going back to Paradise Valley in the 20's, 30. 40's and then a great jazz scene in the post war era. When the automobile factories opened and Henry Ford offered $5 a day, the Blues and country artists got jobs and brought their music with them. And of course there was a great soul and R & B scene in the 50's, 60's, and 70's with Motown and other R & B artists. Music is in Detroit's DNA and will always play a part in music.

(John Christopher Morgan / Photo by Douglas Avery)