John Jorgenson Quintet, One Stolen Night (J2 Records, 2010)
John Jorgenson and Orchestra Nashville, Istiqbal Gathering (J2 Records, 2010)
Django Reinhardt would have been 100 years old this year. Django Reinhardt, the gypsy jazz guitarist who has inspired so many guitarists, not just in the jazz field but everywhere. My friend Joe Clark, bluegrass mandolinist, is a fan; Chet Atkins, BB King, Jerry Garcia, Jimi Hendrix, Robert Fripp, Willie Nelson, they all list Django as an influence. And now John Jorgenson, ex-Desert Rose Band, ex-Hellecaster, has just released two, TWO new CDs of Django-related material. And they are a pleasure to listen to!
Jorgenson, like many of us, first became interested in the guitar after seeing The Beatles on TV in 1964. He began playing professionally at age 14, only 2 years after getting his first guitar! After the country music of Desert Rose and the fiery twang of the Hellecasters you might be surprised that he has taken on "gypsy jazz," but Jorgenson was playing Django-style swing back in the '70s with the Rhythm Brothers. This was just one of the bands he was in at Disneyland. Well, truth be told, it was the same band (same four members) who changed costumes and styles throughout the day. John played mandolin with the bluegrass Thunder Mountain Boys, and clarinet with the Dixielanders Main Steet Maniacs, too. He also toured as guitarist with the Elton John Band for six years in the late '90s.
These days John Jorgenson spends most of his time with the John Jorgenson Quintet, playing this delightful swing music. The Quintet consists of John on guitar, bouzouki, vocals, clarinet, and soprano sax; Jason Anick on violin; Simon Planting on bass; Rick Reed on percussion; and Kevin Nolan playing rhythm guitar. On a mix of originals and standards this band serves up a tasty feast of tunes always presented with an eye to great playing. The notes tell us that the recording completed in two days giving a live vibe to the album and a great feel for the emotion of the music.
It all starts with "Red on Red" (a Jorgenson original) that really kicks things into gear. If the first notes of Jimi Hendrix's Are You Experienced album heralded a new sound, then the first notes of "Red on Red" tells us that this is a band who owns this music and is here to play! The interplay between Jorgenson's spiralling leads and Nolan's right-on rhythm is equalled only by the trade-offs of Jorgenson's guitar and Anick's violin. One can't help but compare them to the duo of Django and Stephane Grappelli ... and they come out with roses! "Slide Sister Slide" is a swinging shuffle that is another showcase for John's stunningly precise fretwork. But then the whole album is like that. There are moments in every song where you sit up and say, "Wow!" and yet it's not all showmanship ... it's music played by masters. You'll find yourself humming the melodies, tapping your toes, and rocking in your chair. One Stolen Night is a wonderful tribute both to Django, who started it all, and Jorgenson who is keeping it going! Bravo!
But wait! There's another album!
Istiqbal Gathering is hinted at on One Stolen Night by a bonus track entitled "Istiqbal Solo" a mellow meditative solo guitar piece. This is expanded on and full blown with the Orchestra Nashville on a collaborative album. The gathering begins with "Concerto Glasso" a dramatic combination of solo guitar and orchestra in three movements. It's not unlike Gershwin's "Rhapsody in Blue" in some ways, with piano replaced by guitar. Jorgenson's strong soloing is supported by the Orchestra Nashville led by their conductor Paul Gambill. This music was written by Jorgenson and Don Hart, commissioned by the conductor, and supported by the Metro Nashville Arts Council. For anyone who thought Nashville was a city filled only with guitars and cowboy boots ... think again. The Orchestra also appears on the title piece, which closes the album. We've heard the themes on the solo guitar piece, but they are further developed in this live recording, which includes Alexander Fedoriuk on cimbalom and David Davidson on violin.
Between the opening "Concerto" and the closing "Gathering" are two smaller pieces recorded with the Turtle Island Quartet. I say smaller, not to reduce their importance at all, simply to say that fewer musicians are involved. However, the Quartet challenges Jorgenson, and the interplay between the strings creates a beautiful mood and imagery. First is "Dieter's Lounge," which might be a real place based on how successful the imagery is created. This is followed by "Groove in the Louvre" (composed by David Balakrishnan), which takes you on a tour of the gallery through a series of twists and turns, all punctuated by Jorgenson's fluid fretboard mastery.
Two absolutely gorgeous albums dedicated to "gypsy jazz" approached in different ways, but both marvelous. John Jorgenson is a treasure. AND he designed the album covers, too, is there anything this guy can't do?
