Some jazz artists release new albums with such frequency that it is difficult to remember the sequence of their discography. Not so with John Jorgenson. Today John released his 4^th Jazz album in 22 years. In fairness, the time between the first (After You’ve gone, 1988) and the second (Franco-American Swing, 2004) is largely explained by the fact that John was pretty busy in the intervening years playing with Elton John and the Hellecasters. Since 2004, John released UltraSpontane in 2007 and now One Stolen Night. These last two releases feature the John Jorgenson Quintet, probably the most successful Gypsy jazz outfit in the US (if not the world).

John HAD to do a new album. His entire band is made up of new members since the release of his last CD. In fact, one of the “new” members of the quintet has already left (Doug Martin has taken the rhythm guitar chair as Kevin Nolan has moved back to Europe).

The new album is a collection of 8 Jorgenson originals with 4 Gypsy jazz standards and 1 old time jazz tune.

The musicianship of this quintet is SUPERLATIVE! John may well be the best guitarist playing Gypsy jazz in the US. Simon Planting is probably the best bassist playing Gypsy jazz in the world. Kevin Nolan is as solid a Gypsy Jazz rhythm guitarist as they come, and Rick Reed (percussion) and Jason Anick (violin) handle their respective instruments with great aplomb.

One of the Gypsy jazz standards played is Robin Nolan’s “Mediterranean Blues”. Quite appropriate as the band contained two Robin Nolan trio alumni (Nolan and Planting). On “Billet Doux”, “Hungaria” and “Norwegian Dance”, John channels the spirit of Django with uncanny precision. The old time standard “Dr. Jazz” features John on reeds and vocals.

Of the 8 Jorgenson Originals, my favorite is ” Souvenirs Des Nos Peres”, a haunting composition finding John again on reeds. On “Istiqbal Solo” John plays solo guitar, evoking the sound of Django on the “Improvisations”.

This album, while offering breathtaking virtuosity and some superb new compositions, breaks little new ground (John does play the Greek Bouzouki, a new instrument for US Gypsy jazz). For fans of the John Jorgenson Quintet it is indispensable. Others may find it superfluous. I have found that non-Gypsy Jazz fans like John Jorgenson better than the European masters. John’s musical virtuosity and precision are second to none. John brings his other musical influences (Rock, Country etc.) to the music, which helps outsiders to this music relate, and become drawn in. They don’t call John the “US Ambassador of Gypsy Jazz” for naught! John once told me that he never thought that playing Gypsy Jazz would end up being his gig. Lucky for the rest of us it has!

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Tour Dates

2/26/2010 – Denver, CO – Swallow Hill
2/27/2010 – Bozeman, MT – Ellen Theater
2/28/2010 – Great Falls, MT – Machinery Row
3/04/2010 – Talkeetna, AK – Sheldon Community Arts Hanger
3/05/2010 – Fairbanks, AK – Pioneer Park Theatre
3/06/2010 – Anchorage, AK – Alaska Center for the Performing Arts
3/20/2010 – Kalamazoo, MI – Dale B. Lake Auditorium
3/21/2010 – Philadelphia, PA – World Cafe Live
3/22/2010 – Rockville, MD – Institute of Musical Traditions
3/23/2010 – Harrisburg, PA – Stage on Herr
3/24/2010 – Barto, PA – Landhaven
4/07/2010 – Northampton, MA – Iron Horse Music Hall
4/08/2010 – Boston, MA – Sculler’s Jazz Club
4/09/2010 – Londonderry, NH – Tupelo Music Hall
4/10/2010 – Lowville, NY – Lewis County Historical Society

In Gypsy jazz (among the Gypsys, at least) it is traditional to hone your chops by starting as a rhythm player. Gadjo (non-Gypsy) Samy Daussat, a Frenchman has done this well. He has played rhythm guitar for the top players of the genre. Angelo DeBarre, Tchavalo Schmidt, Patrick Saussois, Babik Reinhardt, Raphael Fays, Moreno and David Reinhardt are among those who have been lucky enough to have been backed by this talented guitarist.

Samy was also a co-author, along with Angelo DeBarre of two method books on playing Gypsy jazz guitar.

With “La Petite Famille”, Samy steps away from his role as a sideman and has arrived on the world’s stage as a band leader.  The album features Samy on solo guitar (that means lead guitar for all of you American Gadjo types), David Gastine on rhythm guitar and vocals, Claudius Dupont on bass. Django’s grandson, David Reinhardt is a guest on two tracks playing a blond Gibson ES-175 (This must be a family tradition as his dad, Babik Reinhardt, his uncle Louson Baumgartner and his great uncle Joseph Reinhardt all played this model guitar!).

The album is a showcase for Samy’s well-honed Gypsy jazz chops and is a well-crafted debut. The album opener is the title track “La Petite Famille”. It opens with a two guitar intro that breaks into swing with a modern sound in the style of Bireli Lagrene. Samy’s playing uses all the modern devices; artificial harmonics, triplets, block chords etc. The second tune is another hard swinging Daussat original aptly entitled “Gypsy School”. This is followed by a Latin rhythmed version of Django’s beautiful ballad “Manoir De Mes Reves”. Listeners will hear in the intro, that Samy shares the Gypsy respect for George Benson.There are vocal tracks with David Gastine’s vocal talents being showcased. While men may be impressed by Samy’s guitar virtuosity, women will be drawn to the French vocals. It is great to hear “The Good Life” a tune made famous by Frank Sinatra performed in its original French. There is even a Nat Cole tune sung in English.

The album has a variety of rhythms, much like a Robin Nolan album. This helps keep the listener’s attention. On “Le Mauvais Jours” and “Clairs-Obscurs”, two Daussat originals, David Reinhardt plays his archtop guitar with authority, bringing a different voice to the album. Daussat uses an archtop guitar as well as a Gypsy guitar throughout the album, also providing a variety of tonal pallets.

This is a fine addition to the modern Gypsy jazz collection. If you are a fan of the work of Bireli lagrene or Robin Nolan, you will love this debut work from this fine guitarist. If you are more of a traditionalist, you will just plain like it.  Highly reccomended.

In 1808, Italian Virtuoso guitarist Mauro Giuliani performed his Concerto No.1, the first modern concerto for guitar and orchestra. This raised the status of the guitar from a parlor instrument to an instrument worthy of respect of the worlds most serious (and respected) musicians. In 1939, Spanish composer Joaquin Rodrigo penned “Concerto de Aranjuez” the most famous guitar concerto to date. The nylon string classical guitar (Torres guitar) has been elevated to the status of a serious instrument as a result of these seminal compostions.

The Selmer-Macaferri guitar has been seen as an anachronism in the modern guitar world. Most “serious” musicians ( respected jazz and classical authorities) usually classify the Selmac guitar as an unusual instrument used by Django Reinhardt and his modern imitators.

John Jorgenson has changed that with his new release “Istiqbal Gathering”. This is a collaboration between John and Orchestra Nashville. This work is the culmination of 7 years of work between John and Orchestra Nashville’s conductor, Paul Gambill.  This album has four pieces. The first is Concerto Glasso, a 3 part concerto for the Selmac with Orchestra written by John.  Make no mistake about it, this ain’t “Minor Swing” redone. This is modern Classical music that uses many idiomatic Gypsy guitar elements (one of the parts is in 3/4 time, evoking the traditional “Gypsy Waltz”). The Selmac guitar can finally take its place among its brethern (the Classical guitar) as a serious insrument worthy of the world’s attention. Bravo John Jorgenson!

There are three other pieces on the album. “Dieter’s Lounge” a Jorgenson piece performed with the Turtle Island Quartet, “Groove in the Louvre” another piece done with the Turtle Island Quartet penned by David Balakrishnan, the founder of the Turtle Island Quartet and the title track, “Istiqbal gethering” another Jorgenson composition that feaures a Cimbalom and violin in addition to the Selmac guitar.

John Jorgenson is one of the world’s great guitarists (in any genre) and his Gypsy Jazz chops are up there with the best of them. His virtuosity is amply presented in this work. All fans of great music, especially those with an interest in Gypsy Jazz should check out this work. Most Gypsy jazz recycles that which has previously been done.  This album breaks new ground. John dedicated this work to his father, but in some respects, this is a symphony to Django Reinhardt. This album is highly recommended.