Ink

Jim Campilongo
Orange
Blue Hen Records

Defying categorization has long been guitarist Jim Campilongo’s stock in trade. Campilongo — who’s led the Western swing band 10 Gallon Cats, had gigs with Norah Jones via The Little Willies and toured with Martha Wainwright — is rightfully recognized as one of the leading modern proponents of tasteful Telecaster mastery.

With his eighth record, Orange, Jim’s music continues to evolve and amaze. Longtime fans will notice less overt country influence and a more lean-and-mean, “New York” feel. Think a little more Marc Ribot and less Roy Buchanan.

Campilongo has always had an exciting, dissonant “outness” to much of his playing, but it’s more present on Orange. That said, as always, Campilongo has an astounding number of tricks up his sleeve, and Orange is impossible to put into one neat compartment.

There’s plenty of fiery, wiry guitar work, such as on opener “Backburner,” the Buchanan tribute “Blues for Roy” and the aptly titled “I’ve Got Blisters on My Fingers.” There’s also the gorgeous acoustic title track, and a beautiful acoustic reworking of his own “Because You Like Trombone.”

The surprises don’t end there. After the scorching twang of the first track, Campilongo follows with the 180-degree turn of “Awful Pretty, Pretty Awful,” a swinging solo-guitar piece reminiscent of Chet Atkins and Les Paul’s finest moments.

Perhaps the most astounding feat on Orange is “No Expectations,” a cover of the Stones classic that does something many may have considered impossible — it’s better than the original.

While guest vocalist Leah Siegel trades some of Mick Jagger’s raw directness for smoky sensuality, Campilongo’s solo guitar arrangement is sublime. Siegel appears again on another unexpected cover, The Stooges’ “No Fun,” an imaginative, sparse reworking of one of Iggy Pop’s best.
Finally, the record ends with a forlorn interpretation of “When You Wish Upon a Star” that keeps enough of the instant familiarity of the song while presenting it in a wistful context to lovely effect.

Throughout Orange, Campilongo’s skills astound, and bassist Stephan Crump and drummer Tony Mason back him with near-perfect musicianship, both displaying tasteful restraint but more than enough chops when appropriate. 

The production by former Lounge Lizard/Golden Palomino Anton Fier fits the record like a comfortable but well-cut suit, capturing the most beautiful acoustic moments with a breathy intimacy while giving the flashier bits just the right sheen.

Orange is a record that will have guitar geeks’ jaws on the floor, but it also presents enough moments of absolute beauty that listeners with no particular interest in the instrument itself will find plenty to love.

In short, Orange is a stunning record by one of the best guitarists — make that musicians — working today.
— j howell { special to ink }