Customer Reviews

American Hips

5 star:		(9)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

This review was posted on the TDPRI, a discussion board for people who play Fender Telecaster guitars. It has been edited a bit so it's not as guitar-specific.

I've found that, IMO, Jim is hitting his stride - I think he can be characterized as a "three note guy" (recognizable within the three notes, anywhere in the song.) One of the greatest contributing factors to creating this unique sound is Jim's remarkable talent in his choice of notes, in either the melody or harmony of a song. What comes through loud and clear is that JC understands how music can completely involve and transport the listener. It can make you crazy and bounce off the walls, laugh out loud, or make you cry. The music moves, breathes, with all of its harmonic richness *hanging* in the air. It's all there in American Hips.

**From the liner notes: "All tracks on this album were recorded live in the studio"

1. American Hips
JC begins with a theme played in the style close to many of our hearts - pedal steel. It's a deceivingly simple bend-y kind of melody. It sounds like a clean loud Tele with a bit of hair on it. Very interesting too, is the middle section when bass player Tim Luntzel lays out and lets JC and drummer Dan Rieser interact for a while. A nice, upbeat starter to get you warmed up for the rest of the CD.

2. Watchin' You Drown In A Mud Puddle
The steely sound continues. During the opening phrases you can hear his amp humming in the background, which, to me, is a *good* sign (also tells you how loud I listen to this CD.) The rest of the trio joins in and they're all making music that gives as much importance to silence as it does to notes, which creates a very open environment for JC to play in. This musical principle seems to be at work throughout the entire CD. It sounds like JC trusts these guys.

3. Sweet Dreams - JC's guitar and NJ's voice perfectly compliment each other. I love her subdued style and grace, which are such rare qualities in young women singers (and the songs they sing) these days. The JC guitar solo epitomizes restraint and respect for the tune and Norah's interpretation of it.

4. Cat Under A Car
The feedback at the beginning and end frame an ominous melody underpinned with a spooky bowed bass. JC's music tends to have a very visual, cinematic quality with an intensity that only a really loud guitar can achieve.

5. Bought Some Swampland In Florida
Jim's gift of melody shines here. His use of reverse bends betrays that pedal steeler in him (again...). These slow ones really highlight how effective just letting the note hang there can be. Deep and melancholy, soothing and heartbreaking.

6. Jim's Blues - "Cool. I've never heard the blues played like *that* before...." So says a friend upon hearing this the first time. This is an ultimate compliment for someone taking a shot at a blues, IMO. Jim's Blues is a very atypical blues performance by all musicians involved. The blues chord structure is there, but that's about it. He succeeds in making the blues his own, and *that's* what it's all about, ain't it? JC *owns* the chords at 2:52 - 3:03. Yes, *owns* them.

7. Stella
Again, Norah Jones graces this tune, this time an original JC melody ("Lipton Tea" from Live at the DuNord). Norah is such a breath of fresh air, and both she and Jim seem to embrace a quality of not being rushed and letting the music play them when it needs to.

8. Roy Buchanan's Cousin
The rhythm section sounds like something out of a David Lynch film. Jim slips and slides over the top of it at the start, stutters and skips through the middle, restates the theme at the end. Beautifully dissonant at times, this song has an unpredictable quality that just...works. Classic JC.

9. Between Your Toes
Another slow one with lots of breath. Because of it's dynamics, draws you in and keeps you there. Songs like this must be really difficult for a rhythm section to negotiate, but Reizer and Luntzel support it beautifully.

10. Freaky Dreiky
My personal favorite tune on this CD. JC has a talent for writing unusual melodies and songs. This song is a perfect example - seriously twisted melody, leads into equally twisted improv on twisted melody, but JC (somehow) makes it work, and work well. The rhythm section sounds like a giant ogre laying waste to the countryside (I mean this in a *good* way!) as JC weaves his way up, down and around the carnage. This is the soundtrack for something very weird, I just don't know what... How does he write stuff like this? Fun, and funny stuff.

11. Michelle
The music starts, and all of a sudden you realize that it's "Michelle". Another one that really draws you in through its dynamics. JC and band really demonstrate their ability to *make* you listen by playing less and through thoughtful, interactive performance.

12. Like, Hello?
JC plays the head with that picked near the bridge tone then launches into the fun part with a playfulness and humor reminiscent of the first two 10GC recordings. Lots of energy and creativity on the improvs, but it's TOO SHORT.

13. Ain't She Sweet
In the tradition of "Mr. Sandman" and "This Old Man" JC takes on an old chestnut and puts his stamp on it. Beautifully played, the music just spills out of the speakers with an intentional focus on the melody - played in such a way that brings out a melancholy quality in the song. This treatment of a song is something that JC is quite adept at...

I'd highly recommend this album for fans of Norah Jones. The two on which she sings are wonderful...worth the price of the album. Campilongo's accompaniment is just right. I hope Norah sings on more of his albums! The rest of the record has some good stuff, ranging from hard bluesy rock to spacey Chris Isaaky sounding stuff. In any case, he is a darn good guitar player. Update: I saw him in concert at The Living Room in NYC with Tim Lunzel (bass) and Dan Reiser (drums)....great. If you have a chance to see Campilongo live, you'll see a master who's better live than on record. But the record's sounding even better now.

I completely agree with the editorial review above. Campilongo (a fan of Buchanan) plays with all the emotion, phrasing and nuances one could hope for. Go see him live if you have a chance!

I really fell in love with American Hips ( no pun intended ! ) . It's warm atmosphere is present during spacious ballads like " Between Your Toes " and during gritty improvisations like " Jim's Blues " . It has a wonderful "Live " ambience that is so absent in most modern , overdub laden records. Because of the trio setting , American Hips features Jim's guitar genius more then any of his previous records . I hear nods to so many influences - Roy Buchanan - Speedy West - Django Reinhardt- Bill Frissell-but it all comes out PURE CAMPILONGO ! A long one hour record that has two NYC aces Dan Rieser and Tim Luntzel running along with Jim the whole way. As usual , Jim's SONGS are the point , not " look at me !! " guitar solos. I have all of Jim's CD's and it's been great to see him grow and expand . I wonder what's next ? American Hip's is a super CD !

Jim's latest record is fantastic. If you are unfamiliar with his work, this is a good one to pick up. He's kinda got a Luther Perkins meets Dick Dale thing happening in terms of his approach - but that doesn't really make sense does it? Luther and Dick are pretty different in their approaches. Sorry.

Anyway, he plays with a lot of restraint on the record, but throws enough licks at you to let you know he's a monster on his instrument. He's friendly to guitar heads and also to the rest of us as well

Norah Jones' vocals on the record are great too. Stella is a beautiful, beautiful tune - one of my favorites she's ever done.

You should check Jim out at the Living Room if you come to New York City. It's a good time.

I get completely lost inside this album and find myself dancing all over the kitchen every time I put it on. This was my first Jim Campilongo cd, and since fallling in love with his playing, I've gone on to collect all his albums. Heaven is Creepy is my other favorite.
So far, I've given this album as a gift to friends, my grandfather, my mom, and of course myself- it's a testament to Jim's brilliant playing that such a diverse group of people have all loved discovering his music.

I think this is Campilongos best and I have all but the Live one. I've listened to Jims Blues 20 times in a row and I still cant get enough . A tele master !

Yes, a tele player. I play one too. This guy is a master. The record has a feel that says, "I've been playing for so long, I'll just do what feels good"... Campilongo works in every possible thing you can do with a guitar into his selections, from wild bends to harmonics to moving the neck and the sounds that are delivered are beautiful to wild to humorous. If you're a player, you need this record. If you're not a player you still need this record but for different reasons than if you were a player. Go for it...

Jim with a new band members Dan Rieser and Tim Luntzel, drums and bass, give listeners a good dose of Ameracan contry, blues and jazz.
The album starts with an up tempo number and moves in and out of fast and slow tempo numbers.

Nora Jones is a guest on two tracks and the band dose a great job in supporting her vocals.

While Jim can rock out, his ballads are thick and dreammy. You get lost in them and are taking away, (Swampland in Florida)
Jim also does a cover of the Beatles Michelle. Jim dose a lot of slow twisting in this song making it his own.


I feel that Jim is one of the better, brighter, guitar players on the scene and all of his albums are worth checking out.

Jim is a master and I have all of his records but NYC doesn't seem agree with him. Someone tell him, please, that room based reverb only sounds good if the room sounds good in the first place and that he is slowly drifting into the territory nailed by Bill Frisell 20 years ago.