Although it was never his actual intent, singer, songwriter, performer, and producer Jonathan Wilson established a niche through nostalgia, one that recalls the fabled sounds and golden glow of Laurel Canyon’s communal confines circa the late ‘60s. He gained that reputation through the music he’s made over the course of his career, specifically the three albums he’s released over the past decade. It also has something to do with the company he keeps, specifically, such iconic individuals as David Crosby, Graham Nash, Bonnie Raitt, and Jackson Browne.
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Still, Wilson clearly has a broader spectrum that those attributed to him by the critics. He’s helmed sessions for Father John Misty, Dawes, Conor Oberst, and British folk legend Roy Harper, among the many, providing inspiration for any number of like-minded artists in the process. His early efforts, first with the band Muscadine, and later on his own with seminal solo albums Gentle Spirit, Fanfare and Rare Birds helped establish him as an essential artist possessing both prominence and importance.
Wilson’s new album, Dixie Blur, seems likely to further that reputation. Aside from its spectral sheen, it expands his template through both its folk finesse and rootsier regimen. Produced by Wilco’s Pat Sansone, it was recorded in Nashville in less than a week and provides yet another superb addition to Wilson’s remarkable resume.
Indeed, over the past decade, Wilson’s made quite a mark. “I keep my head down and stay focused on the project at hand,” he said, speaking on the phone from his home in L.A. prior to an upcoming tour. “It’s only been a decade or so since things really started coming together. That was the start of a whole stream of stuff. Then around 2016 and 2017, things started to top off with the touring and a Grammy nod and the work with Father John Misty. That’s when I felt like things were really happening.”
Wilson’s garnered other accomplishments as well, including a successful outing with Roger Waters on the latter’s US & THEM tour where he was given the opportunity to sing David Gilmour’s parts when it came to the classic Pink Floyd covers.
Wilson says he tries to put his efforts in perspective. “You’ve got to avoid distractions, “ he insists. “You’ve got to remember that you’re still the same person who started playing guitar as a teenager. admittedly, it’s harder to do when you’re a professional musician. That’s where I try to find the common ground. I’m really happy to serve as a kind of generational go-between. Those older masters come to me and see what I’ve done, and maybe it gives them some kind of hope of connecting with the younger folks. That’s all part of the multi-generational collaboration. Sharing those opportunities is a big thing for me.”
So is it ever intimidating to share a stage or a studio with such iconic individuals? “It is cool,” he admits. “Just to have Roger Waters at my house every day, in my kitchen and stuff… that was a bit surreal.”
Nevertheless, Wilson’s also set a high bar as far as his own efforts are concerned, and he’s cognizant of the fact that his earlier works set a certain standard. “Yes, definitely,” he agreed. “It has for my own work, especially as far as the people I want to share stuff with. When you think about the people who are hearing your work, that also comes to mind. After Rare Birds and all the work that went into it, it became a challenge to follow it up. So I called up up my pal Pat Sansone and he suggested that I go for more of a band concept. I started thinking abut what that might sound like. I was thinking about the songs that I had and how they could possibly be swung into that style. Then things started moving, but even then I wasn’t sure how it would work out. After the second day, I thought ‘holy shit, this is super, super special.”
Still, his Laurel Canyon connection has now become his trademark of sorts. “When I moved out there in 2009, 2010, I was kind of the only game in town as far as that sound was concerned,” he recalls. “It became kind of a catch phrase. I was doing an interview once and a journalist said to me,’This is kind of like the second coming of the Laurel Canyon sound.’ And yeah, there were a couple of songs that kind of had that vibe. And then I started singing with people like Crosby and Nash, who definitely have that vibe. So there is some truth to that. But what it means now, as far as a revival of that sound, I’m not really sure. So I kind of struggle with that. I wouldn’t want to base my work on something that’s come and gone, or a revival or anything like that. I was always wary of creating an homage. I prefer to be more closely veiled.”
Still, success can create demand, and given Wilson’s elevated stature, he’s forced to pick his present projects wisely. “I choose to go with what excites me musically,” he explains. “I’ve never been able to sort of take the money and do something that isn’t amazing or doesn’t speak to me. I try to follow my gut on that kind of stuff. Since 2016, I’ve always been stretched a bit thin, especially as far as touring. At one point, we were on the road for 22 months. It can be kind of trying.”
