The corps of participating players and singers bring a slight reggae lilt to “Love Is Love,” but it’s a bit overly-familiar as a songwriting trope Browne’s used more than once in the past (i.e., his cover of Little Steven’s “I Am A Patriot” in 1989). Just as crucially, however, via Browne’s own production, the shifting rosters of personnel invariably forge the unity of a bonafide band, details of the various bonds readily audible on cuts such as “Minutes to Downtown” through the clarity of the recordings (mostly by Kevin Smith, subsequently mastered by Gavin Lurssen and Rueben Cohen). Participating in a collaborative effort on par with the California poet laureate’s other splendid LP’s from early in the 2000’s Time The Conqueror and Standing in the Breach, guitarist Leisz appears alongside fretboard partner Val McCallum, bassist Bob Glaub, keyboardist Jeff Young and drummer Mauricio Lewak (who also participate in the songwriting here too). The front man’s accompanists are comparably empathetic. Here it’s the uncannily simpatico musicianship of Greg Leisz, arguably as a sympathetic accompanist as his predecessor, if not more so. Following closely on that opener, the unmistakable sound of slide guitar on “My Cleveland Heart” is an even more overt evocation of the early period of Browne’s career when stringed-instrument wizard David Lindley’s work mirrored Jackson’s own voice. To that point, intentionally or not, a few notes in the beginning, middle and end of “Still Looking For Something” echo the solemnity of “Before The Deluge” from Late For The Sky. Recalling his best work from the past in the most natural and unaffected ways, this fifteenth studio album of his extends a string of superb albums dating back to 2002’s The Naked Ride Home, all of which marks a return to form comparable to Bob Dylan’s in the late Nineties.
Jackson Browne sounds equally invigorated and self-assured on Downhill From Everywhere.
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