The Recordings

Stellar Jays (2007)

Seven years of touring across North America and Europe, four critically acclaimed albums and a Canadian Juno nomination have established John Reischman and the Jaybirds as a top-flight band in bluegrass music. Stellar Jays, their fourth album, continues the strong tradition of great music from the Jaybirds. Ranging from old-time infused bluegrass, innovative instrumentals and contemporary ballads, the original numbers are rounded out with unique takes on timeless, rarely heard classics.

"John Reischman and the Jaybirds know the best new Bluegrass grows from classic roots. Their new cd has all the elements: hard driving instrumentals, lonesome singing and an excellent cross section of originals mixed with traditional covers." - Tim O'Brien

"Aces in writing, instrumental and vocal departments... a true collaborative effort from this West Coast amalgamation of Canadian and American bluegrass musicians, and worthy of repeated listenings and then some." - Peter North, The Edmonton Journal

"John Reischman approaches the mandolin with unprecedented musicality. On Stellar Jays, a skillfully spirited effort, his concept of tone, sense of melody and attention to detail continues to astound not only students of the instrument but the entire contemporary folk community." - Chris Thile

"THREE AND A HALF STARS! Though exceptional mandolinist Reischman gets his name out front, this Vancouver-based folkgrass band democratically spreads the spotlight. Bassist Trisha Gagnon's pristine voice lends itself equally well to old English ballads, Civil War soldiers' prayers and her own stirring evocations of rural life, for example, an Nick Hornbuckle's banjo can be downright spine-tingling." - Bob Strauss, Los Angeles Daily News

"A masterpiece - fascinating and fresh sounding... incorporates the best elements of bluegrass and old-time into a killer new sound. Immaculate musicianship." - Dave Higgs, NPR's Bluegrass Breakdown

"Clarity, energy, good ensemble work, classy originals and an adventurous approach to Folk and Bluegrass standards... bluegrass and acoustic music fans take note of a fresh breeze from the north." - Kerry Dexter, Folkwax

"On the evidence of Stellar Jays, John Reischman and the Jaybirds are in their prime as contemporary bluegrass musicians capable of maintaining and extending the music's legacy." - William Ruhlman, AllMusic Guide / Billboard.com

Listen To an MP3 Sample Track:
The Jaybird Song

ORDER On-Line from Festival Distribution

The Road West (2005)

The third album from John Reischman and the Jaybirds is a powerful follow-up to the band's Juno-nominated "Field Guide" CD. Known as a world-class mandolinist and composer, John and his long-time playing partners have established a strong musical bond with a unique identity - stellar original songs and instrumentals, and trademark interpretations of old-time numbers. "Together they produce music that is seamlessly excellent", says Sing Out! magazine in one of many accolades earned by the Jaybirds down through the years. The 16 tunes on 'The Road West' range from driving hard-core Bluegrass and haunting ballads to fiddle tunes and time-honored classics. Most band members contribute at least one original number. Other sources range from traditional tunes given the Jaybirds arrangement to songs by Don Stover and Harold Hensley.

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Travelin' the Road West
Hop High My Lulu Gal
Sandy Boys
In The Fall

Field Guide (2002)
"Top-notch musicians and singers deliver an unusual repertoire of originals, bluegrass classics, and old-time music." - Top CDs of 2003, Acoustic Guitar Magazine, February 2004.

"John is truly one of the nice guys in this kind of music, so it wasn't any big deal to agree to write liner notes for the new record by his bluegrass band The Jaybirds. Anything he's involved in will have class, integrity, diversity and TONE. You will find all that and more on this record. One thing that comes through loud and clear is that this is clearly a BAND, and everyone shares the spotlight. And spread throughout the group is a considerable talent for original material, both instrumental and vocal. What emerges from this recording is a unique sound in bluegrass, one decidedly traditional yet comfortable with original material and not afraid to feature a females lead voice or numerous instrumentals. Spread across a generous 16 cuts, not less, is the sound of a group that should be attracting attention as their reputation spreads across their Northwest base. Don't miss them. If you like bluegrass, there's not a reason in the world that you shouldn't love 'Field Guide'. I sure did." (From the liner notes, written by Blue Highway's Tim Stafford)

Field Guide was a 2003 Juno Award nominee in the Best Roots Traditional Album (Group) Category.

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In The Darkest Hour

Bumpy Road (2002)
John Reischman and John Miller have just released their second CD. It shares some characteristics with the first recording. There is a primary focus on sounds of Central and South America and the Caribbbean, excursions into jazz and Celtic music, and a preponderance of original tunes. There are differences, though. Mr. Miller shares the weight of the soloing a bit more evenly with Mr. Reischman on this CD, and the overall sound is more improvisatory. There is a vocal track too, with Koralee Tonack joining in. The two Johns hope that you enjoy your journey on The Bumpy Road.

(Adapted from the liner notes, written by John Miller).

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Kenny's Gone

John Reischman
and the Jaybirds (2001)
Top-ranked mandolinist John Reischman and his new band The Jaybirds have released one of the most impressive bluegrass recordings of the new century with their powerful self-titled debut album. A scintillating mix of soulful vocals and virtuoso instrumental playing, it features 14 outstanding tracks. The album deftly melds fresh reworkings of traditional songs by such icons as Ralph Stanley and the Blue Sky Boys, with sparkling and innovative original instrumentals by John and Nick Hornbuckle. The album "serves up some of the finest, hard-driving, soulful bluegrass you're likely to here anywhere" say the liner notes by Vancouver journalist Jim McNulty. Joining John in the Jaybirds are four acoustic players renowned in their own right: Jim Nunally, guitarist, vocalist, composer and producer from the San Francisco Bay Area; Chilliwack, British Columbia's Trisha Gagnon on bass and vocals; Seattle's Nick Hornbuckle on 5-string banjo and Spokane's Greg Spatz on fiddle.

"John Reischman, who tops my short list of world-class mandolinists, has harvested smart players from both sides of the Western US/Canadian border to form the Jaybirds. This self-titled Jaybirds debut is strictly bluegrass: 14 tracks that range from traditional tunes to familiar contemporary covers, with lots of engaging instrumentals. Solos are clean, pure and uncluttered. Listen to any of the six instrumentals - the lead instrument starts off with sparkling clarity; the melody, like the baton in a relay, is handed off around the band, the energy intensifies and then back to the lead who crosses the finish line, bringing the song home to a satisfying conclusion. Vocals are handled with grace and gentleness by Gagnon, Reischman and Nunally, lending a rich variety to the repertoire as they take turns at lead and harmony. If there was any post-production tweaking going on in the studio, it's hard to tell. The Jaybirds sound joyously perfect without sounding mechanical." - Bluegrass Unlimited

"John Reischman is mostly known for his considerable skills on the mandolin, but his latest project should reach beyond mandolin enthusiasts. It is also a bluegrass album that should appeal to more than hard-core fans of the genre. With plenty of variety, a distinctive style, an excellent selection of songs, and impeccable musicianship, this album should turn out to be one of the more sophisticated bluegrass releases of this year." - Dirty Linen

"This is art, and even more enjoyable, listenable and appreciable art. In summation, this CD is 42 minutes of must-have music. Run, do not walk to your nearest CD emporium and order it immediately!" - Flatpicking Guitar Magazine

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Don't Wake Me Up

Up In The Woods (1999)
"I hadn't written anything in a while" Reischman says of his latest CD. What sparked him was a pair of shows that he did in tribute to the music of Bill Monroe. "It was all written after Monroe passed away. I think all the musicians enjoyed playing it." And what a supporting cast of players he has assembled - Todd Phillips (bass), Gabe Witcher (fiddle), Jim Nunally (guitar), Dennis Caplinger (fiddle), Scott Nygaard (guitar), Nick Hornbuckle (banjo), Rob Ickes (Dobro), Kathy Kallick (guitar) and John Miller (guitar).

Here's one beauty of an album. John Reischman makes it strong, pretty, clean and rich, no matter the mood or tempo. And, as a bonus he's given us a blast of high pedigree, spanking new original tunes that pretty well cover the entire rooted landscape of Bill Monroe's music. John's got a hell of a backup band, too. They can burn bright and lonesome on such tunes as Low Gap, or sweet-bluesy on a gem like The North Shore.

I've had the pleasure of playing with John on too few occasions over the years, and have alaways come back home thinking that I should move to the west coast to put something together with him. He inspires and leaves one wondering "Why isn't this guy rich and famous?"

John is one of the few who manages to combine heart and technique in his playing. He's precise, but in being so he never sacrifices the soul of his music. Just drop the needle on Alexandra Waltz, and you'll see what I mean.

A few moments that knock me out: Dennis's drop-jaw solo on Nootka Blues (incorporating elements of either Bill Monroe or Chuck Berry, depending on your perspective), Scott's rippling turn on The Eighth of February and the indomitably righteous mando-banjo unison to end the tune, the beautiful melody (and title) that is Ponies in the Forest, John's Monroe-flecked solo on Indiana Firefly, and Rob Ickes' plaintive outing on The North Shore. I could go on, but these are just a few of many highlights.

Whereas many albums are characterized by a drop-off in listener interest with repeated airings, this album reveals more of itself with each spin. Taste and virtuosity abound, and there's plenty enough to keep you coming back to this deep well.

(Adapted from the liner notes, written by acclaimed banjo player Tony Trischka).

Reviews

"One of the best things I've ever done in the recording studio was work with John Reischman on some CBC sessions for local psychobilly wildman Chris Houston. I still remember standing in the control room, along with a handful of grizzled punks and jaded techs, watching in amazement as the mandolinist pulled one perfect part after another out of thin air. What was even more impressive was that this was the first time he'd ever performed with a rock and roll band. Up In The Woods finds him on more familiar ground, with an acoustic ensemble and a program of original bluegrass instrumentals. But the things that I remember from that day are here too: his big, confident tone, his rhythmic assurance; and especially, his knack for penning singable melodies that conceal a devious twist. Even if you don't like bluegrass, the perfectly beautiful Ponies in the Forest might convert you to the cause, and there are half a dozen tunes on Up in the Woods that are just as fine." - The Georgia Straight.

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The North Shore

Travellers (1999)
John Reischman, Butch Baldassari and Robin Bullock have brought three unique individual talents together to create a new genre of acoustic music. A common ground shared by the traditional dance styles of all cultures has emerged.

"We fell easily into a group consciousness, with the mandolins playing off each other and the cittern and guitars integrating into the mandolin parts. The power of a group - the power of three musicians working together and inspiring each other - took the music well beyond our expectations." said Baldassari.

Each musician solos brilliantly. Baldassari, founder of the Nashville Mandolin Ensemble, reaches into his bluegrass background for inspired solos. Reischman demonstrates the eclectic virtuosity that has made him a defining force of the 'new acoustic' scene. Bullock shows why he is one of the leading lights of Celtic music.

They shine brightest as a collective trio. When Baldassari and Reischman play twin mandolins, their harmonizing and phrasing makes it sound as if they were one. The power of the three musicians playing as one is best illustrated when they offer up a tour de force mandolin trio piece.

Moreover, in the hands of these musicians the concept of oneness extends into their own personal style of music. They've created a common ground shared by the traditional dance styles of all culture. The group found no stylistic boundaries. Whether they are playing a Venezuelan waltz, a bluegrass, old time or Celtic fiddle tune, a Mexican polka, a Scottish bagpipe tune or a Django-inspired piece, the results are stunning.

Although the origins may be diverse, a common spirit flows through the music and the musicians. They have traveled to a musical place with no cultural stigmas and preconceptions. They prove that good music is good music, no matter where you find it. And you will find it on Travellers.

Butch Baldassari - mandolin
Robin Bullock - cittern, guitars, mandolin
John Reischman - mandolin, mandola

(Adapted from the liner notes, written by Walter Carter)

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Arkansas Traveller / Little Rabbit / Miss MacLeod's Reel

The Singing Moon (1998)
John Reischman's release with John Miller is the first collaborative CD by these long-time musical partners. A captivating collection of original instrumentals by both Johns, the album is rooted in Latin and jazz music, delivered with an abundance of taste and tone. Rich in melody, texture and innovation, The Singing Moon offers a seductive and irresistible sound. As guitarist Scott Nygaard says in the liner notes, "you realize what monstrous groovers the two Johns are and what a sophisticated harmonic sense they each possess. What really sets this music apart are the melodies. Melodies that will rend your heart, tickle your funny bone, and keep you supplied with plenty of tunes to hum as you stroll down the street on a sunny spring morning."

Long regarded by peers, fans and critics alike as two of North America's finest acoustic instrumentalists, guitarist John Miller and mandolinist John Reischman have joined forces in an exciting new foray into the world of jazz and Latin music. Delivered with an abundance of taste and tone and rich in melody, texture and innovation, The Singing Moon offers a seductive and irresistible sound.

In the liner notes to the album, renowned guitarist Scott Nygaard says that "while many of the pieces on The Singing Moon are inspired by Latin music, they are far from being slavish imitations - rather, they define their own territory." Nygaard acknowledges the two Johns as "monstrous groovers" with a "sophisticated harmonic sense" and melodies "that will rend your heart and tickle your funny bone."

Although their formative years were spent in folk and bluegrass music, both Miller and Reischman used that experience as a launching pad for explorations of other genres that culminated in a love of melodic acoustic jazz. Both are outstanding players and composers known for an abundance of taste and tone, effortlessly weaving a seductive and irresistible sound that gives audiences a memorable musical experience. Miller's highly original fingerpicking style was described as "magnificent" by The Jazz Journal, while Reischman was termed "one of the great unsung heroes of contemporary mandolin playing" by David Grisman.

"I have a hunch that we're suffering from a severe case of melodic deprivation in America today," says Miller. That will definitely not be the case for listeners of The Singing Moon, who will be enchanted with the sophisticated playing of Miller and Reischman. Live audiences at concerts will be additionally charmed by the genuine warmth of these two veteran performers.

Reviews

"You play it all the way through and then you want to play it all the way through again." - Jurgen Gothe, Disc Drive, CBC Radio Two

"Superb mandolin/guitar duo" - Rogue Folk Review

"It wasn't long before passersby absorbing the rich, romantic sounds from the two Johns were muttering things like 'wonderful' . . . a truly superb set." - Edmonton Journal

"John Miller . . . will frighten some of the top name guitarists when they hear this. Recommended to all those who love good music and magnificent guitar playing." - Jazz Journal

John Miller is "one of the most exciting and innovative guitarists performing today." - Pickin'

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Choro For Shadow

North of the Border (1991)
John's debut solo album serves up an exhilarating instrumental feast played with the crisp support of top acoustic players Todd Phillips (bass), Scott Nygaard (guitar), Tony Trischka (banjo), Byron Berline (fiddle), Sally Van Meter (Dobro), Rob Ickes (Dobro) and many more. The album offers a fascinating glimpse of John's ability to cross from one genre to the other without compromising the integrity of the individual tunes. "I wanted to record the types of music that I liked playing the best: bluegrass, Latin, and string jazz . . . When I play I try to be true to the genre I'm playing in," says John. Bluegrass Unlimited magazine calls it a "monumental" album that "establishes a remarkably high standard for mature, tasteful mandolin music," while Dirty Linen magazine termed it a "refreshingly varied and impeccably recorded release that showcases Reischman's chops to good effect."

Reviews

"Monumental breadth of talent and musical awareness . . . establishes a remarkably high standard for mature, tasteful mandolin music." - Bluegrass Unlimited

"Refreshingly varied and impeccably recorded release that showcases Reischman's chops to good effect." - Dirty Linen

"A whirlwind musical tour of the Americas . . . the music is subtle, performed to perfection, and with dazzling skill." - Bluegrass Canada

"One of the most fun and inventive mandolin albums in some time." - San Francisco Bay Guardian

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Palomita Blanca