Of all the songwriters who built their careers in the incredibly fertile crucible of the Lower East Side New York scene in the late 90s and early zeros, Jenifer Jackson is one of the most prolific and arguably the best. Over the years, she’s moved from Beatlesque psychedelia to stark, brooding pastoral pop, bossa nova and harrowing, majestic art-rock. She’s also been a poineer of the DIY house concert tour circuit Her move to Austin in the early part of the decade springboarded a deep dive into Americana. Her latest album Paths – streaming at Bandcamp – is a return to the catchy, anthemic, eclectic psychedelic pop she made a name with early in her career. Jackson has a pair of New York gigs coming up next month. She’s at the Owl on Nov 3 at 8, then the next night, Nov 4 at the same time she’s at the big room at the Rockwood.
On the new record, her voice is more nuanced than ever; her lyrics are characteristically crystallized, imagistic and loaded with subext. There’s a restrained angst in her delivery as she soars up to the chorus on the elegantly waltzing opening track, Things I Meant to Tell You, Jim Hoke’s flute and Chris Carmichael’s one-man string quartet adding a stark baroque touch. As usual, Jackson lets the images of returning to a dusty room after a trip speak for themselves. It packs a gentle wallop.
There’s a delicate web of acoustic guitar fingerpicking beneath the orchestration in the tender early-dawn scenario First Bird. Then the band – which includes Brad Jones on guitars, bass and keys, Pat Sansone on guitar and mellotron and Josh Hunt on drums – picks up the pace with Back Home, a big, electric, organ-driven backbeat rocker. “The silence almost made me lose my mind,” Jackson confides: the tradeoff between organ and twelve-string guitar in the break is absolutely luscious.
Travelled Together, a bittersweet breakup ballad, has wintry, vintage 60s orchestration and Laurel Canyon psychedelic pop ambience: it wouldn’t be out of place in the Judy Henske catalog. Sultry Memory is a summery psychedelic soul ballad with shimmering vibraphone: it has the enigmatic lushness of Jackson’s classic 2007 Outskirts of a Giant Town and the lush Philly soul of Got To Have You, two standout numbers from Jackson’s vast output over the years.
Hey, Good is a wistful, hopeful, sprightly tune with ukulele and just a hint of brass: it could be a charming lost acoustic McCartney miniature from the White Album. Jackson brings back the electricity and the backbeat in Written in Stone: imagine the Byrds backing the Mamas & the Papas.
Jackson likes to put a good old-fashioned hard country tune on every album, and What Good’s a Memory is a picture-perfect vintage 60s tune, right down to the saloon piano and pedal steel. She wraps up the record with a country gospel-flavored piano ballad, Hail and Farewell. In a time where the brain drain out of New York stalled or even destroyed so many music careers, it’s testament to Jackson’s sheer talent (not to mention persistence) that she’s been able to stay on a creative tear that just won’t quit.
[If you’re looking for today’s Halloween installment, take a trip back to October 21 of last year for an underrated, darky psychedelic 2013 release – amazingly still available as a free download – by a New York band who should have gone a lot further than they did]