John Reischman & Old Acoustic

With Trent Freeman (fiddle), Brian McDowell (guitar) and Max Schwartz (bass)

The grand master of the mandolin returns with an exciting new quartet – John Reischman and Old Acoustic – to celebrate the music of his latest solo album ‘New Time and Old Acoustic,’ nominated for both a Juno Award and Canadian Folk Music Award. From his days in the early ’80s with the original Tony Rice Unit, John has dazzled audiences across the globe with dozens of mesmerizing original compositions played with great power, taste and gorgeous tone on his rare and mighty 1924 “Lloyd Loar” Gibson mandolin. In addition to touring more than 20 years with his ongoing bluegrass band The Jaybirds, John has collected a Grammy award and three Juno nominations for his outstanding recording output, including seven Jaybird albums, four solo instrumental albums, and many other projects and sessions with John Miller, Todd Phillips and other top players.

Bluegrass Unlimited calls John Reischman “one of the world’s undisputed masters” of the mandolin, famed for outstanding tone and taste. Many of his dozens of original instrumentals have become popular favourites for sessions and covers, such as the jam standard Saltspring. He has three critically-acclaimed solo instrumental albums and has recorded on many other projects, including the Grammy-winning True Life Blues: The Songs of Bill Monroe. John also plays Latin-based jazz and choro music with highly regarded finger-style acoustic guitarist/composer John Miller; the duo has released three superb albums.

John began his career in the San Francisco Bay area in the early ’80s with the eclectic Good Ol’ Persons bluegrass band. He was an original member of the legendary “new acoustic” quartet, the jazz-influenced Tony Rice Unit, renowned for highly skilled instrumentals. John moved to Vancouver in the early ’90s and in 1999 formed the Jaybirds. Of their latest album, Folk Radio UK said “On That Other Green Shore showcases an accomplished, experienced band at the peak of their powers, with musicianship of the very highest order.” Peghead Nation called it “one of the most beguiling bluegrass-rooted recordings of 2017.”

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