MOONLIGHT SERENADE

Jack Johnson dives deep into his percussive strumming style and enchanting new album, Meet the Moonlight.

- JIMMY LESLIE

JACK JOHNSON MAY not have the most advanced guitar technique, but the hugely popular acoustic influencer has a treasure that precious few other strummers possess: a signature rhythm style. The Hawaiian with the hallmark rhythm hand planted his flag with Brushfire Fairytales, his 2001 debut that featured such breakout hits as “Flake” and “Bubble Toes,” which incorporated a snare-like muted “whap” on the two and four into a few go-to strumming patterns. The former professional surfer and accomplished surf moviemaker delivers his grooves with an infectious laid-back, hang-loose feel. Often imitated, Johnson’s original approach remains so instantly recognizable that he purposely mixes things up in the studio.

Meet the Moonlight (Brushfire), his first album in five years, marks a bit of a departure from past efforts. The record is textural and takes a slinky, nuanced approach to contemplative, spiritual material. Several cuts feature his longtime bandmates, who include keyboardist Zach Gill, bassist Merlo Podlewski and drummer Adam Topal. But the primary difference is producer and multi-instrumentalist Blake Mills, who is known for his work with Alabama Shakes and My Morning Jacket’s Jim James. Mills is an accomplished guitar player who brings a slew of interesting things to Johnson’s table, including a fretless guitar that he reportedly picked up from Ry Cooder. Mills and Johnson developed the material player to player, and his influence pervades the 10-song affair. Check out the ethereal title track to hear the significance of Mills’ presence. Their languid slide interaction on “Calm Down” is simply lovely. On “3AM Radio,” Mills holds down the groove while Johnson steps out for a few melodic acoustic lead flourishes.