JIM "KIMO" WEST & DAVID VITO GREGOLI, Travelogue

A beautiful and passionate sensory seduction and intimate showcase for the acoustic multi-string and production virtuosity of multi-faceted instrumental veterans Jim “Kimo” West and David Vito Gregoli, Travelogue adds to new age/ambient genre’s legacy of transcendent works inspired by the endless wonders of nature and some of the planet’s most breathtaking places.

The short list of these magnificent recordings includes Jim Chappell’s Acadia, Michael Gettel’s Skywatching and two San Juan Suites, David Arkenstone’s Caribbean Nights and Nicholas Gunn’s Afternoon in Sedona, Journey to Yellowstone and three Grand Canyon collections. None of these gems, however, features the kind of intricate, soulful guitarisma and melodically and harmonically intuitive camaraderie that happens so naturally and effortlessly in the realm of Kimo Vito.

Kimo Vito laid the foundation for Travelogue with their self-titled 2024 album, which featured sparkling bursts of wanderlust like “On the Road to Windham,” “Southern Coast” “Land of Dreams.” Setting their intention to compose and perform pieces about specific places near and dear to their individual and/or collective hearts, the two draw upon their expansive instrumental arsenal to express and animate their heartfelt impressions of each locale. These range from “Yosemite”’s stripped down mix of Kimo’s acoustic and Vito’s nylon string to adding specific colors via non-stringed instruments (played by Vito) like “Highland Life”’s Irish bouzouki and alto flute and “Sequoia”’s concert flute.

While engaging in these spirited yet soothing hops from one place to another, listeners should also keep in mind that when he’s not touring with his own slack key guitar group, the Grammy winning Kimo’s “day job” for years has been touring with Weird Al Yankovic. So some of the places he loves and has been influenced by here come from exotic tour spots with the guy who sings “I Love Rocky Road” and “Eat It”!

The origin story of Travelogue is as organic as the music. When Kimo and Vito were promoting their Kimo Vito project, Vito would edit together videos. Kimo would put a video from his home base of Hawaii on social media and Vito would ask him to send it to include in the promo clip. When it came time to start titling the new songs they were working on, Vito had already named a few after spots he loved like “Big Sur” and “Yosemite.” He thought about the wonderful videos Kimo had shot and extended that idea to name all the songs after magnificent places they had visited.

Kimo chose the Florida locales of “Islamadora Sunset” and “Crystal River” in addition to “Highland Life” (Ireland), “Blueridge Moonlight” and “High Sierras” (California/Nevada) from songs he had initiated. Vito added “Lake Crescent” (Olympic National Park, Washington), “Sequoias” (California) and “Friday Harbor” (San Juan Islands, Washington). Getting into the concept on a graphics level as well, the cover art was created from an old map that had been in Vito’s family since his childhood. They also did a fun photo shoot in his backyard holding suitcases and guitars.

Travelogue’s first lead single, an exotic, wildly adventurous re-imagining of Toto’s #1 smash “Africa,” isn’t about a place either have been, but their contribution to LA Fire fundraising in the wake of the January Palisades and Eaton fires in SoCal. Though it’s the last song in the tracking, it’s a fun, familiar entry point into the full “Travelogue” experience, a trippy, meditational global seduction that journeys to mesmerizing, spacious sonic realms via Kimo’s lead ukulele and lap steel and baritone guitars, Vito’s fretless bass, 12 string and lead guitar and guest MB Gordy’s African percussion and marimba.

The first three spots on Kimo Vito’s itinerary sandwich a sojourn to the Florida Keys (“Islamadora Sunset”) between two stops sharing the splendor of the Northwest (“Friday Harbor,” “Lake Crescent”). “Friday Harbor” finds them gracefully and conversationally meditating on their dreamy yet exciting feelings about this charming town on San Juan Island. Vito’s moody fretless bass notes – part of a slate that includes 5-string banjo and mandolin – remind me of a signature sound of Michael Gettel’s musical celebration of the place in the 90s. “Islamadora Sunset” finds the duo creating a gently lilting flow via higher-toned string intricacies from Kimo’s Moog, acoustic and soprano guitars and Vito’s fretless bass and acoustic guitar. Named for the second deepest lake in Washington, “Lake Crescent” is an intensely immersive sonic experience artfully fusing Kimo’s Moog, acoustic and soprano guitars with Vito’s dark fretless bass tones, acoustic guitar and caressing synth atmospheres.  

Kimo Vito’s next three destinations take us back to Florida (“Crystal River”) between a celebration of two of California’s crown jewels, “Yosemite” and “Big Sur.” As mentioned earlier, the two need only the relaxed intertwining of their acoustic (Kimo) and nylon (Vito) guitars to reflect on and draw us into the surreal majestic magic of “Yosemite.” Having grown up in Florida, Kimo has a special spot in his heart for “Crystal River,” one of many freshwater springs that flow up from the limestone aquifer. Listening to the duo’s intricate string weaving, subtly driven along by Vito’s moody fretless bass, you’ll enjoy imagining the cool, perfectly clear water on a humid day. They then celebrate the legendary history, spectacular views, deep spirituality and charming coastal magnificence of Central California’s premiere retreat, “Big Sur,” conveying a  sense of both meditation and dynamic motion via the rhythmic movement of two acoustic guitars and Vito’s 12-string.  

Because the intimate interplay between their individual array of stringed instruments and famed percussionist MB Gordy’s shaker and bodhran (a circular, single-headed Irish frame drum) on “Highland Life” makes for such a soulful, soothing and venturesome experience, perhaps it’s not necessary to delve into the history of the of Scottish Highlands to explain Kimo and Vito’s inspiration. But there’s quite a lot to absorb, for those like Vito (who has not visited) who are admitted history nerds and those like Kimo who has appreciated the splendor in person several times.

Moving triumphantly from East back to West, Kimo Vito follow peaceful, slightly lonesome then softly contended moment under the “Blueridge Moonlight” – an homage to the sweeping 550-mile Appalachian Mountain region John Denver once sang eloquently about – with a sweeping trip up to the “High Sierras” and back down to another California masterpiece, “Sequoia” National Park.” Vito enhances the plucky intricacy and spirited movement of their guitars on “High Sierras” with celestial synth atmospheres, and enhances a haunting, awestruck reflection on “Sequoia” (no doubt looking up at the 2,000ish year-old General Grant Tree) with fretless bass and wistful alto and concert flute touches.  

Needless to say, if Kimo were not Weird Al’s right-hand man and a slack key wizard and Vito was not busy being an acclaimed producer, multi-instrumentalist and renowned “sound painter,” I would hire them out in a minute to plan my next vacation. Travelogue is a journey no fan of acoustic guitar and new age music will ever forget!