Despite being signed to Bella Union and having more high-profile collaborations under his hat than years on this earth, Jonathan Wilson remains a relative unknown. Perhaps sealing himself inside a Californian classic-rock cocoon hasn't helped him acquire frenzied widespread acclaim, but it certainly has gained him an impressive list of fans.

His 2011 debut album Gentle Spirit was indebted to his musical heroes, however, this time around Wilson doesn't just draw inspiration from those historic characters but enlists them as contributors. Such is the reputation of Wilson that he is able to bring in the likes of Graham Nash, David Crosby, Jackson Browne, Josh Tillman (aka Father John Misty), Wilco's Patrick Sansone, Dawes' Taylor Goldsmith and Mike Campbell and Benmont Tench from Tom Petty and The Heartbreakers for his second album Fanfare.

An altogether grander album than its predecessor, Fanfare is certainly a fitting title. From the opening track, Wilson doesn't try and shed his ties to 1970s Laurel Canyon country-rock but totally embraces the ethos with panoramic vision. Fanfare almost sounds like a Crosby, Stills, Nash & Young album audaciously produced by George Martin. You only need to glance at the album's front cover to realise the daring scope of the songs within, by referencing one of the most iconic pieces in the history of Western Art - Micahelangelo's The Creation of Adam - Wilson really sets an impressive, if not somewhat naive, agenda. And credit to him, on the whole Fanfare genuinely pushes Wilson both as a songwriter and as a producer.

From the brassy pomp of the opening title track, the album leads into 'Dear Friend''s swaying psychedelic-rock, fanciful Syd Barrett-esque whimsy and improvisational jazz guitar interludes. It certainly is a disorientating listen at first. Eager to show off his versatility, Fanfare owes as much debt to The White Album as it does to Déjà Vu. It is in these moments when the album truly sparkles, when the ideas gush thick and fast, icons and myths are represented in an altered state (take another look at the LP artwork, the touch of God is just a little further away than usual). 'Future Vision' begins with soaring lap steel and vocal harmonies (courtesy of Father John Misty) until around the 2-minute mark when the piano shifts from simplistic pop chords into a kind of honky-tonk swagger, taking the song into rather unexpected territory. Similar changes occur throughout the album, which on first listen is jarring, but once you become more familiar with the countless melodies and counter-melodies on show, the whole package proves to be a thoroughly enjoyable voyage.

If Jonathan Wilson has found himself becoming synonymous with 70s revisionism, it will be for his forays into American psychedelic and country rock, so it is rather surprising to find him scouring the history books of urban-funk on the track 'Fazon'; car horn brass sections, swaggering bass and funky guitar stabs, it's all here oddly enough and it's clearly riotous fun. These excitable moves into disparate genres and multi-sectioned song structures does unfortunately cause the more straight forward acoustic folk oriented tracks on the album to suffer in comparison. 'Desert Trip', despite being wholly inoffensive, hardly makes the heart beat quicker, whilst 'Love To Love' is utterly wet and probably merits a skip. I also hope that Jonathan Wilson has a good lawyer as 'Illumination', in spite of being a decent track taken at face value, is a complete rip on 'Danger Bird' by Neil Young and 'New Mexico' is more than reminiscent of 'Woodstock' by CSN&Y (but we'll let him off on that one as it actually features David Crosby and Graham Nash as guest vocalists, so presumably they would have said something if they had a problem with it.)

Notwithstanding the clear nostalgia that lives in this record, Fanfare, unsurprisingly given its title, is at its best during the fleeting fits of opulence; songs which take many forms and traverse diagonal pathways, hauling songs across unexpected tangents with consummate musicianship and admirable instrumentation. For a chap so clearly rooted in the past, he also makes a decent fist of experimentation and nonconformity. If there is one thing I know about the American country-rock circuit and its vast fan base, it is that they are a loyal bunch, happy to roll with the punches of the artists they have grown to admire over time, and in another sense this album really is fanfare.