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Interview with Jorma Kaukonen
During a visit to Chicago to
perform at the Old Town School of Folk Music, the venerable
folk-blues-roots guitarist discussed many topics, including his new CD,
Rev. Gary Davis, John Lee Hooker, The Jefferson Airplane, Hot Tuna, Fur
Peace Ranch, Widespead Panic and much more.
By Greg Easterling Guitarist Jorma Kaukonen has been involved with music for most of his life and also for much of the rest of our lives too. As related so well in the liner notes of his 2015 Red House Records release, Ain’t in No Hurry, Kaukonen played his first songs on the back porch of his childhood home in Washington, D.C.
Early influences were
classic: The Carter Family, The Louvin Brothers and folk murder ballads.
Later as an Antioch College student in Ohio, he was introduced to the
music of legendary bluesman, the Rev. Gary Davis who has been a lifelong
inspiration to Kaukonen.
Moving between Ohio, New York City and D.C. in the early 1960s, Kaukonen
experienced the Greenwich Village folk scene and the world of bluegrass
music through festival appearances by Bill Monroe, Flatt and Scruggs and
others.
Eventually, Kaukonen headed out to California to attend the University of Santa Clara, close enough to San Francisco to run into future rock icons Janis Joplin, Jerry Garcia, and Paul Kantner, the latter with whom he would form Jefferson Airplane in 1965. From Jefferson Airplane Takes Off to Thirty Seconds Over Winterland, Kaukonen was the band’s lead guitarist, displaying his talents on rock classics such “Somebody To Love”, “White Rabbit”, “Volunteers” and “Crown of Creation”. Along the way, Kaukonen contributed his folk-blues stylings on prime cuts like “Embryonic Journey”, “Good Shepherd”, “Ice Cream Phoenix”, and “Third Week in Chelsea”. In 1969, while still with the Airplane, Kaukonen and his longtime friend and JA bass player Jack Casady created the blues oriented band Hot Tuna, a group that continues to the present day.
A
solo career was inevitable as well and Kaukonen has been
recording his own projects since 1974, starting with Quah, an appealing
blend of originals such as “Genesis” and blues standards written by the
Rev. Davis and others.
The road eventually
led Kaukonen back to Ohio where he founded the Fur Peace Ranch, a guitar
and music camp where Kaukonen and guest instructors are able to pass
along their passion and musical knowledge to many others. Kaukonen was
in town this past December to play Chicago’s venerable Old Town School
of Folk Music and we had a chance to talk about a wide range of topics,
from his latest Red House Records release to his long time interest in
the music of the Rev. Gary Davis.
Greg:
In the liner notes to your latest album, you wrote that your choice of
songs is an
effort to tell your
story, sometimes anticipating things that you want to happen but also
things you fear might
happen. Besides being classic songs, what are we to make of
Your inclusion of
“Brother Can You Spare a Dime” and “Nobody Knows You When
You’re Down and Out”
in the new album? Anything
personal there?
Jorma:
No (laughs). They are both timeless songs of course. “Nobody Knows” is a
song I learned in New
York, probably in 1960 and when I moved to California in ’62, I
backed Janis Joplin
doing that song, I had never really played it much myself. I think it’s
on a live Hot Tuna
record, maybe Live at Sweetwater
but we had never done a studio
version of it. It’s
just such a great song, it needed to be done.
Greg:
Just looking around today at the current state of affairs in the U.S.
and elsewhere
with the homeless,
it’s very timely.
Jorma: We were
talking about Chicago traffic earlier. At almost every intersection
where there is a place for a pedestrian, there’s some poor soul with a
sign.
Greg:
The Rev. Gary Davis has been an important influence on you and you
usually
record one or two of
his songs on your albums.
Jorma: In general I
do, but I didn’t this time. It’s not a conscious thing. People always
talk about how you pick songs for albums.
For me, nature abhors a vacuum and when the vacuum no longer exists, the
album is done. A lot of people might record more songs than they need
but I’m not that person. So once I have what I need, I’m done.
Greg:
Getting back to the Rev. Davis, what has attracted you to his music over
the
years?
Jorma:
Well, there are a lot of things. There’s something so infectious about
his style of
music. I’m obviously
not the only one that’s attracted to his music, a lot of guys from my
my generation are
attracted to him, not just me.
Greg:
But you have been a real proponent of his for a long time.
Jorma:
I certainly have and there’s a lot of stuff. The guitar playing.
As a neophyte
finger style guitar
player when I discovered him, he was sort of the Holy Grail in many
respects and he still
is. I’m not a Rev. Gary specialist but I have listened to so much of
his music over the
years. But on top of that, there’s the lyrics even though all of his
songs are not upbeat,
like “Death Don’t Have No Mercy” but he is such a lover of life.
That’s the message I
always got from his playing. Whether he was singing about death
or ‘oh glory how
happy I am’. He’s such an upbeat person and if you think about the life
he must have lived.
Now keep in mind, I met the Reverend and he was friends with
friend of mine though
I was not a physical student of his. But from
what I’ve read, this
man had a hard life but he was never a downtrodden guy.
Greg:
You sing Rev. Davis’ songs in such a non self-conscious sort of way. A
lot of his
song lyrics are very
biblical and kind of evangelical. Some might feel uncomfortable
singing them if they
are not religious but you always have. Is there a spiritual match
between you and the
songs or is it more of a homage to a bluesman you respect?
Jorma:
That’s a good question, I never thought of it before. I think there is a
special
match and that’s
interesting because I’m Jewish. I’m not a strictly practicing Jew but
(that is)
the cultural milieu I
come out of. There are a lot of us middle class Jewish guys
attracted to his
music. And for me, the way I was brought up, my dad was in the service.
I grew up overseas a
lot and I went to Catholic or Anglican schools. I’m very
comfortable with the
metaphor whether it is Christian or Jewish. I was never self
conscious about
singing church or evangelical songs. I’m certainly not a Bible
thumping individual
of any sort but the metaphorical message always seemed
comfortable and
natural to me if that makes any sense.
Greg:
That’s interesting, I didn’t know you were Jewish because of your
Finnish name.
Jorma:
My mother was Jewish so….Are you a Jew?
Greg:
No, I’m a WASP (e.g. white Anglo Saxon protestant) (laughter)
Jorma:
I don’t like dogma of any sort in any religion, but the message put
simply is do unto
others as you’d have them do unto you. Which I think we all agree on.
With the text of the
Reverend’s songs, I was always comfortable with it. One of the first
songs I learned was
“Worried Man Blues”, “it takes a worried man to sing a worried
song.” Shackles on my
feet and all this. I would sing this song and finally my dad wasn’t
able to stand it
anymore and said, “What do you know about being worried and wearing
shackles?” What I
wanted to say since I was a teenager was I know a lot about it! But
wisely I said
nothing.
Greg:
Did you meet Rev. Gary in person in New York City?
Jorma:
I met him in New York, between 1960 and ’61.
Greg:
What other bluesmen did you meet? Mississippi Fred McDowell?
Jorma:
I never met Mississippi Fred. I was fortunate later on in life to meet
Brownie
McGhee in California.
I was a huge fan. I remember when I was in New York to play
Gerde’s Folk City to
play the hoots. Guys my age were complete non-entities back
then. I met John Lee
Hooker at Gerde’s. He came out of the dressing room and I use
that term loosely,
talking about that club!
John Lee was dressed up, the way he always
was with two striking
blondes and I thought, I would love this gig! (laughs). I met him
again later and he
was a cool guy. From a
guitar player point of view, a guy like John
Lee, his style is so
elemental in some respects and yet so complex in others. And that
groove, “Boogie
Chillen’”, where would we be without that?
I remember at the time I
was more interested
in the more articulate stuff, things like the Rev. Davis was doing.
But I got it, that
and the sound of John Lee’s voice. Lightning Hopkins, same thing. If
you’re not really
into what Lightning’s doing, it’s oh yeah, he doesn’t play that
sophisticated stuff.
Mississippi John Hurt, again same thing, superficially very simple
until you try to
actually figure out one of those songs.
Greg:
Moving forward to the present day and your latest album, you’ve been
recording
pretty steadily in
recent years. A lot of guys from your generation don’t these days. But
you keep putting
albums out. How do you feel about the newest recording,
Ain’t In No
Hurry?
Jorma:
I’m really lucky because I’ve never done a record that I’m really
ashamed of. I’m
fortunate. I’m really
pleased with the way that it came out. I like the people that I’m
working with, Larry
Campbell and Teresa Williams. Myron Hart, who’s my guitar tech
plays bass on it.
We’re neighbors and buddies. To be able to make music with our
friends, it just
doesn’t get any better than that really. And I got to thinking about my
career in general.
I’ve always played with people that I like. And
whenever the
chemistry dissipated
then we just didn’t play together anymore. I recorded this record
at my little theater
at the Fur Peace Ranch so I was at home. It’s the least self-
conscious I have been
in the recording process. Recording is so interesting because
you are under a
magnifying glass. And I don’t care how long you’ve been in the
business, it’s like,
wow, I wish I could have done that better. I don’t feel that way about
this one. I felt
completely relaxed and everything flowed naturally. It was a very easy
project to record.
Greg:
Was this the first album that you recorded at your Fur Peach Ranch?
Jorma:
It is, we did it right on the stage of Fur Peace.
Greg:
Are you still pretty active these days with the guitar camps there?
Jorma:
We are open from March through November. When the economy went into the
shitter back in 2008,
we had problems like everyone else did. We are a luxury business,
people don’t need to
go to the Fur Peach Ranch. But I could no longer afford to be as
adventuresome with
some of the instructors as I was before. For awhile there, it didn’t
matter whether I got
cool guys and had only one or two students. After 2008, I could no
longer be ok with
that. We had to go with people who filled the classes. But the Fur
Peace is still going
strong, we made it through the tight times but we’re doing ok. So
far so good!
Greg:
A musician I bet you know, Roger McGuinn got his start here at Old Town
School
of Folk Music at the
original location.
Jorma:
That’s right it was a house. When I was in Antioch, Ohio back in 1959,
the Old
Town School was the
holy grail of that stuff. I didn’t have the money to come to Chicago
from Yellow Springs,
Ohio.
Greg:
Yellow Springs? Wasn’t Richie Furay (Buffalo Springfield, Poco) from
there?
Jorma:
Yes, his mom owned a gift shop next to the barber shop.
Greg:
There must be something in the water around there!
Jorma:
Yes, I guess. It’s an odd little place, let me tell you. About a decade
ago, I got
a lifetime
achievement award from Antioch College. It’s between Springfield and
Xenia, Ohio, little
bit east of Dayton.
Greg:
You put out a Hot Tuna album on Red House Records a few years ago. Is
Hot
Tuna still an active
project for you?
Jorma:
Oh absolutely, Jack Casady and I did over seventy dates last year, I
think.
We were just at
Warren Haynes’ Christmas Jam down in Asheville. What a great show
that was. We also had
two shows at the Beacon in New York City. We are still
active. 2011 was when
the latest Hot Tuna album Steady
As She Goes came out.
Next thing, we’re
going back to basics and do an acoustic duo album.
Greg:
You have been playing with Jack Casady since the early 1960’s?
Jorma:
It was 1958. We were in high school together in Washington, D.C.
Greg:
What is it about Jack Casady that’s kept you together all these years?
Jorma:
That’s a good question, we are really different people. If he was here,
I wouldn’t
need to talk since
he’d be talking! We are just old buddies. We respect each other as
people and artists.
We don’t argue about everything. We never had a band meeting,
that had a lot to do
with it (laughs). Band meetings have broke up many a band.
We’re
just buddies.
Greg:
Linda Cain, the editor of Chicago Blues Guide.com, mentioned that you
sat in
with Widespread Panic
some time ago. Are there any more contemporary bands that
you are partial to?
Jorma:
Widespread Panic had done “Bow Legged Woman” and “Genesis’. They
actually approached
me to sit in with them at the Warfield Theatre in San Francisco.
I’ve been real close
friends with their bass player Dave Schools as a result. I hadn’t
done any electric
work for quite awhile and I was at one of Warren Haynes’ Christmas
Jams. The Panic guys
were there and they had me do “Bow Legged Woman” with
them. That was sort
of the thing that got me interested in playing electric music again.
Just a great bunch of
guys. But I’m not really tuned into modern music. I’m fortunate to
hang out with Warren
and people doing all kinds of music. I tend to like music from the
the 1920s and ‘30s
more than anything else. Music is alive and well. There’s so many
great players out
there, it’s going to be fine. But popular mainstream music is no more
or less insipid than
it ever was!
Greg:
Now, I would like to mention a few titles from your catalog and get your
reaction.
How about “Embryonic
Journey” from Jefferson Airplane’s
Surrealistic Pillow album? Leo Kottke has recorded it too.
Jorma:
That was the first song I ever “wrote”. I was doing a guitar workshop at
the
University of Santa
Clara. I had just graduated from college and somehow I got
involved. I had
recently heard Drop D tuning from this guy Roger Perkins, he’s also the
guy I heard “Good
Shepherd” from. Somebody loaned me a twelve string guitar and I
spent about twenty
hours getting it in tune,
just kidding! I was just
messing around and
a friend of mine had
a tape recorder. He said you gotta listen to it, I think it’s a song and
what he taped became
“Embryonic Journey”.
Fortunately he recorded it or it would
have been gone as if it never
happened. The reason I got it on the album was like this:
They were doing vocal
overdubs and I was in the reception area at the RCA Studios on
Sunset in L.A. I was
playing “Embyonic Journey” and Rick Jarrad, the producer of
Surrealistic Pillow
heard me and said you’ve got to put that on the album. And I thought
nah, you don’t want
this old thing but his wisdom prevailed and we recorded it.
Greg:
It was quite different from the other tracks on the album but obviously
a very
special moment. You
mentioned “Good Shepherd” earlier, one of the great tracks
on Jefferson
Airplane’s Volunteers album.
Jorma:
“Good Shepherd” was written by a guy named Jimmy Strothers. I heard it
from
Roger Perkins. When
Roger sang the song what I heard was “Stay out of the way of the
blood stained
bandits” but the song was originally entitled “Blood Strained Banders”
and
was about the Ku Klux
Klan. Interesting stuff about Jimmy Strothers, he’s a blind
guy who went to
prison for shooting his wife who was an abusive spouse. He got a
pardon from the
governor of the state of Virginia. He was blind for god’s sake and she
tried to kill him
with an axe! He recorded a few songs and “Good Shepherd” is in the
Smithsonian
collection and you can get it on i-Tunes. Now, the way I do it is much
like a
folk strum ‘cause
that’s how I heard it. With those minor chords, it’s very interesting
for
a song recorded in
the 1930s for a black blues guy. Not a typical blues or even a blues
gospel song. I give
Jimmy credit for it, I did not write that song.
Greg: A local guy
who used to be in the Cryan’ Shames, the late Isaac Guillory recorded
your song “Ice Cream Phoenix” which appeared on the JA album
Crown of Creation. He later played with Al Stewart and Donovan.
Jorma:
One of your local guys I like a lot is
Dave Specter. Tell him I said
hi! I played at
SPACE (in Evanston)
and he got me all fired up about Fender Jazzmasters. I have two
of them as a result.
Dave is a great guy and I enjoy his work a lot.
Greg:
One of the first solo things we heard from you was the Quah album with
Tom
Hobson back in the
mid-Seventies. There’s some great tunes on there like “Genesis”.
How did you come to
write that song?
Jorma:
The thing about “Genesis” is that a lot of people use it for their
weddings. God
bless ‘em it’s a
great song and if I could write ‘em like that all the time, I would!
Not all of the songs
I’ve written do I consider to be good. Some are more significant
than others. My
ex-wife and I were going through some difficult times back then and
that’s why I wrote
that one.
Greg:
Another one that I’ve played a lot on the radio is “Water Song,” a great
instrumental song
from Hot Tuna’s Burgers album.
How did you come to write that one?
Jorma:
Once again, the guitar tells you what to do. I was into G tuning and was
messing around. I just started picking and it started to go somewhere. I
didn’t stop until it told me to stop. That’s where that came from.
Greg:
Switching topics, I saw the Coen Brothers film,
A Serious Man (2009) recently
and they use a lot of
Jefferson Airplane music. In a fairly bizarre scene, an aged rabbi
starts naming members
of the band and when he gets to you, it’s “Jorma…what’s his
name?”
Jorma:
That’s hilarious!
Greg:
The pronunciation of your name has posed an issue for many of us disc
jockeys
over the years. For
the record now, is it Kow-CONE-en or KOW-cuh-nen?
Jorma:
It’s the latter, just a typical Finnish name!
Greg:
Thanks for taking the time to speak with us today Jorma.
Jorma:
You’re welcome, thanks a lot.
####
Greg Easterling holds down the 12
midnight – 5 a.m. shift on WDRV (97.1 FM). He also hosts
American Backroads on WDCB (90.9 FM)
Thursdays at 9 p.m.
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