Hi Jakko. Welcome to the FraKctured Zone and thanks for agreeing to be grilled. To kick off, I'd like to ask a few questions about your musical past.

When & how did you first get interested in music and what was the first record you bought?

The house had music in it. My adoptive father had some old 78's which included both Dean Martin and Richard Strauss. They both had their merits to my juvenile ears. My French mum had some Edith Piaf which had an atmosphere that I rather took to. We had a couple of lodgers that brought new music into the house some Beatles & Simon & Garfunkel. One guy had a Shadows LP which I was particularly fond of. Many an hour spent miming in front of the mirror to that one. I think the first record I actually bought myself was 'Voodoo Chile' by Hendrix.

When did you first play a guitar? Was it love at first sight?

My dad had played guitar in a folk group in his native Poland. He had stopped playing when he lost a finger in an accident at his father's work shop. So his old acoustic lay around the house largely unplayed, so I would pick it up and mess around on it occasionally. Love at first site? I think so, I remember going to the local music shop with my dad to buy some strings for his old acoustic, once I'd shown some interest, and they had a pale blue Fender Strat on the wall. That I fell in love with yeah.

Under what circumstances, and how old were you, when you first heard King Crimson? And how did you feel when you first heard Robert Fripp play?

My best pal and next door neighbour Chris Baker, was a few years older than me. He started to play me music that I'd never heard and that's when the obsession really started. I remember hearing Chicago's first LP 'Transit Authority' and some Jethro Tull. One day he played me this track on an a compilation he's bought called 'Nice enough to eat'. It was 'Schizoid Man' That wasn't love, that was a religious experience. We played that track over and over again. I must have been 11 going on 12. I went to the record department of the local co-op with some pocket money and bought 'Poseidon'. They didn't have 'ITCOTCK and 'Poseidon' must have just come out. Again I played that record over and over again. Even at my tender age I could tell That Fripp was coming from a very different place to all the other blue's based guitar players that all the other bands possessed, It was mysterious and magical. His playing possessed a clarity too. His acoustic playing in particular, which I think is much underrated and much missed, on the 1st three Crimson albums is incredible. The acoustic fills and licks in 'Circus' on 'Lizard still kill me. It also had an Englishness that other rock music seemed to lack, which also appealed to me. However if there was a moment of 'Epiphany' it was 'Prince Rupert's Lament'. That's the moment that I thought "I gotta do this, I have to make that sound" I became obsessed with the idea of creating a sound that would affect other people like that track affected me.

Please tell us about when you first saw KC live at Watford Town Hall.

Well even at my young age I would scour the music press for any mention of Crimson. I was desperate to see them live and of course it looked like it was never going to happen, so the moment the tour with the 'Island's' line up was announced I queued up for tickets. I loved that version of the band and the album even though they appear to be much maligned by some of the fans. Mel Collins was brilliant I think And I loved Boz's singing. Seeing that concert, 30 years ago July just gone incidentally, was anything but a disappointment. It had the same sound as the records and that sense of mystery maintained. Robert in black with that black Les Paul. The lights the twin mellotrons playing 'Devils triangle'. I remember them being funny too. Robert's laconic announcements in that Dorset burr, Ian Wallace's drum solo with him walking up the back and throwing drum sticks at the kit. It was wonderful and theatrical and special and I wanted to be part of that whole thing.

When and how did you start to practice seriously (assuming you do)?

Well I don't know if you'd call it practice in the traditional sense. I certainly started playing all the time at every available moment. I played along to records and in front of the TV. I slowed records down and tried to work stuff out but I didn't really know what the hell I was doing. I didn't know what the notes were called, I just knew whether they sounded right and how fast I could play them.

Was there an influential teacher? What did you learn that's endured from those early days?

No teacher no, although I was learning the flute at school. Funny thing I recently found an old 'Mel Bay' chord book that I had back then. I had gone through it and put a big X through the chords I didn't like. Which turned out to be all the Majors in the first position. I think what I did achieve was a pretty good ear and an ability to play and improvise over anything more by ear than knowledge. There was no conscious thought process with regards to playing relevant scales over chords, I was just playing. A bit like picking up a language with no formal training. Having said that I'm not so sure it's a good idea, I certainly wish I had more knowledge than I do.

Would you credit your ability as a guitarist more to talent or hard work?

Bit of both I reckon. I think it's mostly a natural ability that I worked very hard on in a slightly misguided way.

Similarly, would you credit your ability as a musician more to talent or hard work?

The same response really. As someone with a reputation for a somewhat cynical view of the world, I would still have to say that there is defiantly a spiritual, or inexplicable, element to what happens in the process of making music. Something which is just beyond the mechanics of knowledge and placing fingers on strings.

Do you ever compose directly on the guitar?

Not very often. It's mostly keyboard based. I write guitar parts on guitar but seldom whole pieces, or indeed the basis of a piece.

The title track of your album "Mustard Gas and Roses" (embedded audio) is achingly beautiful and criminally short. Can you tell us something about your guitar solo on that track - where/under what conditions was it recorded and why is it so short? (LOL)

The solo was recorded at my own studio that I used to have when I lived in a village in Hertfordshire. I played it on my Steinberger with the trans trem through a Trace Elliot TVT9 160 watt valve top though one of those weird 3 speaker reflector cabs they used to make. It was miked with an SM58. Into the desk where I added a touch of reverb and delay I think. It was, basically just one take although I may have touched up the last couple of notes as I recall. Why so short? Well, I had just this small piece. An idea really, that I'd programmed. I just plugged in and played over it and the solo had a vibe, something about it that I rather liked. So I stuck it on the album as almost an after thought. As opposed to a deliberately constructed instrumental work to show off my guitar playing, if you see what I mean

How important is good technique?

Well it's important if the music you want to play requires a degree of it obviously. I also think that rather like speaking or writing novels or whatever, the bigger your vocabulary the better able you are to express yourself. Having said that I think a definable sound or voice that is recognisably yours is the most important thing. A unique voice is an invaluable thing. I have heard some music and playing from guy's who have all the technique in the world and I hate it, so it's not an exclusive thing either way in my own humble opinion.

Which part of your body is your weakest link vis-a-vis guitar playing?

My brain.

What are your best and worst habits as a player?

Best habits? Punctuality. Worst? Fear.

Do you always cross-pick?

I rarely do. I'm all left hand. I have been learning quite a few Crimson things of late for this proposed group with Mike and Ian, and I've had to try and get some of that shit together as Robert's parts obviously call for that cross picking technique. I play some of it in my own twisted way too, but it's been a real test as I used to play that way when I was a teenager.

I wonder... how much Fripp (homage) and how much Jakko (improv) in the final product? I mean, how would you tackle say Fracture or Sailor's Tale or even, gasp, Schitzoid Man?

Well I haven’t been asked to learn Fracture, thankfully, as a cursory listen to that track after all these years was a rather humbling experience. Indeed learning the middle section of ‘Schizoid’ was one thing, knowing that Fripp came up with that stuff is quite another. Really extraordinary musical ideas and execution at a time when the rest of rock music was light years away, with the possible exception of Zappa. Amazing. I know Mike is keen to work on new music and at that point whatever it is that I do will come into play. However, the older repertoire has to be treated with great respect, I feel. I’m a fan too remember and the tone and approach are so much a part of the overall sound. So the parts I’m trying to play as convincingly as possible, as for the improvised sections the choice of notes will be mine but the sound and approach will owe a large debt, as it were. That’s my intention anyway. When Pete Sinfield first asked me about all this a couple of years back I did say that I wanted to dress in black, wear glasses, play a black Les Paul and sit, unlit, at the back. Indeed we fantasized about the idea of starting the gig with a film with Matthew Kelly talking about ‘unemployed former Level 42 guitar player Jakko’ and me disappearing into a puff of smoke saying ‘Tonight Matthew I’m going to be Robert Fripp’

(LOL) That I'd like to see! There have been rumours regarding this band that the guitar player was Steve Hackett and not yourself. What do you know about this?

Well, as I understand it, Mike's original idea was to have a 'core' group and that we would do a larger Crimson based event that would have numerous ex Crimson members and related guests who would come on and go off as the evening progressed. I know that Mike called a fair few people and asked if they would be prepared to be involved, in theory anyway. I'm pretty sure he asked Steve about appearing as a guest, so that's probably where that all stems from. Anyway no one in the Crimson world really knows who I am, and I doubt that many Level 42 fans share a love of Crimson, so where would be the fun in spreading that rumour? You have to remember too that the whole thing is still theoretical. We haven't played a note together as yet. We've talked about it to each other and listed tunes, which I've subsequently learnt. And I know Mike's dead keen as was Ian when we spoke, but who knows. It's a timing thing. I've been very busy and in and out of the country and the others have doubtless been in a similar situation.

Talking of Crimson related rumours regarding yourself I've also heard about a work connection with Bill Bruford. Can you illuminate?

Well, possibly. I first met Bill back in the late 70's when Dave Stewart brought him to see my then band '64 Spoons'. I rehearsed with Dave and Bill a couple of times in the early 80's prior to the Discipline era Crimson. Over the years Bill has occasionally been in touch with an idea to work together. The most recent was an idea for a band with Dave Stewart, myself and Senegalese singer Yosou N'Dour. Bill came over and played some stuff he'd written for it. It was really very interesting. Kind of a tortured, bonkers R&B. However Yosou had just released a single called '7 seconds' with Neneh Cherry. As that became more successful his interest in Bill's thing waned. So it never happened, like a lot of these proposed things do unfortunately. Then last year Bill spent a few weeks at my studio here in London and we mixed some multitracks he'd recorded of Earthworks playing live at Byrdland in New York. I don't when, if ever, he plans to release that stuff. Amongst the many uncompleted projects that litter my mind and studio is an unfinished solo record and Bill has kindly agreed to play on some of that.

What guitar and equipment do you currently favour and why?

I've been playing a red Parker Fly Deluxe for a couple of years. I really like the way it feels. The neck is flat and very thin. It has a stereo out which splits the signal. One output is the conventional magnetic pick up selection the other output is the piezo pick up in the bridge which gives a pretty convincing acoustic sound. The combination of the two is fantastic. I have started to rebuild a small collection again and have just purchased an early '70's Black Les Paul custom.

As for amps, well as I rarely play live these day’s I’ve been using Pod’s and The Korg Ax1000G amp modler. The longer I use them the less I like them and the less realistic they sound to me. I used a Line 6 (pods manufacturer) stack on a Mark King solo tour in ’99 and that was horrible. Square sounding, if you know what I mean. The sound doesn't slip out beautifully, it just sort of comes out and stays there, it just doesn't give you anything. I'm about to try the new Vox amps which are a combination of modelling technology but with a genuine valve section. I use a variety of pedals these days including the valve driven Hughes and Ketner Leslie simulator, a whammy pedal and the excellent Line 6 Delay line modler.

Level 42 Soundcheck, Germany, 1992 with trusty Steinberger

You've been using computers since the mid 80's - what's your current set-up?

I've Logic Audio Platinum with a host of plug in's and virtual synths Loads of midi stuff, samplers, you know the usual stuff.

Do you have a difficult personality? By this I mean, are you a Raging, Venal, Heartless etc etc... and, if so, is this a help or a hindrance?

If I have any difficulties in my personality it is my intense insecurity which, these day's, manifests itself with moments of depressive self-reflection and a tendency to wear my heart on my sleeve, which is not very popular with blokes in general. When I was younger that same disease produced different symptoms like anger and arrogance. There were indeed moments when I could indeed appear raging, venal and heartless and at the same time amazed, appalled and upset when anyone was disturbed by this modus operandi. It has been then, a great help and a terrible hindrance.

Do you like an audience? How does the presence of an audience affect your playing?

You know, shallow though it is to admit this. There have been times when the sight of an audience encouraged me to indulge in my worst excess of tasteless showing off. I gather myself prior to going on stage and tell myself that I'm going to play something real, vital and original and then the adrenaline and the expectation of the crowd get to me and I play a lot of flash, largely unmusical, bollocks. It can be unsettling. It always amazed me that a large group of individuals who don't know each other take on an almost unified characteristic. It takes experience and courage to confront those expectations and aim for something higher. Occasionally I achieve something close.

Do you sit or stand to play and why/when? I remember seeing you perform as "Eduardo" (Raw Sex's greasy but hilarious guitar hero), and I'd guess that his legs-apart, hip-grinding, rock & roll posturing stands at the opposite end of a spectrum which features Robert Fripp, seated utterly immobile in total darkness at the other. Where is Jakko on this scale?

Back in the mid 70's when I started playing live I did sit down. Stage left, foot pedals in front of me along with a set of bass pedals. I was 16 and my band 'Soon After' had been reduced to a 3 piece such was my appalling, autocratic behaviour. The experienced and older sax player, bass player and drummer couldn't stand the dictates of a mere 16 year tyrant. So we were left with a line up of 2 screaming lead guitars and a trumpet with me playing bass parts with the pedals. We somehow reached the finals of the '75 Melody Maker National Rock/Folk competition which did little to halt my over developed sense of importance. Anyway I had to sit down. However I changed a little stylistically, eschewed all effect pedals for Valve amp and guitar, discovered girls and stood up. I was lead vocalist at the time too of course. So that's where I am scale wise. Robert always made sitting to play rather cool I thought, which is not always the case with others doing the same thing. He has an ability to draw attention to himself by not drawing attention to himself which is some trick. I could never do that. In the Level 42 years I had a wireless system which enabled me to run around all over the place, so run around I did. Indeed at the Dome in Brighton the stage has a large semi-circular bit in front of the main stage. This is left empty as it is in front of the proscenium arch where the PA is set. I told the guys on the follow spot to watch me as I was going over the monitors and on the semi circle during my big solo. So in front of a packed house off I went into no mans land with my wireless system and attitude. Broke a string 3 bars in. The trans trem system goes to pot when that happens so I had to shuffle back over the monitors tail between my legs. That wouldn't have happened sitting down.

You've played with some extremely talented musicians and performers - who has most impressed you and why?

I'm going to pick 3.

Mark King is a natural musician. Like one of those kids at school who would do no practice or training but would stamp out their fag, run out on the pitch and play the best football you've ever seen without seemingly trying. That's Mark. He picks up an instrument and with great gusto plays it like no one else. An incredibly intuitive ability and an amazing sense of independence.

Dave Stewart. Another childhood hero it's been my honour to work with. Dave has an outstanding knowledge. An incredible ear for arrangement and voicings. A brilliant musical brain. And a hugely underrated soloist.

Gavin Harrison. Gav is the coolest, most unflappable musician and the most reliable and trustworthy. He can play the hardest shit imaginable and make it sound effortless and musical. He also has the best sense of time of any musician I've ever worked with. He's a perfectionist and a great innovator and will get out of the way if the music dictates it. Anyone with an interest in the 2 drummer Thrak era Crimson should check out Gav's two books 'Rhythmic Illusions' & 'Rhythmic Perspectives' because that's where the concept for that stuff came from.

What's next for you? Please tell us a little of your plans.

Well I've been producing a girl called Sheila Nicholls who's signed to Hollywood Records in the States. She's rather good and pretty original. I've done the Cecil B de Mille on her. Big Cinematic treatments. Some good guys on it too including the brilliant guitar playing of Nick Harper (Roy's son) If you see him listed playing near you I urge you to check him out he's brilliant. I'm writing an album of instrumental stuff for guitar and string quartet. Trying to complete the new Dizrythmia record with Danny Thompson, Gavin Harrison, Dave Stewart and Richard Barbieri. I'm also starting work on a new BBC Radio 3 commission which will be a follow up to my two previous Radio 3 pieces 'The Road to Ballina' & 'The Church of Lanza'.

Thank you Jakko - good luck!

12/10/01

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