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hmel78 · 4 years

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In conversation with John Hackett ...

Whilst John Hackett is probably best known for his work with his brother Steve Hackett (former Genesis guitarist), there is no shortage of other high profile artists with whom John has worked, and in addition he has also enjoyed a relatively successful solo career as a Flautist, guitarist, singer and composer.

John collaborated with Steve on his early albums, “Voyage of the Acolyte” and “Please Don’t Touch” , which led to further recordings and tours of the UK, USA and Europe playing flute, guitar and bass pedals in Steve’s live band ; also extensive tours of Japan and the USA as part of the Steve Hackett Acoustic Trio. Inbetween touring, back home in the UK, you will find a variety of incredible projects which John has been involved in ; as a composer of flute music for relaxation, he has recorded a number of solo and duo albums, plus several albums with Clive Williamson and the ambient group “Symbiosis” which has led to commissions for the BBC. John has performed concerts with international organist Marco Lo Muscio and performs regularly in a duo with classical guitar virtuoso Nick Fletcher with whom he has recorded two albums: “Overnight Snow” and “Hills of Andalucia”. 2005 saw a change of direction with John releasing, to critical acclaim, a rock album of his own songs called “Checking Out of London”, the lyrics for which were written by Nick Clabburn ; An experimental flute/dance album - “Red Planet Rhythm”- with Moodi Drury followed, and then another album of John’s compositions for flute and guitar - “Prelude to Summer”- which featured brother Steve, and Chris Glassfield. It was 10 years before John released his next solo album “Another Life”, in 2015 - which was essentially the rock follow up to “Checking Out ...” with Nick Clabburn once again providing the lyrics. Thankfully we haven’t had to wait just as long for something else new! It’s September 2017 as I write, and I have just been handed the very first John Hackett Band album in which we see another avenue open up, on the musical map of John Hackett! For this album, John has gone beyond his usual boundary and written the lyrics, as well as the music - and it’s really very good! John is joined by Nick Fletcher on guitar, drummer Duncan Parsons, and bass player Jeremy Richardson - who contribute their own compositions to the album, which presents us with a deluxe 2 CD album containing the new collaborative studio recording - “We Are Not Alone” - and a live recording - “Another Live” - of their 2016 Classic Rock Society gig. We were incredibly lucky to grab a rare chance to catch up with John about the latest release, and find out a little bit about how he arrived at this current stop on his musical journey ...

HR : I read an interview that you did some time ago, in which you describe your creative self as a bit like “Jekyll and Hyde” - in the sense that despite your focus on the classical side of music, you’ve always hung on to your inner rocker - is that still the case? “We Are Not Alone” sounds to me like you’ve found the balance...

Johh Hackett : I think you have gone straight to the heart of what I used to consider a problem … I started out from the age of 12 playing blues guitar, listening to all those amazing guitarists like Eric Clapton, Jeff Beck, and Jimi Hendrix. Then after hearing Ian McDonald play flute with King Crimson I started flute lessons and learned the classical repertoire. I used to think that one day I would have to choose between the two worlds but actually I now see that they can feed off each other. It is like light and shade. If you have played electric guitar you know how powerful a sound it can be. So that influences my flute playing - I don’t like it to sound weak.

On the new album there is a track called “Blue skies of Marazion” which features guitar and alto flute. It has quite an impressionistic vibe. It is then followed by “Summer Lightning” which starts as a ballad but then Nick’s electric guitar takes it to a much heavier place. It is quite a contrast, and good of you to say that I have found a balance. I have Nick to thank for pushing me to include more flute on this rock album than my previous two.

HR : I’m glad he pushed you to, because it does work! Do you have a preference when writing and performing? Are you more comfortable with classical or rock ; with vocal tracks or instrumentals?

JH : There is no question that having spent most of my life whizzing up and down scales and doing all the daily technical exercises you have to do if you want to play the difficult classical repertoire, I have in the past been more comfortable with the flute. But there is nothing as exciting as being on stage with a rock band. I have never forgotten the buzz I got from my first ever rock gig with my brother’s band in Oslo in 1978. I took a conscious decision some years back to devote much more time to rock, improving my keyboard playing and learning to sing - I say learning to sing as it has been a painful process (both for me and my poor family who have had to put up with all the shrieking and wailing, not just when I am looking at my bank statements …). In all honesty I enjoy all of it, though at 62 it seems ridiculously late in life to be finding your feet. But having spent a good 90 per cent of my working life playing flute, it is frankly liberating and great fun to be starting a second career as a singer/songwriter with my own band.

HR : Well age is just a number, and I think if you’re creative you strive eternally to cover new ground ... which of course for you just now, is The John Hackett band. You’re essentially a quartet and all 4 of you write your own material; correct me if I’m wrong but none of the songs appear to have been written together for the recording - so who decided what was going to be included? Were any of the pieces written specifically for the album?

JH : The strength of the album is that, with only a couple of exceptions, we had performed all the pieces live before recording them. The way it worked is that we would bring suggestions to the rehearsal room and the band would try them out. As everyone in the band has considerable experience writing and recording this inevitably meant bringing fairly complete compositions. It was soon obvious if a new piece could slot into our current live set or if best kept for a solo project. With “Never Gonna Make A Dime” for example I had written this as a fairly slow song. I didn’t think it was particularly good. I played it to the guys in a simple piano and vocal arrangement and within a few minutes, like in some cheesy movie, they were rocking it up. It soon became a no-brainer for inclusion in our shows and the album.

“Castles” was a song I had written some time ago and similarly didn’t think it was anything special. I imagined it as a blues number with the kind of energy of that John Mayall’s “Bluesbreakers” album with the young fiery Eric Clapton reading the Beano on the front cover. I had recorded a demo with me playing the guitar solo on a Les Paul I had borrowed from my brother Steve. But when we tried it as a band with Nick playing a blistering guitar solo it was exactly as I had wanted it to sound. So unfortunately there is a sad end to the story –I didn’t get to play the solo, and Steve asked for his Les Paul back!

Similarly Duncan’s piece “Queenie and Elmo’s Perfect Day” was a flute melody I had always liked and wanted to record. So when we got the band together it fitted in perfectly, especially as it gave the band free reign for improvisation.

“Take Control”, the opening track, I wrote specifically for the band and the album. I wanted something that would go through a number of changes . It is really in two parts the lyric being the link so there is plenty of scope for time signature changes, guitar solos and changes of texture ...

HR : It does have that, in fact the whole album is quite eclectic, which is what I love about it. It crosses genres and has a good balance of vocal and instrumental tracks. 2 out of 3 of the instrumental numbers were written by guitarist Nick Fletcher ; the 3rd in collaboration with yourself - how did you two meet and subsequently begin performing and writing together? He’s quite phenomenal ...

JH : I first heard Nick playing solo classical guitar without the aid of a microphone or Marshall stack in the fantastic acoustics of Sheffield Cathedral . I thought his playing was absolutely wonderful and wondered that day, as you do, if we might ever work together. Like myself, Nick started out in rock, then studied classical guitar so maybe I heard a kindred spirit. We did some concerts together as a guitar and flute duo, but it wasn’t until the release of my previous album “Another Life” that I found out what a fabulous electric player he is. I had decided to play some of the songs solo at the album launch with just me singing and playing piano but as it got closer to the time I wasn’t so sure if I could make it work. Anthony Phillips had played on one track of the album called “Satellite”. I knew he was going to be there that night so I felt a little nervous ... Nick was round at my house, I played him a few songs, he picked up a Stratocaster and suddenly it was so much easier. Duncan joined us on percussion, so we performed as a trio for the launch. And then it was simply, “Well, where’s the bass player? We could form a band!” Duncan immediately suggested his old school friend Jeremy. So that’s how we all got together - quite by accident really.

HR : The song “Jericho”, which was written by Jeremy Richardson, changes the vibe of the album a little - given that you sing lead vocal on the other 4 tracks, why didn’t you sing this one too?

JH : Yes “Jericho” was written by Jeremy and sung by him, with Duncan, as part of our live set. It really suits his voice so there was never any question who would sing the lead vocal on the album. On stage Jeremy and I take a fairly equal share of the vocals which comes over particularly on the second CD (it is a double album package) “Another Live” recorded live at the Classic Rock Society in Maltby in 2016. He is a terrific singer with a harder edge to his voice when he needs it, which contrasts well with my sound.

HR : The second track on the album interested me too ; “Never Gonna Make A Dime” tells of your family’s move to Canada - you must only have been a baby at the time, but do you remember it at all? What prompted you to pen the song?

JH : The song is based on our short stay in Canada in 1957. I was only 2 years old so unfortunately I cannot remember it but Steve was 7 and has good memories of our time there. Our dad had gone on ahead to Vancouver to find work while mum, her sister Betty, Steve and I followed by ship. Our mother missed London so much that after just 4 months we came back to London. I have always admired them for taking the risk of going in the first place and then having the courage to return.

HR : Sure, it’s big life stuff! The track features Steve on Harmonica - which isn’t the first instrument that most people would associate with him ... JH : Ah well , Steve used to disappear for long periods on board ship only to return with loads of cash. My mother asked him what on earth was going on - apparently he had been playing his harmonica to the crew and they had dug into their pockets for him. This must have given him an early taste for the music business. HR : Clearly! Haha. You’re both multi-instrumentalists - were your parents musical at all? Who / what inspired you become musicians?

JH : It was our dad Peter Hackett who sparked our interest in music. We came back from Canada while dad stayed on for a while to work. He arrived back with an enormous black box which looked more like a coffin but actually contained a guitar. He had played bugle as a boy, then clarinet, and harmonica - though his main interest was painting. Mum didn’t play anything but always showed a great love of music. She is 87 now and still comes to our rock concerts. Steve and I have been blessed to have parents who have always supported us in our music careers.

HR : And your careers have seen you spend quite a great deal of time together over the years. It seems to be the way with brothers in bands together, that it inevitably results in some sort of falling out, and attracts an ensuing media circus! I thankfully don’t see much evidence of that with yourself and Steve - onstage, or offstage - is there a secret to getting on?

JH : Steve in his role as the older brother has always been kind enough to include me. I used to sit in on rehearsals with his first recording band ‘Quiet World’ ; I was there when he did his audition for Peter Gabriel and Tony Banks at our little flat in London - I even got to play a bit of flute for them that day. I don’t think there has ever been any rivalry between us. I took the decision in my teens to concentrate on the flute, which has taken me in a different direction from him. So although we do work together from time to time, we are mostly involved in our own projects - But when we do get together inevitably we talk music, with all the enthusiasm as when we shared a bedroom as teenagers!

HR : You’re taking the JHB on the road with a handful of shows coming up - do you enjoy playing the more intimate venues?

JH : We currently have dates every few weeks for up until this time next year. Certainly regarding venues it is always much nicer to play places where you can talk to the audience after. Their enthusiasm is what it is all about.

HR : What’s your most memorable show to date?

The most memorable gig is perhaps the one for the Classic Rock Society captured on our live CD. It was only about the fourth gig we had done as a band and it felt great that we were being taken seriously by the Society who have always championed new progressive music. More importantly it was the last John Hackett Band gig our friend Steph Kennedy was able to come to - she travelled all over the country with the help of husband Dave and brother-in-law Glen in her final year. A humble reminder in this sometimes brutal world of how music can bring us together.

HR : Absolutely ... And if you could bring together anyone, living or deceased, to perform with you on stage - a dream line-up - who would it be?

JH : If we were talking football I would probably start with Pavarotti in goal.

Of course, I would have to say my current band - But I wouldn’t mind having J.S. Bach on keyboards as long as he didn’t get any powder from his wig on my synths!

#steve hackett #flute #john hackett #genesis

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divinefishingtips · 6 years

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advancedthetapractitioner · 6 years

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TGIWednesday and the new Head to Toe Body Scan MP3 for joint pain is here!

NEW BODY SCAN AUDIO RELEASE TODAY!

We'll be pricing this 30 minute recording at $57 after this special intro offer ends, BUT YOU CAN GET IT NOW FOR 30% OFF at JUST $44!!

Download it Today for $44

TGIWednesday Download

For those who aren't familiar, here's the list of ALL clearing MP3s available. Find a topic that addresses your issue(s) & click on the link to read more.

Increasing Intuition Love & Romance Money Mindset Moving Forward Pain Relief Pet Healing Sales & Success Sex Sleep Traveling w/Ease Work & Career Weight Loss

Fish Food

The Daily Bread To Feed The Fish

Tell The Fish: 365 Daily Inspirations & Affirmations

Where Have You Seen The Fish?

A client was walking on the beach and took a photo of this seaweed in the formation of My Liquid Fish® - mysterious ways folks....

Do YOU have a picture to share of where you saw the fish? Send it to [email protected] and we'll have some fun with it!

Live Shows and Replays

Browse the interview archives here.

Live In-Person Appearances

SWANN HOLISTIC HEALTH SOLUTIONS I will be booking sessions on Monday October 22nd from 10am to 5pm at my good friend Charla Tempone's office in Tampa.

39 A DAVIS BLVD.

TAMPA, FL 33606

http://www.ctholisticsolutions.com

Please call their office directly at (813) 873-7773 in order to get on the schedule for 15-minutes 33$’s 30-minutes 65$’s

LIVE AT KODAWARI YOGA STUDIOS TAMPA

3965 Henderson Blvd Suite C Tampa (813) 773-4017 http://www.kodawariyoga.com/

From the Fish Box

Receive 24/7 Daily Prayers From Jimmy

**Can't See The Full Email? Click Here to View Online**

Choose 7 days @$33 Choose 14 days @$66 Choose 30 days @$99

Fishing Mastery & Practitioner Certification

Level I is open for ANYONE TO JOIN at anytime!

Level II Practitioner Certification Course for those in the healing arts.

LEARN MORE HERE

TGIFunny

Forward

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