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Raoul Bjorkenheim: Guitarist Between Two Continents

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I made a record called Apocalypso, and it's a thing originally made with 30 guitars and 8 bass players and 4 drummers. So I got a grant to do it, and went into the studio and I did all the overdubs myself.
Raoul Bjorkenheim is a guitarist born and brought up in the States by his Finnish mother. After completing studies at Berklee he has spent most of his professional life between the two countries, working with the likes of Finnish percussionist/composer Edward Vesala or progressive producer/bassist Bill Laswell. He achieved recognition on both sides of the Atlantic in the early 1990's with his own band Krakatau with two stunning recordings Ritual and Alive, the former now being rereleased on Cuneiform. The next two albums, Volition and Matinale, were also instrumental in establishing Krakatau's cred- entials, and there is talk of them being put out 'soon' on ECM.

I caught Raoul Bjorkenheim in the Tse Tse Club Helsinki earlier in May, playing one of his last concerts with his current trio in Finland before his move to New York at the beginning of June. An accidental meeting at the bar lead to a telephone interview a few days later catching him in the middle of his packing. The contrast between the intensity of that club atmosphere filled with the howls and hubris of Bjorkenheim's guitar, bass of Hannu Rantanen and drums of Mikko Hassinen, and the affability of the man at the end of the phone was hard to reconcile. A similar extreme of style is suggested by the 2-word synopsis of Bjorkenheim offered by AMG: dark and ambient. At least in Finland most people associate him with the introspective, arching, aching guitar work he created in the late 1980's with Krakatau. But further research of his portfolio (readily available at www.musicfinland.com/bjorkenheim) provides ample evidence of a broader depth of sound. Two contrasting examples are his collaborations with guitarist/bouzouki maestro Nicky Skopeltis on Revelation (Douglas Music 1997), or his work with the Finnish big band UMO, referred to in the interview. The discussion also reveals the current directions his music is taking him, and what he hopes for on his return to the US.

AAJ: OK maybe I can start off by asking about recent developments and future plans—Â...

RB: Well you'll see on the homepage all the basic information, though you'll notice it's written in rather a trendy tone - we were really trying to get more of a rock feeling to it then. We have been getting quite young audiences lately.

AAJ: Yuh, when I saw you last week in the Tse Tse club it was a very mixed audience.

RB: Yes, at the club it was. But very often at jazz concerts you know the average age is around 40. But the Tse Tse has a different audience, a little younger.

AAJ: OK, so can I ask something about the current juncture?

RB: Well it's a very simple thing really: our rent here was being raised by 50%, and at the same time I had the offer of a flat in New York. It's been a financial disaster living in Finland since you don't make that much money with anything to do with music. I've been teaching here in Sibelius Academy, and doing a little bit of gigging, but also I've been doing some compositional work. I got a grant a write some music, but that sort of work is few and far between. So it's been kind of a scrounging type of existence here. I know it's not going to be a bed of roses there. But I do have some good contacts there, so not least I'll get the chance to play with some good musicians there. I think that's one of my main motivations of going to America: to get a fresh perspective on things. Finland is so isolated in a way, although I feel very at home and part of it. But then again it will be interesting to be in a situation where I don't have anything - just me in a situation where you just have to play.

AAJ: Is that something you haven't had the chance to do over here?

RB: Well I've had that situation—like I was invited to play with Bill Laswell and Nicky Skopelitis' band Ekstasis and we played a gig in Warsaw, where we had just one rehearsal before. It turned out to be a very nice gig. I realised then that I have learnt quite a lot, and have a lot of tools to work with; so I guess it's that kind of experience that I'm looking for. Not that I'm under any illusions, that it will be a bed of roses. You know American musicians usually come to Europe to make their money - in America they just teach!

AAJ: So is it true to say you're going back to the US in search of new stimulus?

RB: I think it's going to be very useful to go and check out those clubs of course - it's a place I have a strong affection for. There's a very strong saxophone tradition. I usually don't listen to guitar players much. I don't feel they have much to offer. Sax players are better story-tellers

AAJ: Yes, I read on one of the covers that you see yourself not so much as a guitarist's guitarist but a saxophonist's guitarist!

RB: I didn't write that but I guess it still applies. There's been a time when I've been reassessing the guitar and playing things that are very deliberately guitaristic, like legato with the left hand, where you get very smooth flowing lines, which you can mix with very rhythmic things that would usually be associated with a saxophonist. That's what I've been working on. So I'm sure that by going listening to Wayne Crantz a couple of evenings it will be a good challenge, and an incentive to keep working.

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