An Interview with John Stowell
Rick Holland, Jazz Radio247: John welcome to JR247. I just want to say how much I’ve been enjoying your music, most recently “Scenes”,
released on Origin Records.
First question, can you the influences of Linc Chamberland and pianist John Mehegan to your musical growth and evelopment?
John Stowell: Linc and John had different approaches to playing and teaching, John being a bit more formal and academic in his presentation. I learned a lot from both men, who were (both) supportive and encouraging. I was able to play some small gigs with both of them in S. Connecticut, and that was very useful training. I don't sound like either one of them, but I still use a lot of their concepts in my own teaching, and their thinking was invaluable in helping my assimilate the jazz vocabulary.
JR247: You later met David Friesen and toured with him for nearly 7 years. What impact did this have on you musically?
JS: David helped me see the importance of presenting original material, of projecting emotion and focus on the bandstand, and on being professional in general. My first experiences as a traveling musician were with him, and I developed enought contacts traveling with David to start to put my own little tours together in the early '80's. I still spend about seven months of each year on the road.
JR247:John, I had read that you toured the Soviet Union with Flutist Paul Horn in the 1980’s. This was historic in the sense, that American’s were touring in a place where they may not have had the opportunity to do so before. What was this like? How were all of you
received?
 I always tell students that it's fine to copy in the beginning of your
development to learn the vocabulary and tradition of the music, but
that ultimately you want to move beyond the licks and solos of others
to find your own voice. 
JS: That tour was an eye-opener. We were very well received, playing eighteen concerts in the Soviet Union and Lithuania. The audiences ranged from knowledgeable to curious. We met some great Russian musicians and had the chance to interact with some of the people and experience some of their culture. I've been back there three more times, in 1993, 1995 and 1998, and all of my trips there were interesting. Maybe I'll go again.
JR247: Can you tell our listening and reading audience some of places you are still involved with Internationally? Maybe you can also share
some perspective how the music might be received in these places as well?
JS: I've worked and taught quite a bit in Europe, mostly in Germany and Italy, but I've also had some nice experiences in England, Spain, Holland and France. I did brief tours in Jakarta, Australia, a few gigs in Hong Kong, and three tours in Argentina. In general, I've been well received, although the audiences can be small if you're not famous. I've had some great concerts with twenty people in attendance. The size of your audience matters less than their ability to listen.
JR247: John, please tell us some more about your musical relationship with Dave Friesen. The Los Angeles Examiner rated your recording with
Dave, “Through the Listening Glass”, as one of the top 10 Jazz albums of the decade.
JS: David and I did five or six records beginning in 1976, slowly moving from standards to an all original fomat. I began to incorporate other instruments to broaden our sound (percussion, electric twelve string, mandolin, thumb piano). The music was sort of a precursor to New Age, with some folk and classical influences mixed with jazz improvisation and World Music. We had fun creating a sound together.
JR247:John, you have a fantastic ‘sound’. To me personally, this only makes everything you play more accessible and transparent. Can
you talk a little about your approach to sound?
JS: My guitar and amp setup is always changing, but in general I favor something pretty organic these days. I have a Hofner Signature model Verythin JS, a one pickup instrument similar to a Gibson 335, a Mike Doolin nylon acoustic/electric, and several other instruments including a great travel guitar, a Wright Soloette. Jim Soloway will be building me a baritone guitar soon. For amps I use an AER Acousticube 120, an Acoustic Image Corus, and a nice tube amp head built for me by Doug Howerton. I usually play in stereo with a bit of reverb. In the studio I always mike the guitar was well as the amp to get the articulation of the pick and strings in my recorded sound.
JR247: Does your unique set-up, enhance the sound you try to parlay to a listener?
JS: I favor a lot of close intervals in my voicings, and so I try to get the best fidelity and warmth (mixed with clarity) that I can live. I've spent a lot of time on my live sound. When I fly, everythng changes, because I'm relying on the good graces of friends to help me find an amp, but I manage to do OK most of the time.
JR247: I’ve been listening to “Scenes”, one of the latest recordings you’ve been involved with, with John Bishop and Jeff Johnson. I like
the fact your playing very contemporary music on this recording. But, what I was most impressed with you, was your sense for the musical
phrase. Can you speak to us how important playing the entire jazz canon can value one’s search for a contemporary voice?
JS: I always tell students that it's fine to copy in the beginning of your development to learn the vocabulary and tradition of the music, but that ultimately you want to move beyond the licks and solos of others to find your own voice. This hopefully happens organically over time a you repeat the ideas that you've learned, finding your own variations over time. Listening to other instrumentalists, vocalists and other styles of music can help you sound less idiomatic too.
JR247: John, being as involved in the music as you are, how do you believe our art form is doing here in the United States? Have you
seen models elsewhere that we could learn from to enhance more awareness of Jazz and improvisational music?
JS: On one hand, jazz is alive and well in the schools of america with some dedicated professionals nurturing some incredibly talented youg players. That said, this Society doesn't support the art form, so making a living is tough. If you're versatile, like to teach and learn to hustle to create your own opportunites, it's possible to have a life in this music. I think that there is more government support for jazz in Europe and Canada, but it's not easy there either. I'm amazed and grateful that I'm still getting paid for what I love to do thirty five years after I started. I have the same burning desire to play the guitar that I had when I was a teenager.
JR247: What are some current and future goals of yours?
JS: I'd like to keep developing as a player and composer, have enough of a name to occasionally take a band on the road (like Scenes), do some more publishing and have better visibility on the Web. I'm making some progress in all of those areas, but it's slow.
JR247: What are some things in and outside of music that you believe help complete your humanity?
JS: Being a musician teaches you about communication, openess to constructive criticism, flexibility, discipline and humility. Traveling as a player gives you the advantages of a World View, exposure to other cultures, and the chance to experience a vairety of life experiences that can only enlarge you. Making some good friends along the way is a bonus.
JR247: John, we look forward to hearing more from you. Continued success!!!
Thanks for your time, Rick. Hope to play with you in the future. Godd luck to you too.
For more information on the music of John Stowell, please visit, http://www.johnstowell.com/
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John Stowell began his successful career in the early 1970’s with
private study with guitarist Linc Chamberland and pianist John Mehegan.
Both men were valuable mentors to John, allowing him to play with them
as he progressed in his development. Several years later he met bassist
David Friesen in New York City, and they formed a duo that recorded and
toured prolifically for seven years, with performances in the United
States,Canada, Europe and Australia. The duo continues to perform
thirty years after their first meeting.
