Sound Mind

Plumbing the depths of Ron Bucknam's solo subversion.

Ron Bucknam regularly plays his guitar for the benefit of pastry-noshing literati at the Tattered Cover Bookstore, and his country-swing band, the Barncats, puts a charge into folks at VFW halls. But behind this modest musician is another one--an introspective virtuoso who has bravely, maybe foolishly, dedicated himself to the proposition that Coloradans are capable of digging sounds that can't be mistaken for something by Kenny G. "People often think you need to be in New York City to play art music," he points out. "But there are enough open-minded and informed people in Denver to keep one's spirit aloft."

A soft-spoken man with Zen leanings, Bucknam is that rare performer who actually seems to care more about the quality of his music than the quantity of people buying it. His most recent CD, the excellent Solo Subversion (on Homemade Hurricane, a label whose alliterative moniker was pinched from the James Joyce book Finnegans Wake), garnered praise by Westword as one of the top local releases of 1996, as well as pick status by Guitar Player magazine. But while he has a batch of equally challenging songs in the can, he doesn't yet know when, or if, they'll be let out. In the long run, though, such matters mean far less to him than a comment sent his way by Jack Teagarden, the soulful trombonist and bluesy singer, when he was just nine years old. "You must be a drummer," Teagarden told the Oceanside, New York, native, who started as a timekeeper before graduating to his six-string. "I could tell by how you were tapping your feet."

Teagarden wasn't the only jazz heavyweight to grace the impressionable boy's life: He also got a chance to get up close with Woody Herman, Dizzy Gillespie, Yusef Lateef and Barrett Deems, a drummer for Louis Armstrong who had, in Bucknam's words, "the fastest hands I've ever heard." Thanks for this access is owed to his French-born father, Charles, a gifted saxophonist, bandleader and producer of jazz radio shows. (His mother, Jean Sidley, died in her early twenties, when Ron was only one.) Other Bucknams were musically gifted as well. For instance, his grandmother, Lillian Bucknam, was an opera singer with a nationally broadcast NBC radio program whose career ended abruptly after throat surgery led to the tragic severing of her vocal cords. She was unable to speak for years, but there were compensations: According to Bucknam, she was able to see angels.

Losing himself in a blur of sticks, young Ron spent his days beating out rhythms on the floor inspired by patterns from his father's music collection (especially those by Max Roach). Two years and a few impromptu drum lessons later, he landed his first professional gig, providing polka and tarantella beats for ethnic weddings and socials at a Ukrainian rec center. The fourteen other members of his band shared some fine attributes: They were all young, Italian and female. Best of all, each one played accordion.

Drumming wasn't Bucknam's only skill; he also did some preteen dabbling on piano, bass and flute. "Early on, I discovered by playing piano in the dark with my eyes closed that the instrument could teach me to play it if I would just listen and be patient," he recalls. Eventually, he headed off to the University of Hawaii to pursue a dance/drama major, but after experiencing a mystical catharsis, he gave away of all his possessions and dropped out. A stretch as an overly dosed San Francisco street person followed, as did a stint in the Army. Then, in 1970, he and a couple of musicians, keyboardist Bob Lindberg and guitarist Richard Gere (yes, that Richard Gere), threw their hippie lots together in rural Peacham, Vermont. The three soon caught the attention of shotgun-toting rednecks from the area, who would deliver dead flowers to their door or invite them to go "hunting." They passed.

Playing in the sound and spirit of the Band, Bucknam, Lindberg and Gere stayed together long enough to write and perform the music for a rock version of A Midsummer Night's Dream at the Provincetown Playhouse. But upon the completion of the project, Gere, the future Tibetan gigolo, took off with the tapes. "I never heard from him again," Bucknam says. "Next time I saw him was on TV getting shot by Kojak."

As the electric guitar emerged as a new voice in his choir, Bucknam entered his woodshedding years, venturing into new, radical directions during marathon practice sessions. "I grew up immersed in jazz, so I took it somewhat for granted," he admits. "The first music that really captured my imagination was a small group work by Stravinski--maybe 'Octet for Winds.' The quirky, non-swinging rhythms and odd intervals were very exciting. It sounded like an audio version of an asymmetrical Alexander Calder mobile--very cerebral, but with a healthy sense of humor about itself."

A working relationship with jazz composer/pocket trumpeter Dennis Gonzales gave Bucknam a chance to show off this new style. He appeared on three albums issued on the Dallas-based Daagnim label, including Hints, the first LP put out under Bucknam's name. "The title refers to the magic, transcendent moments that occur in a group improvisation when you gel into one organic whole and play from the collective unconsciousness," Bucknam says, and the music fits this description. Dubbed "Wes Montgomery on acid" by one critic, the platter is a radical, avant-garde coagulation of psychedelic guitars, haunting piano and congas held together by Jim Hunter's fluid bass lines and punctuated by Gonzales's incisive, piercing horns.

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