We had the good fortune of being turned on to Jason Webley by a mutual friend a few years back. Since then we’ve seen him numerous times when on his West Coast tours. Here is the long awaited interview with JW. He plays the Blacksheep in Ashland on May 10. Also playing are Reverend Peyton’s Big Damn Band from Indianapolis. Go to JasonWebley.com to immerse yourself in Webleyana.
BH: Please describe your musical education (formal, informal, otherwise) and musical milestones.
JW: Um… all my life I’ve written songs, even when I was a little boy. I studied music and theater at the University of Washington. After that I was a recording engineer at a small studio in Seattle. It was terrible. I recorded Muzak versions of pop songs and did voice-overs for advertisements. Then in 1998 I started playing accordion on the street.
BH: Did you play in bands? When did you start touring alone?
JW: I was in a punk band in high school. And then I was in a couple bands in college, but none of them were really representative of what I was thinking of at the time. I never found the right people and I always felt that in order to make my music happen I needed to have those ‘right’ other people playing. It was 1998 when I first realized I could do something on my own without a band behind me. I traveled back then quite a bit, just street performing and following festivals, but didn’t start actually ‘touring’ until 2001.
BH: You’ve been compared a lot to Tom Waits. Does that piss you off?
JW: At first I was flattered, then annoyed, then I stopped caring. Nowadays the comparison doesn’t come up so often. Tom Waits is great, though.
BH: How and why did you start going to Russia?
JW: They invited me. I got an e-mail from some guys saying they wanted to bring me to Russia. I thought they must either be crazy or criminal. I was a bit worried the trip was going to cost me a kidney or something. But they sent me a ticket and I went. Turns out, the company is run by these really wonderful young guys, and we’ve gone on to be good friends. Their promotion company also works with the Tiger Lilies, Devotchka and a few others. I was the their second international project. This was in 2002, before it was so common for independent artists to make it to Russia. I’ve been there six times now and have a bigger following in Moscow these days than anywhere else in the world. Everything is always a bit crazy there. On the second trip the promoter from Saint Petersburg tried to kill the drummer by throwing him out of the window of a moving train. But I keep going back and I guess I feel a special connection to Russia.
BH: Being alone quite a bit, driving between towns, what do you think about on the road?
JW: My mind is often blank. Or blankish. Driving for me is very meditative. Or like sleeping almost. I hardly know it is happening often. When I am driving, I drive a lot. Sometimes five hundred or more miles a day, every day with a show every night. Sometimes songs get stuck in my head that I have never heard before.
BH: Going from being alone for long periods to being surrounded by people for long periods, especially by fans that are attentive to you, is it a difficult transition, a welcome one?
JW: It comes pretty naturally. I rarely get into a mood where that attention is unwelcome or I become overwhelmed. Luckily the people who are drawn to my music are usually very sweet kind people, I feel pretty blessed. I occasionally wonder if it is healthy to oscillate so rapidly between such social extremes.
BH: Spending the nights in peoples’ homes, what is the range of accommodations you’ve been offered? What is the lamest night you’ve endured? The best?
JW: I’ve stayed in some really nice places. An abandoned cathedral in the Netherlands, Tolkein-like treehouses, boats, mansions, squats, etc. I still like my home the best. I have a tiny little houseboat on a river up near Seattle. The sketchiest place I have stayed is hard to say. I remember once arriving at this place up the northern coast of California. A friend of a friend of a fan had organized a place for me to stay. It was a foggy night when we arrived and the place was in this trailer park. We showed up (I was with a friend on that tour) and nobody was home. We got really bad feelings and were going to leave when this beat up pick-up truck comes up. A tiny man with a thick Eastern European accent and one arm gets out and welcomes us. He takes us inside. The place is a wreck. Broken televisions flickering static and piles of videotapes everywhere, and there was this really disturbing gurgling sound coming from somewhere that turned out to be a car battery that was mysteriously making this noise all night.
BH: I don’t get the impression that you’re a big partier, and thus not prone to blackouts or periods of indiscretion (or maybe so?) what is the most compromising position you’ve found yourself in at someone’s home?
JW: I’m not a big partier, I don’t think. But I have certainly made a few mistakes.
BH: How do you fend off girls or guys whose homes you are staying at but don’t want to offend and get kicked out?
JW: That hasn’t been an issue, really.
BH: Do you think of the accordion as a girl or a boy or neither?
JW: I go through accordions quickly. Usually it takes less than a year for me to destroy one. And in that short time, none of them really have had time to acquire a gender. My last couple accordions have been Excelsiors, and I’ve tried to refer to them as my ‘exes’ but it hasn’t really caught on.
BH: Has your accordion ever got you into trouble or out of it?
JW: Hard to say. The accordion in a lot of ways has shaped my life these past few years, so any trouble I have of or haven’t gotten into could be the accordion’s fault.
BH: Have you ever incorporated the accordion into a sexual act?
JW: Umm… no. I once had a lovely moment of playing the left side of a very small accordion with a very pretty girl in the Czech Republic while she played the right side and told me the chords. At some point during the experiment our lips met for the first and only time.
BH: Do you think you’ll keep on touring mostly solo or form a band or project?
JW: I like playing solo, I’ll probably keep doing that most of the time, but I have been doing other projects with other musicians lately and that has led to touring with other people, which has been really good. Right now I am about to start a tour with the Reverend Peyton’s Big Damn Band from Indianapolis. I also went out last November with a quartet backing me up. All really good friends and amazing musicians. It was a lot of fun and could be addictive. I think we are going to do a bigger tour together this October.
BH: Who are you inspirations, musically, theatrically?
JW: If you don’t mind, I’ll just pick one and talk about it. I remember seeing the Blind Boys of Alabama years ago. And being totally blown away by two things. First was just their raw energy. I love seeing people on stage pouring ever ounce of strength that they have into every moment, as if they are somehow just on the verge of collapsing the whole time, but being held together miraculously by God knows what. I’ve seen very few performers like that, and these guys were sixty or seventy years old. The second and the more important thing was what happened to the crowd. I’ve always felt a bit alienated and uncomfortable in the few times I have found myself at religious services and everyone has been singing together. But this was different. They were even singing Christian songs, but still it was different. There was another message behind the words that was even louder and that was what people were responding to. They were singing about loving life and their music was an invitation to join and celebrate that. And it worked. The whole Seattle Opera House was on its feet, clapping, dancing and singing at the top of its lungs. Even me, to my surprise. I’ve never forgotten that and have tried my best to do something similar with my little concerts.
BH: Being on the road all over the country, you see a large cross section of America. In your opinion, what is the pulse of the country? I know it’s hard to generalize but try to give a little picture of roadside and coffeehouse America from Jason Webley’s perspective.
JW: You don’t ask very nice questions you know? By nice, I mean questions I already have an answer for. You know, that’s why it has taken me a year to get this back to you. The pulse of this country. I know that my sense of that is pretty skewed. Even though I get to see so many places, my lens is pretty faulty, as I am often seeing things through the filter of how people respond to my music. But I will say this. I am in a small town right now. Twin Falls, Idaho. In many senses, you can tell what the heart of America is up to by putting your ear to the ground here better than you will ever be able to in New York City. I was just there a couple weeks ago.
BH: In what performing tradition, if any, do you place yourself? I always have a hard time describing your act without resorting to a string of words, as in travelling bard-slash-wild accordion player-slash-storyteller-etc. How do you sum up your act?
JW: I am certainly part of some archetypal tradition. I suppose I am as close to a modern minstrel as you get without being totally disenfranchised
BH: Are you disappointed that the accordion has become so damn hip and do you think you’ll start playing something nerdier so that people don’t think you’re so trendy?
JW: That’s funny. Sometimes, I look out the window and all I can see are young men with accordions and hats and I think things certainly have changed in the last 9 years since I started doing this. Mostly I think it is great.
BH: You have a fondness for vegetables. Can you name one that you think will take the world by storm in the near future?
JW: Vegetables don’t take things by storm. They are steady, calculating and subtle in their military operations. We could learn a lot from them. Vegetables take over individuals one by one. It has perhaps happened to me. I get asked all the time what my favorite vegetable is, and I always say “I love them all” or “I don’t have a favorite” or “I hate vegetables” but I will tell you those are lies. The artichoke has made a very good case for itself. First, the taste is amazing. Buttery and softly rich with a texture that kinda melts and explodes when it meets your saliva. But mostly I love it because it is a process food. The artichoke demands patience and reveals her mystery slowly. I love unpeeling the layers, dipping the leaves in the butter one at a time, then you have to push your way past a bunch of prickly little fibers and hairs until you finally get to the tastiest part. And the heart of the artichoke is so generous, so completely giving. It is easy to lose yourself in the heart. The artichoke is hands down, the sexiest food on the planet.
BH: Why do you think people keep coming back to your shows?
JW: I am really good at cooking artichokes. And making borscht. Maybe they are hoping that once they are more familiar to me, I will make dinner for them?
BH: What’s your favorite pizza and do you have a recipe you’d like to share?
I hate artichokes on pizza. It seems like such a waste to pickle them and rob them of their mystery. Every artichoke heart I see pickled makes me sad somehow. But I really like spinach on pizza. That is totally acceptable. I don’t really make pizza myself. But I make really good borscht. But I don’t have a recipe. You just need beets, red cabbage, a bit of potato and some caramelized onions. Let all of that cook for at least 45 minutes. Maybe longer. Until it is done. Add salt and pepper to taste. Then serve with a huge dollop of sour cream and a few sprigs of fresh dill.
This article first appeared in the Cinco de Mayo 2007 print edition of Backwoods Hipster