Quah [ORIGINAL RECORDING REMASTERED]

Jorma Kaukonen

Product Details

• Audio CD (January 7, 2003)
• Number of Discs: 1
• Format: Original recording remastered
• Label: RCA
• ASIN: B00007L4P2
• Average Customer Review: 5.0 out of 5 stars  See all reviews (21 customer reviews)
• Amazon.com Sales Rank: #2,885 in Music (See Bestsellers in Music)

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Track Listings

1. Genesis

2. I'll Be All Right

3. Song for the North Star

4. I'll Let You Know Before I Leave

5. Flying Clouds

6. Another Man Done Gone

7. I Am the Light of This World

8. Police Dog Blues

9. Blue Prelude

10. Sweet Hawaiian Sunshine

11. Hamar Promenade

12. Lord Have Mercy (previously unreleased bonus track)

13. No Mail Today (previously unreleased bonus track)

14. Midnight in Milpitas (previously unreleased bonus track)

15. Barrier (previously unreleased bonus track)

Editorial Reviews

Amazon.com

Jorma Kaukonen's first solo album remains one of the crowning achievements in his distinguished musical career. First released in 1974, Quah drew on the same folk and blues influences that powered his Hot Tuna project, but did so with a gentler, more delicate touch. Produced by his Hot Tuna partner Jack Casady, the album mostly features just Jorma and his deft fingerpicking, although three songs feature tasteful string-section overdubs. The opening "Genesis," a poignant ode to his failing marriage (recorded on Valentine's Day), is perhaps his most touching original composition, while another original, "Flying Clouds," is a graceful melody as far from acid rock as one can imagine. There are also two uplifting covers of his biggest influence, Rev. Gary Davis. Originally, Quah was supposed to be a full collaboration with Tom Hobson, whom Jorma describes as a "quirky roots performer." Hobson was apparently too quirky for the suits at RCA, since only two of his contributions survived the original cut; though always considered a bit odd by Jorma fans, Hobson's songs have over time acquired a certain charm. The 2003 reissue adds four unreleased bonus cuts: two Hobson vocals, an instrumental duet, and a solo instrumental by Kaukonen. Those who associate Jorma Kaukonen with more jam-oriented projects may be surprised by just how lovely and enchanting Quah is. --Marc Greilsamer

Customer Reviews

Most Helpful Customer Reviews

22 of 22 people found the following review helpful:

5.0 out of 5 stars Acoustic Masterpiece!, November 29, 2004

By	L. Bissacott (Pittsburgh, PA United States) - See all my reviews (REAL NAME)

I'll never forget the fall of 1976. I was working the graveyard shift at a grocery store and my coworkers and I would hook up the radio to the intercom system so music (although acoustically awful) helped us through the night. The disc jockey who also worked all night would tend to play real mellow stuff from 1:00AM to 6:00 AM. I always thought he had great taste, but my co-workers preferred Ted Nugent and that kind of stuff. Every morning, just before his shift ended, he would play this soft gentle song that spoke softly of lost love and a feeling of sadness. It was very gentle, very beautiful and I looked forward to it every morning. I always meant to call him to find out what the song was, and of course I kept putting it off, telling myself I would call him the next day. Well, one night he wasn't on anymore! He left the station. I called and asked every jock on that station if they could tell me what that song was. Of course, none of them knew it. I loved that song and it remained a mystery to me for nine years. In 1985 a buddy of mine that I would trade albums with brought me over a few records and one of them was "Quah" by Jorma. He told me it was a great album with a great song, "Genesis" on it. I told him I would give it a try when I had a chance. About three weeks later, I put the album on one day and when it started , I turned and stared at the stereo! This was the mystery song I had been seeking for the past nine years! I taped the LP and wore that tape out, then got the CD when that was released. It was so great to hear it without the cracks and pops that were on my friend's LP.

Quah is a magical album. I still play it quite often when I need that mellow feeling. And "Genesis" remains one of the most magical pieces of music ever written. It haunts me to this day.

17 of 17 people found the following review helpful:

5.0 out of 5 stars A New and Improved Classic!, January 20, 2003

By	W. Hetfield "Walt Hetfield" (Lewes, DE United States) - See all my reviews (REAL NAME)

If I were one of these Amazon list writers I would include this on my top ten desert island discs list, greatest acoustic guitar cd's, and in the ten discs that most profoundly influenced me as a guitar player. I could include it on any number of best-of's.

What makes Quah a classic? First off, like ALL "classics" there are no weak cuts. The originals (i.e. Genesis, Hamar Promenade) are some of Jorma's best. The cover versions, besides being flawlessly performed and arranged, are chosen with a tasteful sense of program and continuity.

But that alone doesn't make it a classic. It's "guy" music - great to throw on during that all night poker game. It's "chick" music - put this on during a romantic encounter and I guarantee you the female in question will say either "Oh wow, you have this?" or "Who is this? I really like it." You can't miss either way. Of all of Jorma's recordings, Quah is the most universally appealing. Why? Get it and find out.

Quah is timeless. It doesn't sound dated. Many of my all time favorites have that problem. The production values are exceedingly high for their time. You can really hear Jorma's legendary picking with crystal clarity. To top it off, he delivers perhaps some of the best vocalising of his career.

Now I may be preaching to the choir, because I have never met anyone who didn't like this recording but - if you already have the old Relix reissue I HIGHLY reccomend that you upgrade to this version. The new cuts are worth it and it sounds better.

The three unreleased Tom Hobson cuts are great. What a treat after all these years! The best just got better. The two Tom Hobson cuts have been my favorites. Lord Have Mercy sounds like an instrumental version of another song on Tuna's The Phosphorescent Rat. I won't ruin the hidden track for you - just check it out.

A truly monumental achievment for Jorma and a great listening experience for those of us with ears.

12 of 12 people found the following review helpful:

5.0 out of 5 stars Yeah! A winner!, February 2, 2003

By	"treestamp" (USA) - See all my reviews

I have long loved Jorma's Too Hot to Handle, but have never been able to get my hands on Quah until now. It was certainly worth the wait. This album represents Jorma taking a much needed break away from the confines of his former band and returning to more comfortable musical stomping grounds. The shift back into a much better fitting skin did Jorma a wealth of musical good, as one can tell from this album. His original compositions are solid and moving, and they blend superbly with the varied non-Jorma tunes, like his very masterful and impressive renditions of Rev. Gary Davies' tunes and his wickedly brilliant slide-guitar-addled take of blues classic "Another Man Done Gone." As for his guitar playing, one couldn't ask for a better tour of Jorma's command of both blues and fingerstyle guitar. When friend and fellow blues disciple Tom Hobson steps in, he only adds to Jorma's banquet, both with his equally competent guitar playing and his "I've-got-the-right-to-sing-the-blues" vocals. Tom's cowboy-esque "Barrier" makes for a charming finale (along with the following "commercial"), and helps reminds the listener than this album was intended originally to be a joint effort between Jorma and Tom, rather than as a solo debut, as it has commonly been viewed. Additional tracks included, there isn't a single dud on this one. I never heard an original vinyl recording of this album, but I dare say the remastering does this material justice, allowing one to clearly hear the delicate guitar work and the vocal nuances throughout without making it too "clean." The liner notes, too, are an enjoyable and informative read and include explanations for the dually mysterious album title and cover art. I can recommend this gladly welcomed re-issue without effort or reservation to anyone interested in Jorma's work, fingerstyle guitar, or faithful blues discipleship, or to the musical lover looking for a refreshing break from the contemporary state of musical poverty that plagues most "artists" currently available on CD.