Acclaimed as bassist for The Flower Kings, Jonas Reingold is a master four-stringer. He’s recorded with many artists, including Jon Anderson (of Yes), and has become an integral part of Steve Hackett’s band, re-creating the complex bottom of early Genesis. Twenty years ago, Reingold started the prog group Karmakanic (repeat it slowly a few times), which just released its sixth album, Transmutation. He filled us in on its recording process in his native Sweden – and elsewhere.
You gathered an incredible group of musicians. How did you pull it off, and in 13 different studios?
First of all, 13 studios was, in reality, a hotel room in Leipzig, a shady corner in Scotland, a backstage room in the east of England (laughs)! We also had nice tracks from pro rooms like Mix LA in Los Angeles and Ocean Way in Nashville. While the list of musicians on Transmutation is impressive at first glance, remember, I’ve been in this world for 30-plus years, so my address book is pretty thick. These guys are my friends, but also among the best players on this planet, like drummer Simon Phillips.
Which basses and guitars did you use?
The bass on most tracks is my 1969 Les Paul bass, which has this fat upper-range – very punchy and to the point, perfect for melodic bass lines á la Paul McCartney. I also used my ’64 Jazz Bass and the Yamaha BB3000; for fretless, I used a new Jaco Pastorius signature Jazz. I played a lot of guitars on the album, too; my main guitar was a 2016 ES-339 and an SG. A few things were recorded on an Epiphone The Paul. Not a fancy guitar, but it has very good tone.
You’re known as a bassist, but what’s your role as guitarist in Karmakanic?
I play a lot of guitars in the Steve Hackett Band, so I keep those chops in shape. I don’t have a great technique – I never shred – but I can play melodies in pitch and with good phrasing. Here, I play parts that don’t need technical excellence, like the ending solo on “Transmutation.” For the fancy stuff, I happily pass the baton to lead players such as Krister Jonsson or Luke Machin. I’m lucky to be around this talent, so I can handpick the best musician for every section on the record. I’m a spoiled bastard, I know (laughs).
Is your Karmakanic rig different from your Hackett rig?
Not really. I’ve been with EBS Professional Bass Equipment for 25-plus years now and I’m still happy. I never have any issues with their amps or anything else – it’s extremely durable and just works, so my tone is very similar. I don’t change that no matter who I’m playing with.
When you’re onstage in Hackett’s big stage production, who are you listening to the most?
I try to listen to everybody. I think every person making a sound on a stage contributes to the sum of the musical experience – everyone has an important role. Sometimes it’s the vocal having the rhythmical drive; sometimes it’s the piano or drums. All of them are equally important, and they are part of the sum that makes the totality of the music.
It’s been 23 years since the first Karmakanic album. Looking back, what were your expectations versus how the music has evolved through Transmutation?
The biggest change is how I’ve evolved – 23 years feels like a lifetime ago. Of course, I’m still me and play not too differently from back then, but I’ve experienced a whole life in-between. I had two children who are grown and both musicians. Of course, all the tours, records, children, marriage, and divorce changed me. I see life through different eyes now, but what stays constant is my love for music. I always want to play a bit better, I always want to write a better song, I always want to have a better bass sound. That has never changed – that’s the quest I live by on a daily basis.
You were a key part of the progressive-rock revival with The Flower Kings. Are there still fresh fans for Karmakanic?
Yes, I hope the new generation has the urge to explore the roots of everything they hear today. I want the musical curiosity I had as a youngster to be passed on to the younger generation. Music history is cool – for example, its fascinating to see Steve Hackett doing his two-handed tapping, knowing that Eddie Van Halen took the technique a few years later and made a career out of it. I always want to stay close to the history of music. – Pete Prown
This article originally appeared in VG’s June 2025 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
