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Jane Getter

النص الكامل لحلقة Jane Getter

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WEBVTT 00:00:08.960 --> 00:00:13.359 Hey everyone, I'm Jane Gedder, and what we are doing is making sound. 00:00:13.679 --> 00:00:14.400 Yes, we are. 00:00:14.560 --> 00:00:22.320 Hey everybody, it's making sound episode 149 with my guest Jane Gedder is here. 00:00:22.559 --> 00:00:25.679 And it's Jane Gedder and Premonition? 00:00:26.399 --> 00:00:28.079 No, just Jane Getter Premonition. 00:00:28.559 --> 00:00:30.000 Jane Getter, not and. 00:00:31.359 --> 00:00:31.760 Very nice. 00:00:31.920 --> 00:00:32.560 Nice to have you. 00:00:32.640 --> 00:00:33.280 How are you? 00:00:33.600 --> 00:00:34.399 I'm good. 00:00:34.479 --> 00:00:35.119 How are you? 00:00:35.439 --> 00:00:36.320 I'm fantastic. 00:00:36.479 --> 00:00:39.280 So Jane Gedder is a guitarist. 00:00:39.439 --> 00:00:41.280 Um she has a new album out. 00:00:42.560 --> 00:00:47.039 With the name of the band being Jane Getter Premonition, not just Jane Gedder. 00:00:47.759 --> 00:00:50.640 And it's transmography. 00:00:51.520 --> 00:00:52.799 Transmography. 00:00:53.679 --> 00:00:55.359 Pronounced Transmography. 00:00:55.679 --> 00:00:56.240 Oh boy. 00:00:56.799 --> 00:00:59.039 See, I would I would read that transmography. 00:00:59.679 --> 00:01:02.000 I believe it's pronounced transmography. 00:01:02.240 --> 00:01:02.640 What is it? 00:01:02.719 --> 00:01:03.759 What does it mean? 00:01:04.000 --> 00:01:04.799 It means transgraph. 00:01:04.959 --> 00:01:06.239 And congratulations. 00:01:06.560 --> 00:01:06.879 Oh. 00:01:07.280 --> 00:01:08.400 Oh, well, thanks. 00:01:08.719 --> 00:01:09.439 You're welcome. 00:01:09.920 --> 00:01:11.120 Yeah, thank you very much. 00:01:11.280 --> 00:01:13.280 Yeah, it means change, yeah. 00:01:13.599 --> 00:01:18.319 And um I'm I'm a guitarist, but I'm also um a composer. 00:01:18.400 --> 00:01:24.799 Uh I've I've won a few awards and commissions for composition, and I'm also a singer. 00:01:25.519 --> 00:01:28.640 And yeah, the band leader of my band. 00:01:29.200 --> 00:01:30.959 And where are you from originally? 00:01:31.519 --> 00:01:32.480 New Jersey. 00:01:33.920 --> 00:01:35.120 That's a big place. 00:01:36.319 --> 00:01:37.280 The oranges. 00:01:37.359 --> 00:01:38.640 I I say the oranges. 00:01:39.280 --> 00:01:41.599 And you're and you're in the Bronx now, right? 00:01:41.920 --> 00:01:42.400 Yeah. 00:01:42.719 --> 00:01:44.239 How long have you been up there? 00:01:45.200 --> 00:01:46.079 Oh wow. 00:01:46.319 --> 00:01:51.519 Um probably 25 years, probably. 00:01:51.760 --> 00:01:52.239 Something like that. 00:01:52.560 --> 00:01:53.200 That's a long time. 00:01:53.519 --> 00:01:53.920 Mm-hmm. 00:01:54.319 --> 00:01:55.680 So what what drove you up there? 00:01:55.760 --> 00:01:58.239 What what uh got you up to the boogie down Bronx? 00:01:58.400 --> 00:01:59.120 Because I used to live there. 00:01:59.359 --> 00:02:07.280 Uh I was living in uh we were living in the city and um we had to move out of our apartment and we wanted more space, so we moved up here. 00:02:07.599 --> 00:02:07.920 Uh-huh. 00:02:08.000 --> 00:02:08.960 Where in the city were you? 00:02:09.199 --> 00:02:09.680 In Manhattan? 00:02:09.919 --> 00:02:10.639 In the Lower East Side. 00:02:10.879 --> 00:02:11.360 East Village. 00:02:11.439 --> 00:02:11.680 I mean. 00:02:11.919 --> 00:02:12.479 East Village. 00:02:13.120 --> 00:02:13.919 How long were you there? 00:02:14.400 --> 00:02:15.280 Down there for? 00:02:17.360 --> 00:02:18.240 Let's see. 00:02:18.639 --> 00:02:27.360 Um I probably fifteen years, maybe. 00:02:27.680 --> 00:02:28.560 Something like that. 00:02:29.120 --> 00:02:30.800 Something like 15 years, I would say. 00:02:31.199 --> 00:02:32.080 That's a long time. 00:02:33.120 --> 00:02:33.439 Yeah. 00:02:33.840 --> 00:02:36.080 So what got you into guitar playing? 00:02:38.479 --> 00:02:40.639 Well, uh In New Jersey. 00:02:40.960 --> 00:02:44.159 Maybe, okay, so when when I was a kid, right? 00:02:44.240 --> 00:02:49.680 When I'm um I don't know how old I was, maybe five or six, maybe, or something like that. 00:02:49.840 --> 00:02:50.319 I don't know. 00:02:50.479 --> 00:02:58.960 Anyway, uh my parents gave my sister and I music lessons, and they gave me piano lessons and they gave her guitar lessons. 00:02:59.360 --> 00:03:03.120 And I used to always spy on her guitar lessons. 00:03:03.840 --> 00:03:08.159 And so I guess the uh my my parents got got the hit. 00:03:08.400 --> 00:03:11.919 They said, well, I think she wants to play guitar instead of piano. 00:03:12.479 --> 00:03:14.479 So I started playing guitar. 00:03:14.639 --> 00:03:16.000 I think I was older than five. 00:03:16.080 --> 00:03:16.960 I don't know how old I was. 00:03:17.120 --> 00:03:17.840 I was older than five. 00:03:18.400 --> 00:03:19.599 This is an older sibling. 00:03:19.919 --> 00:03:21.840 Yes, yes, she's a couple years older. 00:03:22.560 --> 00:03:25.280 Was there a lot of sibling rivalry? 00:03:26.080 --> 00:03:26.960 Not really. 00:03:27.280 --> 00:03:28.479 No, not really. 00:03:28.719 --> 00:03:32.479 She um yeah, I would I wouldn't say so. 00:03:32.879 --> 00:03:33.199 Okay. 00:03:34.400 --> 00:03:37.360 All right, and uh so so then what happened? 00:03:37.439 --> 00:03:38.960 How did that all work out? 00:03:39.599 --> 00:03:48.639 Well, then my parents gave me uh flamenco guitar lessons because uh there was the only guitar teacher they knew of was a flamenco teacher. 00:03:48.879 --> 00:03:58.159 Um so I played flamenco guitar when I was you know younger, one of my first first things I did, and um and then I just I just stuck with it. 00:03:58.800 --> 00:04:12.560 And uh I was basically self-taught through high school and then uh a friend of mine took me to see Joe Pass play um solo guitar. 00:04:13.120 --> 00:04:15.919 And um when you were in high school? 00:04:17.519 --> 00:04:20.160 Yes, I think yes, I must have been in high school. 00:04:20.480 --> 00:04:21.120 Yeah. 00:04:21.920 --> 00:04:25.920 Um and no, I must
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have been out of high school at that point. 00:04:26.800 --> 00:04:31.120 If I if I wasn't still in high school, I'd no, I just got out came out of high school. 00:04:31.519 --> 00:04:32.160 I think. 00:04:32.480 --> 00:04:33.199 Anyway. 00:04:33.360 --> 00:04:37.360 Um and um and I said, wow, I want to do that. 00:04:37.600 --> 00:04:42.319 And so that led me into um a jazz path. 00:04:42.639 --> 00:04:57.439 Uh and um so I was in college, and then I um I started taking jazz guitar lessons, and I realized that what I need to do right now is just practice. 00:04:57.600 --> 00:05:03.120 And so I I dropped out of college and just practiced for like six hours a day. 00:05:03.600 --> 00:05:20.079 And then and then so I started playing gigs and stuff, and um and I realized that like all the um musicians that I've been listening to, not all of them, but a lot of the musicians I've been was listening to and learning from were all in New York. 00:05:20.399 --> 00:05:26.399 And my family's in New York anyway, so I moved back to New York and so I stayed here. 00:05:26.800 --> 00:05:29.439 You mean back or for the first time? 00:05:29.839 --> 00:05:31.519 Well, back to the New York area. 00:05:31.759 --> 00:05:45.279 I mean, because I I grew up in North Jersey, so it's kind of and my I have a lot of cousins and stuff in in New York, you know, various um, you know, like uh Brooklyn and so I say back to New York, even though I had to. 00:05:45.439 --> 00:05:47.040 So what was your first stop in New York City? 00:05:47.120 --> 00:05:48.639 Was it Lower East Side? 00:05:49.439 --> 00:05:53.360 No, it was West 14th Street and Sixth Avenue. 00:05:53.519 --> 00:05:54.959 It was aloft there. 00:05:56.160 --> 00:05:57.600 By yourself, by your mom's. 00:05:58.240 --> 00:06:05.439 I was uh no, I was uh I had a roommate who uh she made base cases, upright base cases. 00:06:05.759 --> 00:06:07.279 Oh wow, yeah. 00:06:07.600 --> 00:06:09.600 And I don't know how I met her. 00:06:09.839 --> 00:06:12.560 I don't think I've ever met anyone that makes upright base cases. 00:06:12.879 --> 00:06:15.279 Well, I don't think she does does that anymore. 00:06:15.600 --> 00:06:18.879 So um even if she's even still around. 00:06:19.199 --> 00:06:29.839 And um then um this opportunity came up for me to uh get this apartment on East 11th Street, so as a studio, so I moved into that. 00:06:30.240 --> 00:06:31.519 Did you buy it? 00:06:31.839 --> 00:06:32.639 Yes, I did. 00:06:33.279 --> 00:06:35.839 Back in those days, you probably got it for next to nothing. 00:06:36.079 --> 00:06:42.319 It was it was yeah, it was a uh part of this New York City Housing Authority. 00:06:42.800 --> 00:06:44.079 Oh wow, NYCHA. 00:06:44.800 --> 00:06:45.920 It was NYCHA, yeah. 00:06:46.319 --> 00:06:48.000 So we got it for really cheap. 00:06:48.079 --> 00:06:53.839 So I got a NYCHA story, so I sang with the New York City Housing Authority Youth Chorus. 00:06:54.079 --> 00:06:56.720 Hmm when I first came
to New York. 00:06:57.040 --> 00:07:00.560 Okay, and because they were they were rehearsing. 00:07:00.879 --> 00:07:09.839 This is uh I was working at the Met um at the Met Opera, and I I was teaching kids. 00:07:10.000 --> 00:07:20.079 This is when I first moved to New York, I was teaching kids this is 25 years ago, um, and I was just out of school, and I came to New York and I was teaching kids uh computers. 00:07:21.360 --> 00:07:34.800 So we were working the the organization I was working with are called uh Future Kids, and uh they had they were working in the uh a lot of the housing uh projects that they partnered with NYCHA. 00:07:36.240 --> 00:07:45.759 And so I helped these kids um it was an after-school program that was funded through some private funding and some government funding. 00:07:46.720 --> 00:07:49.360 And um I helped these kids learn how to use computers. 00:07:49.600 --> 00:07:51.839 And it was all windows, you know. 00:07:52.079 --> 00:07:55.279 And I was I I'm very techie and it was a lot of fun for me. 00:07:55.519 --> 00:08:02.800 I mean some of the kids were difficult, you know, but but uh the most most of them were they were amazing, you know, it was an amazing experience. 00:08:02.959 --> 00:08:16.959 And so we I had this this gig was at um the cent the um uh the center I forget what exactly what it's called, but uh behind the Met, right right in that on on 65th, I think. 00:08:17.600 --> 00:08:23.839 And I would be teaching, and it was only like a couple days a week, it was like a part-time gig while I was auditioning for shows and stuff. 00:08:24.319 --> 00:08:25.519 And I heard this sound. 00:08:26.079 --> 00:08:27.439 Like Broadway shows? 00:08:27.600 --> 00:08:29.120 Were you Yeah, I was yeah. 00:08:29.279 --> 00:08:46.000 I was I was auditioning for Broadway, and then I got cast in the National Tour of Jekyll and Hyde, Broadway, and the Who's Tommy and uh Juice Christ Superstar, and but right before that I was doing this gig just to like pay the bills and stuff, and um but I loved it, I was it was a good gig. 00:08:46.159 --> 00:08:57.039 And then I heard this sound coming from downstairs, and it was this big, like gospel-y, like choral explosion, you know, and I was like, wow, what is going on down there? 00:08:57.120 --> 00:08:57.919 Who are these people? 00:08:58.000 --> 00:08:59.600 They sound amazing. 00:09:00.639 --> 00:09:25.919 So I would go down there, I would go downstairs, and um, and I walked into this uh it was like a big rec hall, and I walked into the hall, and there's like 40 kids dancing and singing, you know, uh living for the city and like doing all this like Motown, you know, Supremes, and they had all these numbers, and I was just so fascinated with them. 00:09:26.559 --> 00:09:35.120 And and one day I decided I want to sing with these guys, or I just I just I you know I was like that kind of I'm very brash, you know, I can be very brash. 00:09:35.200 --> 00:09:39.679 And I walked up to one
of the kids and I was like, Can I can I sing with you guys? 00:09:40.559 --> 00:09:44.240 Like I was completely naive and just had no idea really what I was doing. 00:09:44.720 --> 00:09:47.919 And they were like, um, I don't know, can you? 00:09:48.720 --> 00:09:52.399 I had an attitude, and I was like, okay, this isn't gonna be easy. 00:09:52.639 --> 00:09:58.320 So one of them, but one of them took a liking to me, and I I just kept talking to them, I just didn't relent. 00:09:58.639 --> 00:10:09.519 And he goes, Okay, um, you can come upstairs and and see the reverend, the reverend Gregory McCantz, and you can you can audition for him. 00:10:09.600 --> 00:10:11.919 And I'm like white boy, you know, everyone's black. 00:10:12.240 --> 00:10:13.360 I'm like the only white boy. 00:10:14.000 --> 00:10:14.879 But you know, I didn't care. 00:10:15.039 --> 00:10:16.399 And so and they didn't either. 00:10:17.039 --> 00:10:21.840 And so they were like, you know, maybe they did, but you know, not enough. 00:10:22.879 --> 00:10:28.399 Um so and and my I remember my I had my hair dyed blonde, and it was short. 00:10:28.480 --> 00:10:34.480 It was, you know, I was like in this weird phase of having just moved to New York and whatnot. 00:10:34.720 --> 00:10:35.919 So I was very adventurous. 00:10:36.000 --> 00:10:44.000 And I go upstairs and I walk into this big office, and there's this big man sitting behind this big desk, Reverend Gregory McCantz. 00:10:45.360 --> 00:10:53.600 And this this kid goes, this guy, this kid wants to fucking, you know, he wants audition for the except he didn't say F. 00:10:54.399 --> 00:10:57.679 He was like, you know, he wants audition for the for the group. 00:10:58.639 --> 00:11:00.159 And he was like, Oh yeah? 00:11:00.720 --> 00:11:01.440 Greg Mr. 00:11:01.519 --> 00:11:02.080 McCantz. 00:11:02.240 --> 00:11:03.279 Still very friendly with him. 00:11:03.360 --> 00:11:05.039 He's he's upstate, he lives upstate now. 00:11:05.440 --> 00:11:06.080 He's retired. 00:11:06.480 --> 00:11:07.120 Great guy. 00:11:07.840 --> 00:11:10.159 And he goes, Yeah, you want to sing with us? 00:11:10.639 --> 00:11:11.200 Go ahead. 00:11:11.600 --> 00:11:12.080 Sing. 00:11:14.720 --> 00:11:17.200 And I'm like, okay. 00:11:18.000 --> 00:11:26.399 And I knew that they had done, they were singing Stevie Wonder stuff, and I knew Living for the City, like the back of my hand. 00:11:27.120 --> 00:11:28.080 I love that song. 00:11:28.320 --> 00:11:30.399 So I started singing, uh Bias Ba. 00:11:30.639 --> 00:11:32.159 You know, I just like leaned into it. 00:11:32.960 --> 00:11:41.039 And uh I finished, and uh I did like a verse chorus, you know, a cappella, and he was like, All right, you're in. 00:11:41.600 --> 00:11:50.399 Nice, nice, and then uh this group, the Nitro, they're called the uh New York City Housing Authority Youth Chorus. 00:11:51.759 --> 00:12:00.159 They would get all these crazy gigs, including at like Cipriani's and you know, and
they were singing at Madison Square Garden. 00:12:00.240 --> 00:12:09.120 That's how I got to sing at Madison Square Garden during uh during um a basketball game for L New York Liberty, the the basketball team, the female basketball team. 00:12:09.519 --> 00:12:10.159 Yeah, I know them. 00:12:10.240 --> 00:12:16.159 I've seen them I got to sing at Madison Square Garden, and you know, he he pulled me out in the right in the beginning. 00:12:16.240 --> 00:12:17.919 He was like, Jan, do the solo. 00:12:18.320 --> 00:12:19.120 I was like, what? 00:12:19.440 --> 00:12:25.120 Now so it you know it was one of those life-changing experiences. 00:12:25.279 --> 00:12:34.960 So so you bought this, so you bought this uh apartment and you got settled into the lower east side, and like what time period are we talking about here? 00:12:35.519 --> 00:12:38.960 Uh I think it was the late 80s. 00:12:39.360 --> 00:12:40.559 Can you come up to the mic a little bit? 00:12:40.639 --> 00:12:41.279 I can barely hear you. 00:12:41.840 --> 00:12:41.919 Sure. 00:12:42.639 --> 00:12:45.120 I think it was the 80s, mid-80s. 00:12:45.200 --> 00:12:46.960 But I have a uh Liberty story actually. 00:12:47.360 --> 00:12:48.080 Yeah, go ahead. 00:12:48.799 --> 00:12:57.440 So I was uh one of the bands that I've played in over throughout my years here in New York was a band called Housewives on Prozac. 00:13:00.080 --> 00:13:00.559 Love that name. 00:13:00.960 --> 00:13:13.279 All women band, and and the songs were the original songs were all about like uh, you know, um issues with with motherhood and and you know just women's stuff. 00:13:13.440 --> 00:13:17.519 And anyway, so we were asked to uh record a version of Ladies'. 00:13:18.080 --> 00:13:19.360 How did you meet them? 00:13:21.519 --> 00:13:22.639 That I can't remember. 00:13:22.799 --> 00:13:24.720 I think I was recommended by somebody. 00:13:24.879 --> 00:13:26.240 I don't remember. 00:13:26.720 --> 00:13:51.200 Um anyway, so um uh anyway, so we we were asked to to uh record a version of Ladies Night, and which we did, and um, and they they used it uh for their opening for uh for a few years, and we were invited, we were invited to uh one of the games, and they gave us a shout-out and a spotlight. 00:13:51.279 --> 00:13:55.120 We were all sitting in the stand and and stuff, and so that's pretty cool. 00:13:55.519 --> 00:13:56.399 That is cool. 00:13:56.960 --> 00:13:57.679 That is cool. 00:13:57.919 --> 00:14:02.960 So uh let's just you know, I want to just explain how we know each other, and we just kind of know each other through the scene. 00:14:03.039 --> 00:14:07.679 And I uh we work with uh um uh an agent named uh Ann Rinaldi. 00:14:07.840 --> 00:14:09.200 Do you are still working with Anne? 00:14:09.440 --> 00:14:10.080 Yep, yeah. 00:14:10.559 --> 00:14:19.679 So she introduced me to you, and then I started reading you know your bio and started listening to your music, and uh, because I was kind of looking for someone to play guitar. 00:14:19.759 --> 00:14:24.720 I mean, uh you know, the the the the situ our situation wasn't wasn't right. 00:14:24.960 --> 00:14:29.120 Um, but uh we we just kept in touch, you know, there weren't any hard feelings. 00:14:29.200 --> 00:14:37.200 So I was like, okay, well, and then Keith James, who is my uh publicist, is also who also works with you, said, Would you want to have Jane on your show? 00:14:37.279 --> 00:14:38.639 And I said, Yeah, that's a great idea. 00:14:38.720 --> 00:14:39.120 Let's talk. 00:14:39.600 --> 00:14:43.759 So I, you know, but but but that's kind of how we know each other, you know, through the scene. 00:14:44.000 --> 00:14:50.879 But you have you you work you work with some amazing people and you have some great uh people on this new record called please tell pronounce it for me. 00:14:51.279 --> 00:14:52.159 Transmography. 00:14:52.399 --> 00:14:53.200 Transmography. 00:14:53.440 --> 00:14:57.120 It's a it's a transmography, like a biography. 00:14:57.440 --> 00:14:57.919 Mm-hmm. 00:14:58.000 --> 00:14:58.399 Mm-hmm. 00:14:58.480 --> 00:14:58.639 Yeah. 00:14:58.960 --> 00:15:00.080 Kind of kind of yeah. 00:15:00.320 --> 00:15:00.480 Okay. 00:15:00.720 --> 00:15:02.320 And it means we're getting somewhere. 00:15:02.720 --> 00:15:04.240 It means change, really. 00:15:04.480 --> 00:15:09.279 And um the uh how many albums is this for you? 00:15:09.600 --> 00:15:10.960 It's my eighth. 00:15:11.279 --> 00:15:12.320 Congratulations. 00:15:12.480 --> 00:15:13.120 Well, thank you. 00:15:13.360 --> 00:15:15.279 Yep, I just did the same, number eight. 00:15:15.519 --> 00:15:16.080 Oh, yeah. 00:15:16.240 --> 00:15:18.240 Um, and you have a lot of people on this. 00:15:18.399 --> 00:15:28.399 Adam Holtzman, Alex Skolnick, who I've known for years, guitarist, um, testament guitarist, Trans Hiberian uh orchestra, Paul Frasier. 00:15:28.799 --> 00:15:29.919 I don't know him. 00:15:30.399 --> 00:15:30.960 He played with David. 00:15:31.200 --> 00:15:32.159 David Byrne and Nell Roger. 00:15:32.399 --> 00:15:33.759 David Byrne's for years. 00:15:34.000 --> 00:15:34.799 Wow, wow, wow. 00:15:34.960 --> 00:15:38.240 Gene Lake, Marcus Miller, Nell Rogers Chic. 00:15:38.960 --> 00:15:41.600 Um, and special guest Russell Holtzman. 00:15:42.000 --> 00:15:42.799 Who's my son? 00:15:43.279 --> 00:15:43.919 Is that your son? 00:15:44.320 --> 00:15:45.200 Yeah, my yeah. 00:15:45.279 --> 00:15:47.440 Um Adam Holtzman and I are married. 00:15:47.679 --> 00:15:48.080 Right. 00:15:48.559 --> 00:15:53.039 Um and uh Russell is our son, who is an amazing drummer. 00:15:53.360 --> 00:15:53.840 Wow. 00:15:54.080 --> 00:15:56.240 And he's on two songs on the album. 00:15:56.559 --> 00:15:58.480 How long has he been playing with you? 00:15:58.960 --> 00:16:01.200 Well, he he he doesn't really play with me. 00:16:01.279 --> 00:16:10.879 He just he just recorded two songs, and he we used to play with him when a little bit when he was
younger, but um he's he's into another thing. 00:16:11.039 --> 00:16:16.159 He he plays with um this uh Carolyn Polichek. 00:16:16.320 --> 00:16:17.679 I don't know if you're familiar with her. 00:16:17.759 --> 00:16:31.360 She's an alternative pop pop star, and he's done some stuff with Madonna's daughter, and he's into this whole drum and bass thing and this drum loops, and he works with these producers, and he does he does a whole lot of songs. 00:16:31.600 --> 00:16:32.240 How old is he? 00:16:32.399 --> 00:16:34.639 If you don't mind me, 30. 00:16:34.879 --> 00:16:35.440 30. 00:16:36.240 --> 00:16:37.840 Okay, so he's he's young. 00:16:38.000 --> 00:16:39.039 Um, that's cool. 00:16:39.200 --> 00:16:43.120 And then Mark Egan and um Chandra Rule. 00:16:44.000 --> 00:16:44.480 Yes. 00:16:44.720 --> 00:16:46.559 So I don't know all of these people, but uh Yeah. 00:16:47.039 --> 00:16:53.840 Mark Egan, he's on uh one song, he's on the uh Just Run Remixed and I'm remastered. 00:16:53.919 --> 00:16:56.480 He played with Pat Matheny for years. 00:16:56.960 --> 00:16:58.240 I love Pat Matheny. 00:16:58.480 --> 00:16:58.639 Yeah. 00:16:58.879 --> 00:17:01.039 Do you are you are you a fan as a guitarist? 00:17:01.200 --> 00:17:02.159 Yeah, yeah, sure. 00:17:02.240 --> 00:17:02.399 Yeah. 00:17:02.639 --> 00:17:04.640 Do you have a favorite Pat Matheny album? 00:17:04.880 --> 00:17:07.119 Are you like into it, into it? 00:17:07.519 --> 00:17:08.880 I'm not into it that much. 00:17:08.960 --> 00:17:10.240 No, I'm not into it that much. 00:17:10.559 --> 00:17:15.680 I had this album that I couldn't stop listening to by Pat Matheny called Imaginary Day. 00:17:16.559 --> 00:17:17.759 Do you remember that record? 00:17:17.920 --> 00:17:19.599 Yeah, Lyle Mays was on it. 00:17:19.839 --> 00:17:20.319 Yeah, yeah. 00:17:20.720 --> 00:17:24.400 I went and saw that tour while I was while I was a student in Ohio. 00:17:25.119 --> 00:17:25.680 I was a kid. 00:17:25.839 --> 00:17:29.200 It was like this like twenty f twenty plus twenty-five years ago. 00:17:29.440 --> 00:17:31.599 And uh they were amazing. 00:17:32.079 --> 00:17:36.480 They had to move the show and they did it in Lakewood at the at the high school auditorium. 00:17:36.880 --> 00:17:37.680 Oh wow. 00:17:37.839 --> 00:17:42.640 And uh and it's the sound was actually really good, and they they uh they sounded they sounded fantastic. 00:17:42.880 --> 00:17:43.599 Oh yeah, sure. 00:17:44.000 --> 00:17:51.680 So when you make a progressive rock album, okay, I mean you would would you call yourself a progressive rock artist or would do you call yourself a guitarist? 00:17:52.079 --> 00:17:57.200 How close are you to the genre, or how much do you identify with the genre itself? 00:17:57.759 --> 00:18:00.160 Well, um and and why? 00:18:01.599 --> 00:18:14.720 I identify with the genre because I it incorporates it the the genre itself has a lot of aspects that my music has. 00:18:15.440 --> 00:18:27.519 Um there's all you know, there's different sections, different time signatures, um some long songs, um, some heavy sections, and some lighter sections, you know. 00:18:27.759 --> 00:18:37.279 Um and I uh I was into like the jazz rock fusion for a long time because what jazz is like you know really kind of where other people are. 00:18:37.440 --> 00:18:39.119 Do you remember who pulled you into that? 00:18:39.279 --> 00:18:41.359 Like what artist or what record? 00:18:42.240 --> 00:18:43.119 Into what? 00:18:43.440 --> 00:18:45.359 Into that genre, the fusion genre. 00:18:45.680 --> 00:18:46.400 The fusion. 00:18:46.559 --> 00:18:52.160 Yeah, well, because I, you know, was really I was heavily into straight-ahead jazz. 00:18:52.640 --> 00:18:57.599 And I was always, I mean, I always loved rock also. 00:18:58.400 --> 00:19:14.400 And uh I uh my first touring gig was with this um jazz blues organist, um brother Jack McDuff, and where a lot of guitar players started out with him, George Benson, Grant Green, um, and which was an amazing experience. 00:19:14.640 --> 00:19:18.880 But his his music was really kind of party music. 00:19:19.039 --> 00:19:30.480 Even this jazz, jazz blues, and uh the audience would just be, you know, really uh getting into the groove and having a good time and clapping their hands. 00:19:30.640 --> 00:19:44.480 And before then, before that tour, I had been playing sort of sort of more intellectual type of jazz, like kind of heady, and you know, like the audience just kind of sits there, hmm, very interesting, you know, kind of thing. 00:19:44.799 --> 00:19:53.519 And um, and I I really felt like this that tour where I was just connecting with people more, and it just kind of made more sense to me. 00:19:53.759 --> 00:20:17.599 So I started uh getting into more music with uh with you know backbeat grooves and the jazz fusion thing combined a lot of my jazz, my jazz niss, I don't know if that's a word, with more groove-oriented stuff and some you know, uh heavier, heavier riffs and you know, more complicated riffs and stuff. 00:20:17.759 --> 00:20:35.599 And so I mean Chikaria's electric band, uh Return to Forever, uh Mahavishnu Mahavishnu Orchestra, which is still my big my big influence, and and um I still uh you know I mean what is it, the Ever Mounting Flame? 00:20:35.680 --> 00:20:35.839 No. 00:20:35.920 --> 00:20:37.359 What's the name of that record? 00:20:37.680 --> 00:20:38.480 Yeah, that's right. 00:20:38.880 --> 00:20:40.240 The Ever Mounting Flame? 00:20:41.119 --> 00:20:41.759 Great album. 00:20:42.000 --> 00:20:42.400 Yeah, yeah. 00:20:43.039 --> 00:20:44.000 I was hooked on that. 00:20:44.240 --> 00:20:46.160 Yeah, all of them are, yeah. 00:20:46.880 --> 00:20:54.799 So um, right, so I was I did that for a while, and you know, my first, I'd say my first two records. 00:20:54.960 --> 00:21:11.599 Yeah, my first two records were more, you know, jazz rock fusion, and um and then I started getting into a little bit
more heavier stuff, heavier, heavier lines, more heavy distortion, distorted guitars. 00:21:11.920 --> 00:21:15.039 I need you to come closer, otherwise we're gonna Yeah. 00:21:15.200 --> 00:21:36.880 I I started getting into more, you know, heavier, heavier um uh distorted guitar lines and riffs and different um different sections and time signatures, and um so that sort of got me more into the progressive the Prague rock, you know, um genre. 00:21:37.200 --> 00:21:44.799 But still the the the fusion genre also still remains with with me to this day, I would say. 00:21:45.599 --> 00:21:48.559 And uh so no, that's it. 00:21:48.720 --> 00:21:52.960 And where did you make the where did you make the uh the album Transmography? 00:21:53.440 --> 00:21:59.200 Uh I did the basic basic tracks at Spin Studios in Long Island City. 00:21:59.440 --> 00:22:05.839 And And for that was for uh one three songs? 00:22:06.160 --> 00:22:06.720 Three songs. 00:22:06.960 --> 00:22:08.240 So you did this old school? 00:22:08.480 --> 00:22:11.279 Like a live basic track recording and then overdubs? 00:22:11.680 --> 00:22:18.720 Well, uh the difference okay, so four of the songs have are a basic track rec you know recording in in a studio. 00:22:19.039 --> 00:22:20.000 How many total? 00:22:20.720 --> 00:22:21.839 And on the album? 00:22:22.079 --> 00:22:22.559 Yeah. 00:22:22.880 --> 00:22:24.160 Uh six. 00:22:24.319 --> 00:22:25.440 I have to look that up. 00:22:25.599 --> 00:22:27.440 Um six long ones. 00:22:28.000 --> 00:22:28.640 Six. 00:22:28.960 --> 00:22:30.000 Is it six? 00:22:30.160 --> 00:22:31.039 Let's see. 00:22:31.519 --> 00:22:35.759 Um I just I have to look because I don't have it off of my head. 00:22:35.839 --> 00:22:39.920 I don't I one, two, three, four, five, six, seven. 00:22:40.000 --> 00:22:40.400 There's seven. 00:22:40.720 --> 00:22:40.960 Seven. 00:22:41.200 --> 00:22:42.160 Yeah, seven. 00:22:42.400 --> 00:22:48.799 I I have a um I I wrote and recorded a solo guitar piece for also for the album. 00:22:49.759 --> 00:22:56.240 So there's two songs that are have are were were recorded in our various studios. 00:22:57.039 --> 00:23:01.119 But the rest of them were basic tracks in in the studio. 00:23:01.359 --> 00:23:20.559 And which I I love, you know, I prefer to do that if possible, because it's you get to really uh vibe with your band, and you know, it's not just like, okay, I did my my bass part, I didn't, you know, I did my drums, and you know, and then you just try to try to vibe with that through the email. 00:23:20.960 --> 00:23:28.400 Um, so but yeah, the re all the overdubs and vocals and stuff were all done in uh uh you know my studio. 00:23:28.480 --> 00:23:36.240 I did all the guitars in in my own studio and I did background vocals in my studio, but I did leads in a studio. 00:23:36.720 --> 00:23:38.640 How many songs with vocals? 00:23:39.599 --> 00:23:43.119 All of them except uh the solo guitar piece. 00:23:44.640 --> 00:23:48.400
And then like a record like that, do you take that on the road? 00:23:49.759 --> 00:23:51.119 Yeah, yeah, you yeah. 00:23:51.200 --> 00:23:52.240 Do we tour the album? 00:23:52.319 --> 00:23:52.559 Yeah. 00:23:52.799 --> 00:23:53.039 Where? 00:23:53.839 --> 00:23:55.440 We have some we have some shows coming up. 00:23:55.519 --> 00:24:02.160 We're we have a couple festivals coming up, and uh we're working on a um European tour for next fall, 2027. 00:24:02.720 --> 00:24:03.279 Nice. 00:24:03.519 --> 00:24:05.759 And do you do you do your own booking? 00:24:06.319 --> 00:24:10.559 I have an agent, um, and some of the stuff is through my own connections. 00:24:10.640 --> 00:24:17.200 Um the the the the official official CD release um show is gonna be at Prague Stock Festival. 00:24:17.440 --> 00:24:18.799 Oh, okay, in October. 00:24:19.039 --> 00:24:19.920 Yeah, in October. 00:24:20.240 --> 00:24:20.559 Beautiful. 00:24:21.200 --> 00:24:26.079 And uh another thing about this album that I'm excited about is that we have it out on vinyl. 00:24:26.960 --> 00:24:28.000 And orange. 00:24:28.319 --> 00:24:30.160 Orange crush vinyl. 00:24:30.960 --> 00:24:32.000 Excuse me. 00:24:32.480 --> 00:24:35.359 It's like the psychedelic orange, it's really cool. 00:24:35.599 --> 00:24:36.000 Yeah. 00:24:36.240 --> 00:24:37.039 So I'm excited. 00:24:37.200 --> 00:24:39.119 It's only my second album out on vinyl. 00:24:40.480 --> 00:24:41.519 I'm excited about that. 00:24:41.839 --> 00:24:42.880 Yeah, well, we did the same. 00:24:42.960 --> 00:24:44.640 I mean, vinyl is vinyl is fun. 00:24:44.799 --> 00:24:47.599 Unfortunately, uh the the my album was too long. 00:24:47.680 --> 00:24:52.559 We had to we had to cut for the vinyl, and the C D is different and the digital is different. 00:24:53.039 --> 00:24:55.359 But you know, that's just how it that's just how it goes. 00:24:55.599 --> 00:25:01.200 Yeah, well, this this album is perfect for vinyl because it's it's like 39 minutes long. 00:25:01.440 --> 00:25:01.759 That's it. 00:25:02.000 --> 00:25:03.279 Perfect for a vinyl. 00:25:03.359 --> 00:25:07.920 So you get all the yeah, so you don't have any sound issues whatsoever. 00:25:08.240 --> 00:25:14.640 I would have I've I've probably need to do another version of my new album, The Future Trap, on a double. 00:25:15.359 --> 00:25:17.519 And add some bonus tracks. 00:25:17.920 --> 00:25:24.079 And I could I could, you know, but yeah, I mean, I'd have to anyway, let's one step at a time. 00:25:24.160 --> 00:25:24.720 One step at a time. 00:25:25.039 --> 00:25:35.759 Yeah, and also some of the songs uh this album was originally just gonna be an EP, uh, but it just it just grew into this, into a whole album. 00:25:36.000 --> 00:25:47.039 Um the songs, uh a lot of the songs were songs that never made it to uh my prior recording, and because I never I didn't feel they were ready. 00:25:47.279 --> 00:25:54.400 Um and so but I came back to them and I I changed them, hence
part of the part of the title. 00:25:54.720 --> 00:26:05.359 Um in fact the um the title track transmography is over nine minutes long, maybe ten minutes, nine, nine and change. 00:26:05.599 --> 00:26:12.640 And there's only one section in the middle of the song that comes from the original idea of the song. 00:26:12.720 --> 00:26:13.839 And even that was changed. 00:26:14.000 --> 00:26:15.519 That's the vocal section. 00:26:15.759 --> 00:26:18.319 Even that was changed a little bit. 00:26:19.119 --> 00:26:24.880 So uh so that's you know, again, that's part of the the title where that comes from. 00:26:25.119 --> 00:26:37.200 And um, oh, it's also about change uh that's going on in the world and my own for my own personal self, the change that's going on with me as I evolve. 00:26:38.079 --> 00:26:42.160 And uh when you say evolve, what do you what do you mean? 00:26:42.720 --> 00:26:57.920 Well, just you know, as you get older, you just you have a new outlook on things and you know your you know your body, you know, different things going on with your body, and um, you know, and also that how does that influence your writing? 00:26:59.200 --> 00:27:06.559 Where do you put that well I think it it just comes out in my writing? 00:27:06.720 --> 00:27:08.960 I don't I just it's not a conscious thing. 00:27:09.279 --> 00:27:11.359 But it's an it's not so it's not intentional? 00:27:11.599 --> 00:27:12.880 It's not intentional, no. 00:27:13.359 --> 00:27:14.480 It's not intentional. 00:27:15.039 --> 00:27:19.200 Are you surprised at that sometimes when you then go back to it and go, wow, where did that come from? 00:27:19.519 --> 00:27:20.160 Oh yeah. 00:27:20.400 --> 00:27:21.440 Oh, definitely. 00:27:21.680 --> 00:27:24.720 Especially when it's something that that you really like. 00:27:25.039 --> 00:27:27.519 I mean, because I mean you're you're a songwriter too. 00:27:27.599 --> 00:27:34.559 There's some songs that you write that you just like, wow, this is really, really one of my best songs. 00:27:34.720 --> 00:27:36.160 And you know, I really like this song. 00:27:36.240 --> 00:27:38.880 And some stuff you write, you're like, eh, it's okay. 00:27:40.319 --> 00:27:40.720 Right? 00:27:41.119 --> 00:27:42.240 Of course, of course, of course. 00:27:42.400 --> 00:27:43.200 Yeah, always, always. 00:27:43.440 --> 00:27:48.960 And then some songs you write are like, uh-oh, this is this is going in a way in the vault. 00:27:49.039 --> 00:27:50.079 I don't think so. 00:27:50.400 --> 00:28:00.720 Um so so so yeah, so especially the ones that you write and you come back, and you're like, wow, this is really I feel like this is really good, and I don't know where it came from. 00:28:01.359 --> 00:28:03.599 I'm sure you have that same experience. 00:28:04.079 --> 00:28:04.960 Well, yeah, of course. 00:28:05.039 --> 00:28:06.640 You know, I mean, I think we all do, you know. 00:28:06.799 --> 00:28:10.960 I think um I think it's good to surprise yourself though. 00:28:11.759 --> 00:28:14.400 You know, um it doesn't always happen. 00:28:14.799 --> 00:28:24.960 You know, where uh like the single that I have out right now with Marcella Detroit, who was in a band called Shakespeare's Sister, and played with Clapton for she was in Clapton's band for four years. 00:28:25.039 --> 00:28:26.240 She wrote Lay Down Sally. 00:28:27.039 --> 00:28:41.440 And um uh you know, we have a single out, and uh I thought it was gonna be an album track, and then my agent um said that's a single and I said, I thought you told me that ballads don't do well on the radio. 00:28:43.599 --> 00:28:45.279 And uh guess what? 00:28:46.400 --> 00:28:49.759 You know, it's you know, we're we're charting with it. 00:28:49.839 --> 00:28:51.440 So you know, you just you just never know. 00:28:51.519 --> 00:28:52.799 You just really never know. 00:28:53.519 --> 00:28:59.200 Um so uh if you could choose do you do other things? 00:28:59.279 --> 00:29:00.400 Do you do do you teach? 00:29:01.200 --> 00:29:02.079 Yes, yes, I do. 00:29:02.160 --> 00:29:10.160 I teach I teach guitar and I also teach um uh rock band class at a private high school. 00:29:10.640 --> 00:29:11.680 Rock band class. 00:29:12.079 --> 00:29:16.000 Where can I can I ask where Riverdale Country School? 00:29:16.160 --> 00:29:16.799 Oh yeah, really. 00:29:17.759 --> 00:29:20.319 I that's where I used to live up there, uh Kingsbridge. 00:29:21.200 --> 00:29:33.039 Um so if you could if you could choose c considering everything that's going on in the music business right now, I'm talking about this with like a lot of my colleagues and friends and and you know contemporaries and so forth. 00:29:33.359 --> 00:29:47.599 If you could choose which era of the music industry to go back to or or an imaginary future one that you can just make up. 00:29:48.079 --> 00:29:49.279 Which would it be? 00:29:50.720 --> 00:29:53.440 What do you mean a one a future one that you could make up? 00:29:53.599 --> 00:29:54.880 I don't understand that. 00:29:55.920 --> 00:30:03.680 A future music industry, like what would it be like if you could make it if you could create that? 00:30:04.480 --> 00:30:07.039 And then which one would you go back to? 00:30:07.519 --> 00:30:07.839 Okay. 00:30:08.319 --> 00:30:20.559 Well, um, I think that uh sponsored um government sponsored artists and musicians, I like like in the old days. 00:30:21.519 --> 00:30:27.759 Government sponsored court court court composers back in Bozart's days. 00:30:28.799 --> 00:30:40.400 Uh where uh musicians got paid to write music and you know didn't have to worry about like getting the next gig and stuff, and got supported by the government. 00:30:40.559 --> 00:30:44.480 I think you know, I think it would be wonderful if we could go back to that. 00:30:44.880 --> 00:30:47.119 So you want to be a court composer, I love it. 00:30:47.359 --> 00:30:50.319 Kings and queens and Jane Getter. 00:30:50.720 --> 00:30:55.519 Um just a
composer, just a paid composer, just to sit in my own. 00:30:55.599 --> 00:30:57.440 No, no, I love that. 00:30:57.759 --> 00:31:05.839 City in sit in my studio and write music and just have it have you know, have it and play it for for uh you know, for the masses. 00:31:05.920 --> 00:31:09.839 I you know, just people music brings well there weren't masses then. 00:31:10.079 --> 00:31:15.359 No, I mean music brings happiness and joy to people, and we need more of that in this world. 00:31:16.640 --> 00:31:25.200 I think you know, uh more um funded and sponsored uh live performances, I think, you know, would be great. 00:31:25.359 --> 00:31:30.160 So and would that be the future one that you would like to see happen? 00:31:30.480 --> 00:31:31.839 Like if you could imagine a music. 00:31:32.480 --> 00:31:33.519 That's the future one. 00:31:33.599 --> 00:31:37.599 Like that that I want to bring that back, but I don't want to live in that time. 00:31:38.799 --> 00:31:43.119 Yes, I mean uh you know, no uh no penicillin. 00:31:43.839 --> 00:31:45.359 Right, right, right, right. 00:31:45.599 --> 00:31:50.799 And also, you know, uh when record labels sign an artist and they stay with them. 00:31:50.960 --> 00:31:58.640 They don't, you know, if if you're if your one album doesn't, you know, make a million dollars or billions of dollars and you get dropped. 00:31:58.720 --> 00:32:03.200 I mean, you have to give the artist a chance to uh to grow and evolve. 00:32:03.359 --> 00:32:07.759 And so and that happened more back in the 70s and the 60s. 00:32:08.160 --> 00:32:08.960 It sure did. 00:32:09.119 --> 00:32:11.680 So, you know, we're not in that time anymore at all. 00:32:12.000 --> 00:32:13.119 There are no labels. 00:32:13.440 --> 00:32:17.519 Artists are m more or less self-managed and build their own careers. 00:32:17.599 --> 00:32:18.400 I've always done that. 00:32:18.480 --> 00:32:21.519 And then I did get a record deal, and then I had a hit, a couple of them. 00:32:21.759 --> 00:32:40.160 But now it it's I talk to a lot of artists, and they complain a lot, and they say, Oh, you know, I don't we don't have this, and I and I don't want to do this, and oh, this is hard, and I don't want to create content. 00:32:40.319 --> 00:32:42.799 It's like I hate it, I hate it. 00:32:43.680 --> 00:32:47.680 So uh so and I I I agree with some of that. 00:32:47.759 --> 00:32:52.480 I mean, nothing is easy, but I don't see it in a negative, I see it as a revolution. 00:32:53.519 --> 00:33:04.640 And I see it as a way for for artists to create something, and and I think what the reason that people get that artists are maybe you can tell me your opinion on this. 00:33:04.960 --> 00:33:19.519 I think the reason that artists get overwhelmed so easily is uh because they don't feel like they should be doing this, they feel like they should just be having fun and writing songs and you know that's like the this initial sort of idea of yeah, it's all about joy and pleasure.
00:33:19.680 --> 00:33:20.720 And guess what? 00:33:20.880 --> 00:33:21.920 You know, it's not. 00:33:22.000 --> 00:33:24.960 There's a lot of work involved in creating careers. 00:33:25.119 --> 00:33:29.359 And the industry was responsible for that for decades, decades, decades. 00:33:30.000 --> 00:33:37.119 And uh a lot of people succeeded, a lot of people also didn't, and a lot of labels also did and didn't succeed. 00:33:37.359 --> 00:33:43.359 So, you know, my my opinion about that is um, well, what can you do? 00:33:43.519 --> 00:33:45.519 What can you do to advance your career? 00:33:45.680 --> 00:33:47.599 You're gonna have to learn and do some other things. 00:33:47.759 --> 00:33:50.880 And then a lot of people, a lot of artists say, well, that's gonna take away from the art. 00:33:50.960 --> 00:33:52.319 It's gonna take away from the art. 00:33:52.559 --> 00:33:54.400 And I'm like, no, it isn't. 00:33:55.599 --> 00:33:57.839 Being good at marketing is just as creative. 00:33:58.079 --> 00:33:59.359 It can be very creative. 00:33:59.440 --> 00:34:01.359 You can be very creative if you have good ideas. 00:34:02.000 --> 00:34:04.240 Not all musicians are good at that, though. 00:34:05.039 --> 00:34:07.200 So how could how do we make them better at it? 00:34:09.360 --> 00:34:10.400 You tell me. 00:34:12.639 --> 00:34:17.199 Okay, well, come to my workshop August 30th in uh New York City. 00:34:17.360 --> 00:34:18.239 It's free. 00:34:19.360 --> 00:34:21.840 Um and uh I'll tell you. 00:34:23.440 --> 00:34:25.119 In Manhattan, my masterclass. 00:34:25.199 --> 00:34:29.039 I do a masterclass every year where I talk about my own experience. 00:34:29.280 --> 00:34:34.239 Because I've seen both, you know, I've been in the label world and I've also been independent. 00:34:34.400 --> 00:34:40.000 And I see myself as independent because even when I had record deals, I licensed the albums to the to the label. 00:34:40.239 --> 00:34:40.960 Right, you know, right. 00:34:41.280 --> 00:34:48.320 But I think what we do need is people, the right kind of people to work with. 00:34:48.559 --> 00:34:56.960 So I still think we need people on the creative side on the marketing creative business side that we work with. 00:34:57.199 --> 00:34:58.800 I don't think that's gonna go away. 00:34:58.960 --> 00:35:00.320 I think we still need those people. 00:35:00.639 --> 00:35:01.360 Yeah, definitely. 00:35:01.599 --> 00:35:05.599 And because some people, some people are good at that and and some people aren't. 00:35:05.840 --> 00:35:14.880 And um, you know, it uh I mean some musicians have that that part of their brain happening and some don't. 00:35:15.199 --> 00:35:24.800 So I th I think if we, you know, if you're worried about creating content, um work on it, you know, and do what feels natural. 00:35:25.039 --> 00:35:32.239 But that's really difficult for people because you don't think about like what are your what are some of your challenges with that personally? 00:35:32.480 --> 00:35:36.880 Like how do you feel about the usage of usage of of social media to promote music? 00:35:37.440 --> 00:35:44.079 Um well I I find it to be kind of a pain in the ass personally. 00:35:44.320 --> 00:35:46.800 Um I do it because I have to. 00:35:47.199 --> 00:35:56.079 Um I don't I'm not like uh I don't sit there and scroll social media like when I'm not using it for my own promotion. 00:35:56.239 --> 00:36:03.199 So I'm not like you know, I'm not one of those people that really loves doing look looking at social media. 00:36:03.360 --> 00:36:12.559 Um and so I do it because I have to, and I know that um I could be better at it. 00:36:13.039 --> 00:36:20.320 Um so I I'm continually trying to figure out that, trying to get advice from various people about that. 00:36:21.199 --> 00:36:27.519 So I um yeah, I'm I'm just I'm just trying to, you know, keep keep it going. 00:36:27.920 --> 00:36:31.440 Trying to keep keep you know keep going with it. 00:36:31.840 --> 00:36:33.039 But I don't are. 00:36:33.119 --> 00:36:34.880 I mean the music isn't a problem. 00:36:34.960 --> 00:36:36.400 You're a great guitarist. 00:36:36.880 --> 00:36:37.599 Well, thank you. 00:36:37.920 --> 00:36:38.800 And a great writer. 00:36:38.960 --> 00:36:43.360 You know, you're I mean there's a reason that you attract these kind this kind of talent to play with you. 00:36:44.239 --> 00:36:44.639 Yeah. 00:36:44.880 --> 00:36:46.159 What do they think about all this? 00:36:46.320 --> 00:36:46.960 Are they the same? 00:36:47.119 --> 00:36:48.400 Are they kind of like meh? 00:36:49.679 --> 00:36:50.559 I don't know. 00:36:50.719 --> 00:36:51.360 I don't know. 00:36:51.599 --> 00:36:55.199 I know Alex is he he's he's really great with social media. 00:36:55.280 --> 00:37:00.639 He's always posting stuff and his his stuff gets a lot a lot of attention. 00:37:00.880 --> 00:37:03.119 But um I don't know if he likes it though. 00:37:03.280 --> 00:37:04.079 I never asked him. 00:37:04.400 --> 00:37:04.880 You should. 00:37:05.360 --> 00:37:06.079 He does it. 00:37:06.480 --> 00:37:08.400 Also tell him I'm close says hi. 00:37:08.719 --> 00:37:09.039 Okay. 00:37:09.280 --> 00:37:10.159 I don't know if he likes it. 00:37:10.400 --> 00:37:11.519 We sang together a couple of times. 00:37:11.599 --> 00:37:14.480 We had a it's a long time ago now, but we had a great time together. 00:37:14.559 --> 00:37:15.039 I love that guy. 00:37:15.280 --> 00:37:15.679 Sang? 00:37:15.760 --> 00:37:16.159 He sang? 00:37:16.800 --> 00:37:18.320 I sang, I sang, he played. 00:37:18.559 --> 00:37:19.599 Oh, oh yeah. 00:37:19.760 --> 00:37:20.400 Oh yeah. 00:37:20.800 --> 00:37:22.320 I sang with him, I should say then. 00:37:22.400 --> 00:37:23.599 He played with me, whatever. 00:37:23.679 --> 00:37:27.360 Yeah, you know, but uh yeah, I mean, uh he's a he's a great guy. 00:37:27.519 --> 00:37:28.480 He's a great guy. 00:37:28.639 --> 00:37:30.480 Uh and he's been in it
for a long time. 00:37:30.559 --> 00:37:32.159 He's done a lot of different things with a lot of people. 00:37:32.400 --> 00:37:34.000 Um but yeah, go ahead. 00:37:35.039 --> 00:37:36.159 Oh, you can just say it. 00:37:36.239 --> 00:37:37.360 You could just say you have to go. 00:37:37.760 --> 00:37:38.639 I do have to go. 00:37:39.119 --> 00:37:39.599 I do have to go. 00:37:39.920 --> 00:37:40.400 Good, good. 00:37:40.480 --> 00:37:42.239 Well, uh the let's let you go. 00:37:42.400 --> 00:37:49.199 And why don't you tell people where they can find your your new album, Transmography, and where they can find out where you're playing live. 00:37:49.599 --> 00:37:50.239 Yeah. 00:37:50.480 --> 00:37:56.159 Uh so the album is out on um this label called 7D Media. 00:37:56.320 --> 00:38:02.639 It's uh Trey Gunn's label from King Crimson, bass player that played with King Crimson for a long time. 00:38:03.119 --> 00:38:06.719 And uh so they've got all the links. 00:38:06.960 --> 00:38:12.400 Um, if you go to their website where you can you can get it, you can get it everywhere, you can listen to it everywhere. 00:38:12.559 --> 00:38:20.239 It's Amazon, um, Spotify, you know, it's it's Apple Music, uh, all the all the streaming platforms. 00:38:20.480 --> 00:38:27.440 Also, if you are in Europe, you can order the album and the vinyl from Burning Shed. 00:38:28.559 --> 00:38:30.239 And Burning Shed? 00:38:30.639 --> 00:38:31.840 Burning Shed, yeah. 00:38:32.320 --> 00:38:37.280 It's a musician-run distributor, just distribution company. 00:38:37.760 --> 00:38:43.599 And uh we're playing at Prague Stock on October, Prog Stock Festival. 00:38:44.639 --> 00:38:46.719 Um, October 11th. 00:38:46.960 --> 00:38:47.760 Yeah, 11th. 00:38:48.000 --> 00:38:49.199 Yeah, and where is that? 00:38:49.440 --> 00:38:51.760 That's in Rutherford, New Jersey. 00:38:52.239 --> 00:38:58.000 If you go to my website, janegetter.com, it's got all the well, it should have all the information on it. 00:38:58.159 --> 00:38:59.760 Um, I have have to check. 00:38:59.920 --> 00:39:01.440 Um, okay, we'll check. 00:39:01.840 --> 00:39:13.679 And then we're playing in November at Kinnet Kinnet Flash in in outside of Philly on November 8th. 00:39:13.920 --> 00:39:14.159 Yeah. 00:39:15.039 --> 00:39:18.559 So people can look this up on your website janegetter.com. 00:39:18.960 --> 00:39:20.400 Yeah, janegetter.com. 00:39:21.039 --> 00:39:24.000 G-E-T-T-E-R, folks, janegetter.com. 00:39:24.079 --> 00:39:24.400 Check it out. 00:39:25.119 --> 00:39:26.400 Janegetter Premonition. 00:39:26.559 --> 00:39:32.800 We have some videos out, and we're about to uh drop the uh single video tomorrow, actually. 00:39:33.039 --> 00:39:35.440 Which is called Still Dreaming. 00:39:36.159 --> 00:39:37.599 Good, me too. 00:39:39.519 --> 00:39:40.960 It was nice to talk to you. 00:39:41.199 --> 00:39:42.719 Nice to talk to you too, Jan. 00:39:43.119 --> 00:39:43.519 Good to see you. 00:39:43.599 --> 00:39:44.480 And it's it's Jan. 00:39:44.800 --> 00:39:45.199 Yeah, always. 00:39:45.440 --> 00:39:46.480 Yeah, yeah, I'm so sorry. 00:39:46.559 --> 00:39:47.840 I you told me that before. 00:39:48.079 --> 00:39:48.559 That's all right. 00:39:48.719 --> 00:39:49.760 All right, everybody. 00:39:49.920 --> 00:39:51.519 Uh, thanks for tuning in. 00:39:51.599 --> 00:39:55.760 Uh Making Sound with Jan Klose, episode 149 with Jane Gedder. 00:39:55.920 --> 00:39:58.400 And uh we got some cool stuff coming up. 00:39:58.639 --> 00:40:02.639 Making soundpodcast.com if you want to support the show. 00:40:02.880 --> 00:40:09.519 And I'm gonna be on the road this fall in New York, Massachusetts, Florida, South Carolina, New York City. 00:40:09.599 --> 00:40:16.960 We're playing as well, uh, Ohio, and then heading to Germany uh for a couple of shows uh early next year. 00:40:17.119 --> 00:40:22.079 So uh thanks for the support on the new album and the new single, and we'll see you next time, everybody. 00:40:22.159 --> 00:40:24.880 Thanks to my guest, Jane Gedder, Premolution. 00:40:25.760 --> 00:40:26.079 Bye. 00:40:26.400 --> 00:40:27.119 Bye, everybody. 00:40:27.519 --> 00:40:27.840 Bye.
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