BẢN CHÉP ÂM THANH 🔗
WEBVTT
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Hey everyone, I'm Jane Gedder, and what we are doing is making sound.
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Yes, we are.
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Hey everybody, it's making sound episode 149 with my guest Jane Gedder is here.
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And it's Jane Gedder and Premonition?
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No, just Jane Getter Premonition.
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Jane Getter, not and.
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Very nice.
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Nice to have you.
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How are you?
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I'm good.
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How are you?
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I'm fantastic.
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So Jane Gedder is a guitarist.
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Um she has a new album out.
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With the name of the band being Jane Getter Premonition, not just Jane Gedder.
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And it's transmography.
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Transmography.
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Pronounced Transmography.
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Oh boy.
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See, I would I would read that transmography.
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I believe it's pronounced transmography.
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What is it?
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What does it mean?
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It means transgraph.
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And congratulations.
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Oh.
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Oh, well, thanks.
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You're welcome.
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Yeah, thank you very much.
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Yeah, it means change, yeah.
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And um I'm I'm a guitarist, but I'm also um a composer.
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Uh I've I've won a few awards and commissions for composition, and I'm also a singer.
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And yeah, the band leader of my band.
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And where are you from originally?
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New Jersey.
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That's a big place.
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The oranges.
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I I say the oranges.
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And you're and you're in the Bronx now, right?
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Yeah.
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How long have you been up there?
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Oh wow.
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Um probably 25 years, probably.
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Something like that.
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That's a long time.
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Mm-hmm.
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So what what drove you up there?
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What what uh got you up to the boogie down Bronx?
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Because I used to live there.
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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.
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Uh-huh.
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Where in the city were you?
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In Manhattan?
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In the Lower East Side.
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East Village.
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I mean.
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East Village.
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How long were you there?
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Down there for?
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Let's see.
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Um I probably fifteen years, maybe.
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Something like that.
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Something like 15 years, I would say.
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That's a long time.
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Yeah.
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So what got you into guitar playing?
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Well, uh In New Jersey.
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Maybe, okay, so when when I was a kid, right?
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When I'm um I don't know how old I was, maybe five or six, maybe, or something like that.
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I don't know.
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Anyway, uh my parents gave my sister and I music lessons, and they gave me piano lessons and they gave her guitar lessons.
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And I used to always spy on her guitar lessons.
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And so I guess the uh my my parents got got the hit.
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They said, well, I think she wants to play guitar instead of piano.
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So I started playing guitar.
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I think I was older than five.
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I don't know how old I was.
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I was older than five.
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This is an older sibling.
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Yes, yes, she's a couple years older.
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Was there a lot of sibling rivalry?
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Not really.
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No, not really.
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She um yeah, I would I wouldn't say so.
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Okay.
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All right, and uh so so then what happened?
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How did that all work out?
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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.
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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.
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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.
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And um when you were in high school?
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Yes, I think yes, I must have been in high school.
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Yeah.
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Um and no, I must
Load full transcript
have been out of high school at that point.
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If I if I wasn't still in high school, I'd no, I just got out came out of high school.
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I think.
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Anyway.
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Um and um and I said, wow, I want to do that.
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And so that led me into um a jazz path.
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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.
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And so I I dropped out of college and just practiced for like six hours a day.
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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.
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And my family's in New York anyway, so I moved back to New York and so I stayed here.
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You mean back or for the first time?
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Well, back to the New York area.
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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.
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So what was your first stop in New York City?
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Was it Lower East Side?
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No, it was West 14th Street and Sixth Avenue.
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It was aloft there.
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By yourself, by your mom's.
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I was uh no, I was uh I had a roommate who uh she made base cases, upright base cases.
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Oh wow, yeah.
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And I don't know how I met her.
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I don't think I've ever met anyone that makes upright base cases.
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Well, I don't think she does does that anymore.
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So um even if she's even still around.
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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.
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Did you buy it?
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Yes, I did.
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Back in those days, you probably got it for next to nothing.
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It was it was yeah, it was a uh part of this New York City Housing Authority.
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Oh wow, NYCHA.
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It was NYCHA, yeah.
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So we got it for really cheap.
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So I got a NYCHA story, so I sang with the New York City Housing Authority Youth Chorus.
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Hmm when I first came
to New York.
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Okay, and because they were they were rehearsing.
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This is uh I was working at the Met um at the Met Opera, and I I was teaching kids.
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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.
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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.
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And so I helped these kids um it was an after-school program that was funded through some private funding and some government funding.
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And um I helped these kids learn how to use computers.
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And it was all windows, you know.
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And I was I I'm very techie and it was a lot of fun for me.
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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.
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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.
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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.
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And I heard this sound.
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Like Broadway shows?
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Were you Yeah, I was yeah.
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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.
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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?
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Who are these people?
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They sound amazing.
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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.
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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.
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And I walked up to one
of the kids and I was like, Can I can I sing with you guys?
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Like I was completely naive and just had no idea really what I was doing.
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And they were like, um, I don't know, can you?
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I had an attitude, and I was like, okay, this isn't gonna be easy.
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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.
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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.
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And I'm like white boy, you know, everyone's black.
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I'm like the only white boy.
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But you know, I didn't care.
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And so and they didn't either.
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And so they were like, you know, maybe they did, but you know, not enough.
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Um so and and my I remember my I had my hair dyed blonde, and it was short.
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It was, you know, I was like in this weird phase of having just moved to New York and whatnot.
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So I was very adventurous.
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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.
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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.
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He was like, you know, he wants audition for the for the group.
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And he was like, Oh yeah?
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Greg Mr.
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McCantz.
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Still very friendly with him.
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He's he's upstate, he lives upstate now.
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He's retired.
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Great guy.
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And he goes, Yeah, you want to sing with us?
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Go ahead.
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Sing.
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And I'm like, okay.
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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.
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I love that song.
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So I started singing, uh Bias Ba.
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You know, I just like leaned into it.
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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.
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Nice, nice, and then uh this group, the Nitro, they're called the uh New York City Housing Authority Youth Chorus.
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They would get all these crazy gigs, including at like Cipriani's and you know, and
they were singing at Madison Square Garden.
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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.
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Yeah, I know them.
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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.
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He was like, Jan, do the solo.
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I was like, what?
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Now so it you know it was one of those life-changing experiences.
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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?
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Uh I think it was the late 80s.
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Can you come up to the mic a little bit?
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I can barely hear you.
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Sure.
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I think it was the 80s, mid-80s.
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But I have a uh Liberty story actually.
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Yeah, go ahead.
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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.
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Love that name.
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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.
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And anyway, so we were asked to uh record a version of Ladies'.
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How did you meet them?
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That I can't remember.
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I think I was recommended by somebody.
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I don't remember.
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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.
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We were all sitting in the stand and and stuff, and so that's pretty cool.
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That is cool.
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That is cool.
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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.
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And I uh we work with uh um uh an agent named uh Ann Rinaldi.
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Do you are still working with Anne?
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Yep, yeah.
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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.
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I mean, uh you know, the the the the situ our situation wasn't wasn't right.
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Um, but uh we we just kept in touch, you know, there weren't any hard feelings.
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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?
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And I said, Yeah, that's a great idea.
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Let's talk.
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So I, you know, but but but that's kind of how we know each other, you know, through the scene.
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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.
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Transmography.
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Transmography.
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It's a it's a transmography, like a biography.
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Mm-hmm.
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Mm-hmm.
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Yeah.
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Kind of kind of yeah.
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Okay.
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And it means we're getting somewhere.
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It means change, really.
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And um the uh how many albums is this for you?
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It's my eighth.
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Congratulations.
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Well, thank you.
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Yep, I just did the same, number eight.
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Oh, yeah.
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Um, and you have a lot of people on this.
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Adam Holtzman, Alex Skolnick, who I've known for years, guitarist, um, testament guitarist, Trans Hiberian uh orchestra, Paul Frasier.
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I don't know him.
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He played with David.
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David Byrne and Nell Roger.
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David Byrne's for years.
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Wow, wow, wow.
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Gene Lake, Marcus Miller, Nell Rogers Chic.
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Um, and special guest Russell Holtzman.
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Who's my son?
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Is that your son?
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Yeah, my yeah.
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Um Adam Holtzman and I are married.
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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.