Janey Clewer Coolnight Interview English 10022009

INTERVIEW COOL NIGHT – Janey CLEWER by 10/02/2009

Hi Bruno, Thank you for your questions. I will try to answer them all for you as best I can. I am flattered that you are interested in my career.

Interview Bruno Fabrigues for Cool Night – Janey Clewer by 10/02/2009

You play piano and you're a singer. When did you get start? I started playing piano at the age of 3 on a toy piano I received for Christmas. It had 25 keys and I LOVED it. I would play it and sing all the time. When I was 5, I started formal training with a classical teacher, Virginia Reinecke, who accepted me as her pupil, even though I was very young, could barely read, and my hands were still very small. I studied with her until I was 17. At this point, she was considering entering me in international Chopin competitions, but my heart was more into singing and writing. She had always encouraged my composing (which was rare for a serious classical teacher) by recording my piano pieces. Most classical teachers would not take up some of the lesson time to do this. I would say her influence on me has positively affected my entire musical life. I have always sung for as long as I can remember. As a little girl, my sister and I would sing ourselves to sleep most every night. It felt like the most natural extension of myself and it was incredibly soothing to me. Even though I had never had a voice lesson, in my senior year of high school, my band director helped me get together an audition tape for college. I was subsequently accepted into Indiana University’s School Of Music. It is one of the finest music schools and is still to this day a school I am proud to say I graduated from cum laude.

Had you some musical idols when you were a child or a teenage and now have you some musical models? Besides the great musical composers such as Debussy, Liszt, Chopin, Rachmaninoff etc, my pop idols were Karen Carpenter, Earth Wind and Fire and Stevie Wonder and Bread. Now, my idols are Harry Connick Jr., Sting and Aretha Franklin.

Do you remember your first compositions? My first piano piece was called “Sleeping Time”. I still remember the first couple of bars. I was 6. I remember the first pop song I wrote in high school was called “Two Young People”, which I still remember very well.

How can you become a chorist? An opportunity or a career choice? The touring gig with Julio Iglesias was my first real experience singing background vocals. I had always been a lead singer in my bands in high school and college. The traveling offered by taking the Julio tour sounded exciting to me and singing background vocals would be a new experience. After working several years on the road, I knew in my heart I needed to ultimately get off the road so I could write more, work on my individual career and eventually marry and have a child. I knew earning a living would have to come from some source other than doing society gigs (called casuals in L.A.) so my friend Randy Waldman, not only encouraged me to put together a vocal demo to get studio work (TV, films and commercials) he also helped me to put together my first home studio so I could record the songs that just laid written out on manuscript paper in my piano bench. Most of the session work I got was background vocal work. I had an ear for harmony and I could read well. As a group singer you need to be able to make up parts on the spots with no direction from the composer and sometimes you need to be

Interview Bruno Fabrigues for Cool Night – Janey Clewer by 10/02/2009

able to just read the page thrown in front of you. In either setting I was comfortable. Having a home studio was a blast, especially recording background parts. It is very creative and yet requires precision, which I like. I never plan what I am going to sing ahead of time, I just go with my gut and build the background bed as I go. It is a constant learning experience.

Can you tell us briefly the highlights of your career? I have many career highlights, but the most meaningful to me would be, in no particular order… - Singing on Ray Charles’s “Genius Loves Company” CD (“Heaven Help Us All” duet with Gladys Knight). - Writing and working with the incomparable Lara Fabian on the songs “Bambina” and “Je t’Appartiens”. - Singing two duets live with George Benson at Jazz at Lincoln Center in New York November 2008 “Unforgettable” and “When I Fall in Love”; the later with Wynton Marsalis on the trumpet solo. - Writing songs with Richard Marx…especially “The Last Words You Said” for Sarah Brightman and “Never Far Away” for Olivia Newton-John. - Meeting Patti LaBelle in Nashville at her cookbook signing and having her look me in the eye and say how much she loves the two Christmas songs she recorded of mine years ago. - Getting my first album deal to record 3 records for Pioneer LDC in Japan. - Working with Michael Sembello on the Bossa Nova Hotel CD….he is a genius and I have been so challenged working with him…he also makes me laugh.

You prefer playing piano or composing? Absolutely, composing. Playing is just a means to compose. I cannot play like I use to. I reached my peak at 17 on the piano! I will never play like that again.

Could you tell us few words about each of them: "JANEY" (1985), "CALL ME ROMANTIC" (1996), "WHEN STARS COLLIDE" (1997), "KISS BY KISS" (1999), "Perfume" (2004). “JANEY” was my first CD. Talk about exciting! I thought… the sky is the limit. I can include all my favorite songs I have demoed so far and, of course, write new ones for an interested audience. It doesn’t get better than that! “CALL ME ROMANTIC”…I think of Peter Cetera coming over to our house in the dead of winter. He walked into our large studio room with big windows, looking out at the snow and beautiful red birds, realizing I was going to record him in the main room, no cramped vocal booth. He could just enjoy the scenery as we worked. He said, “I could get use to this!” Also, having Jay Graydon solo on the title cut was an honor for me. I can’t believe he said yes. “WHEN STARS COLLIDE”…I think of the promotional idea to incorporate the love stories of a few fans into the verses of the song “When Stars Collide”. I also remember the wonderful promotional tour Bruce and I did in Japan! We had a fabulous time…the food, the bullet train,

Interview Bruno Fabrigues for Cool Night – Janey Clewer by 10/02/2009

the Japanese gardens, hanging out with Takeshi and Miwa, the radio interview in Kobe…and many other fine memories. “KISS BY KISS”…This CD was the brainchild of Ric Taylor, a fan of ours here in Nashville who wanted to start his own label. He helped to select the most pop selections from my first three CDs. The only song he didn’t include, which should have been included, is “Fallin’ in Love” which features Bill Champlin. Bill brought so much to that track. Between Bill’s vocals and Randy’s piano playing I was screaming with delight at the end result. “PERFUME” …Vinnie, Vinnie Vinnie! (Colaiuta) Talk about blowing my mind that he would be willing to play on 4 songs! He is a magical player and a sweetheart of a person! Also, Randy Waldman’s fantastic trumpet work on the title track was a highlight for me.

We note on each, the presence of musicians such as Jay Graydon, Marc Jordan, George Hawkins, Bill Champlin, Peter Cetera. Was it difficult to plan all these great musicians on your albums? Lucky me, it was not difficult. You have to understand that these great musicians and singers are not only some of the most talented people on the planet, they are also some of the sweetest and generous people you will ever meet. They understand the difficulties and storms we all must ride and they are truly there for each other to help in any way they can. All I had to do was ask!

Do you have some stories to tell about these wonderful musicians and singers? Jay Graydon – one the most meticulous players and engineers of all time; incredibly charming…he makes Bruce and I smile when we think of him …I recall a voice message we got from him regarding a song we had written together called “You’re Not Alone”. Jay’s message went on and on…talking about how it was going to take a DAY for him to EQ the bass! We laughed until we cried… the funniest part is how serious Jay was! We love you Jay! Marc Jordan… is one of the few people in the world who’s music and voice has made me cry from its sheer emotional depth and beauty. In particular, his song and vocal performance of “Tears of Hercules” kills me every time. I love what his voice brings to “Two Shooting Stars”, and “Make Her Mine”. Bruce said he is jealous of the intimacy Marc and I created in the bridge of “Make Her Mine” I guess it is a piece of heaven. George Hawkins…I remember him working on my CD “WHEN STARS COLLIDE” experimenting endlessly with bass lines as Bruce and I cooked upstairs for him while he played and engineered himself in the studio. He puts his heart and soul into everything he does. George is all heart! Bill Champlin… I remember Bill coming over to our house to sing the duet “Forever Valentines”. He hadn’t hear the song yet and perhaps he had some preconceived idea that it would be a light, pop song, but when he heard the intro he said something like “Holy shit, these are some serious changes!” He, again, knocked it out of the ballpark!

Interview Bruno Fabrigues for Cool Night – Janey Clewer by 10/02/2009

You have also made two albums as a duo form, one with your husband Bruce Gaitsch for "ONE ON ONE" (2001), the other with the musician Randy Waldman "YOUR FAVORITE CHRISTMAS CD" (2003). What is the story behind both? “ONE ON ONE” and “YOUR FAVORITE CHRISTMAS CD” were both labors of love with no label support. We recorded them both because we wanted to. “ONE ON ONE”… Bruce encouraged me to record some of the piano pieces that had never seen the light of day in a duo format. They were the classical pieces still lying in the piano bench. He thought this would be something we could do together, just the two of us. I remember having to record despite the sound of the cicadas outside out window. That year they were particularly loud! So loud it was sometimes impossible to get a clean take and we had to not include one track completely because of the noise from the cicadas. We also ended up using a few songs we had recorded previously with strings and had Bruce play the vocal part. Someday, I would love to record a “ONE ON ONE...Two” “YOUR FAVORITE CHRISTMAS CD” Randy Waldman and I wrote, produced and recorded a CD for MCA in 1990 called “A Starlight Christmas”. It was a various artists CD and featured Patti LaBelle, Kenny G., The Jets, Katey Sagal, and Glenn Medeiros. I sang about half of the songs. The CD never really got very much label attention. Years later, I was walking one day in Nashville, thinking about the fact that all of those songs, and a few I had written since, would work beautifully as piano/vocal record. I called Randy and he agreed. I flew to LA to work with him for 10 days and then came home to finish the project. I am proud to say in 2006 “Ain’t No Time for Diets” was a “Just Plain Folks” finalist for best Christmas song and in 2008 the CD received two wonderful reviews, one on christmasreviews.com Let’s get back to your solo albums. What were the responses of the media and people, very nice success in Japan? I have to say I felt very embraced by the Japanese people. They are so appreciative of American talent. In particular, Toshi Nakada and Takeshi Itoh, still to this day, are my strongest supporters. I can trace my first 3-record deal to Toshi. He fell in love with “A Starlight Christmas” and when he met Bruce for the first time at Richard Marx’s house, he said “Oh…Bruce Gaitsch…you are married to Janey Clewer… I love her Christmas CD”. The AOR fan club was also very supportive and welcomed Bruce and I with open arms during a promotional tour in ’98.

Nowadays, it’s not familiar to see an artist write, produce and arrange almost all the tracks of an album, don’t you think it’s your trademark. Is it tough or is it something natural for you and why? For me, it is what I have always done, so it is not strange at all. It is what I do for most every song I write, regardless of whether or not the songs are for me to sing. This ability, however, is a blessing and a curse. I do love making the songs come alive as I envision them, (with the help of my friends) but sometimes I wonder how the tracks would have turned out if my songs and vocals had been in the hands of a great producer like David Foster. I have had the pleasure of

Interview Bruno Fabrigues for Cool Night – Janey Clewer by 10/02/2009

working with David many times as a session singer, but I was never so lucky to have him produce anything for me. Unfortunately, to attract someone like that I know you have to have huge label support and a willingness to pay his huge fees… maybe in another lifetime… Perhaps, having had the control has helped to define my style or sound, if I have one. I do know that I have had a lot of help from the amazing Randy Waldman and my husband Bruce, as well as many other musicians and singers. The two of them are, absolutely, my biggest fans and supporters and they both have added SO much to my music through the years. It is hard though, especially at the end of a project, to keep your focus and to not hate what you have done. Working that closely on every detail makes you sick of the CD by the end. Mixing is very hard because you can never be done. The possibilities are endless! It is only years later that you can get some perspective and decide whether or not you like the CD or not.

Your brand new album is a total success. This album is very oriented toward Bossa Nova style. Why? I don’t know if it is a total success because it is so new, but I will say I think I was successful at creating a very focused CD that is presented in a very timeless fashion. Bruce was amazing at keeping me focused. I have always loved the sensual music of Brazil, especially after spending time there when I toured with Julio Iglesias. I was also swept away by a couple of men and that didn’t hurt my love affair with the music and lifestyle of Brazil! ☺ A friend, Don Boyer, suggested I try to record a very focused CD, since most all of my previous CDs were very eclectic. He said to me “If you were to do a focused CD, what would it be?” It was in that instance that I said without thinking “I’ve always thought about doing a very sexy, intimate, Brazilian jazz styled CD. He said, “That’s it! do it!” and so I did….

On "FALLEN FOR BRAZIL", your voice is very sensual. Is this intentional? Yes, intentional, but also, how can you sing those words and not feel sensual? I am happy the feeling came across. That is why I do music. It is therapy for me and hopefully, then transferred to the listener into their own experience…a beautiful exchange of emotions.

You have written the whole songs except "This Masquerade" by Leon Russell. Why this cover? Growing up Karen Carpenter’s “This Masquerade” and later, George Benson’s version both resonated with me on a level that required me to listen to the recordings over and over again. It is a song I have never tired of and I thought it would fit the style of this CD very well. Some songs just “fit” your voice and “This Masquerade is one of them. Also, one way to reach more fans is to record a loved song. They may find you by searching the song. If that exposure pulls more listeners to my music, then I am happy.

Interview Bruno Fabrigues for Cool Night – Janey Clewer by 10/02/2009

We find two of our favorite artists on your album: Michael Sembello on the track "The Summer Wind" and Marc Jordan, on the duet song "Make Her Mine". How did the collaboration with them? Ironically, at the time of recording the first few songs for “FALLEN FOR BRAZIL” it turns out Michael was way deep into the Brazilian culture and music and had just gotten back from Brazil working with Daniel Jobim. I was thrilled for Michael to say yes and he added so much to the energy of the track “The Summer Wind”. He recorded his tracks in Florida and sent them over the Internet. Technology is amazing these days. You don’t ever have to be in the same room! That is not to say I prefer it that way, but it does uncomplicate the logistics of getting together. Marc Jordan graciously agreed to sing the duet “Make Her Mine”. At first, I thought I would let him make up some adlibs for the bridge, but he wanted exact input. So I sang him some ideas, sent him a rough mp3 mix and then he made the lines his own. I was thrilled with the result. His voice is so thick and gorgeous on the choruses he barely has to do anything to make an impression. His voice is magic.

Interview Bruno Fabrigues for Cool Night – Janey Clewer by 10/02/2009

We have heard about the Bossa Nova Hotel project. You’re in, can you tell us more? Maybe an album? Bossa Nova Hotel is a group with Bruce, Michael and I. It is a collection of wonderful pop songs done in a bossa or salsa style. The sound is very vocal heavy. Our process kind of goes like this… Michael flushes out the basic arrangement and track and puts his lead vocal on. Then Bruce and I go to work. We sometimes play with the form and then Bruce records his guitars and finds awesome percussion tracks. I go crazy doubling Michael in his octave and sometimes the next octave up or two and then I layer multiple tracks of background vocal parts. It’s a blast. Michael then sometimes adds some vocal embellishments that we call “Brazil man”. He has studied the language and brings an authentic element to the project only Michael can do. There are some songs that have as many as 21 vocal tracks of mine, not to mention the extra vocals Michael added that were mixed down to a stereo track. Mixing is a nightmare and very tedious, but it is worth it when you hear it all together. Dick Rudolph was instrumental in guiding us all through this process, helping to develop the sound along the way. We hope for a 2009 release!!!

Your immediate plans? Your future plans? My immediate plans are to try to get label support for “FALLEN FOR BRAZIL” and do what I can to get the word out about it’s current availability at cdbaby only… so thank you for this interview! I am also going to be doing some more Nat King Cole Tribute Concerts with George Benson in the US this spring and in Europe this summer. I have many songs other artists have recorded that I hope will come out this year. Fingers’ crossed!

What make you the most proud in your musical career? I guess I am proud to say I have able to make a living doing what I love to do. I have never had another job. That is something to be proud of in that most musicians have had to spend some time waiting tables while they wait for their career to happen. For me, mine has not been without it’s downs and it is a struggle at times, but it is always the music that hooks me, keeps me going and gets me back on my feet. Having a song in your heart is a gift. I do wish I could reach more people.

What is the musical meeting that impressed you the most? When I met Barbra Streisand and saw her first farewell concert...it was breathtaking in everyway. Also, working with and, years later, meeting Harry Connick Jr. again after a show in Nashville. I talked with him backstage and when I mentioned to him that I had sung on his Christmas CD he said how much he was in awe of the background singers. Wow…coming from him….it meant a lot!

Interview Bruno Fabrigues for Cool Night – Janey Clewer by 10/02/2009

One last question, (a tough question) what do you think of the career of Bruce Gaitsch your husband? Bruce is an angel man and an incredibly gifted player. He not only writes, produces and plays; he brings such a positive energy to all he works with! He is nicknamed “Mr. Good vibes” and it is true. He deserves all the success he has had. From the countless CDs he has played on to the mega hit “La Isla Bonita” he co-wrote with Madonna and Pat Leonard, he has put his face on the music scene forever. Everyone loves Bruce but no one loves him more than me!

Interview Bruno Fabrigues for Cool Night – Janey Clewer by 10/02/2009