March 26th, 2007

Back in Canada again. The ground is wet from melting snow but the air is so dry. I miss the weather in Los Angeles, but I still wasn't set up in a way that I could really get things done, so I'm back here for a bit just getting organized and doing some work. I didn't have a computer when I was down there so I could barely check my messages on myspace let alone respond to old messages or put up new content on my page! I have a computer I can work off of now, plus I'll be getting a laptop soon, so it'll get better, I promise!!! I didn't even realize how crucial having a computer is nowadays until I didn't have one--ha.  Isn't that always how it goes...for now I put up my song "Never Know" which I didn't know was approved for posting until about a week ago. Check it out! It comes from the heart...

L.A. was...interesting. I love it there, the trees, the sun, the air, the ocean...but it's a tough place. Definitely need to be there on your own terms. But I can't say enough how grateful I am to have been able to experience it first hand, thanks to my many angel friends out there, in the city of Lost Angels! You know who you are  

The trip really was inspiring for me musically--I ended up running out of time before I left home & couldn't gather my favorite records or my discman so I had none of my music to listen to while I was there--but what that meant was that I only got to listen to NEW stuff. My mind is overflowing with ideas...I grew up on so much old music, & have always gravitated towards that even on my own, but now I'm getting more & more into what's going on right NOW. You know? It's cool...

On the other hand I'm finally starting to get real interested in the Beatles--people have always told me that I need to study them, that even Stevie was listening to them before he made "Songs in the Key of Life," but it just seemed too obvious so I didn't pursue it deeply. Had one of their records but that was it. I always shunned the mainstream...almost to a fault. Well, I was staying at a friends' place a couple weeks ago & he had "Sargeant Pepper's Lonely Hearts Club Band" lying around, as well as "Revolver." WOW. These guys are brilliant, even now, so I can't even imagine how Sting & them must have felt when they were just coming out & noone was doing anything remotely close to what they were doing neither musically nor sonically!!! Crazy.

Speaking of Sting, I just finished reading his autobiography, & I gotta say, it was very entertaining as well as encouraging for me as a musician. We really aren't alone in this struggle--we all have to pay our dues before we reap the harvest of success. Good music will prevail! haha  When I first made the definitive decision to be a musician when I was 14, people were already feeling sorry for me & saying what a tough road it would be. Little did I know...

Even still, there's nothing else in the world I'd rather do.

Ya know?

So, I better run, but until the next time, keep on shinin' & singin'!!!

oxo

Jennie

Andrew: Pulp Magazine would like to introduce to you one of the rising young musical talents and emerging stars, who is trailblazing her own path of success within the music industry. Her name is Jennie Laws. She has been singing, composing, performing and dancing ever since she was a little girl, and she has performed in many different settings and cities throughout North America. Her angelic, melodic voice is soulful and hypnotic. Her lyrics are thought-provoking, poetic, and at times depict in words such vivid pictures that they have been called filmistic. Her songs evoke great emotional depth, are personable, and embody a unique blend of soul, jazz, funk, and folk. On behalf of the Pulp Magazine team that works extremely hard every month to bring you the very best in entertaining and informative content, we are proud to feature Jennie Laws in this month's "Hearing Aid" segment and are privileged to be given a window into the mind of this multi-talented songbird. So without further adieu, let's get this interview started . . .

Andrew: Tell us a bit about yourself: like where you born and raised; your immediate family; and the support group that you have come to rely on as you continue to pursue your promising musical career.

Jennie: Hmmm, well, I was born in Toronto and raised in Mississauga by my two awesome parents with my just as awesome younger brother who is now a golf pro. They're all really really supportive and helpful to me on a daily basis. I'm so thankful for them… The community of musicians in the city (Toronto) and in other places I've lived like New York and Boston have also provided a huge amount of inspiration, encouragement and support for me over the years…it may be a tough business but there are so many amazing and beautiful people in it!

Andrew: When did you know that you wanted to pursue a career in music, and that you also had the requisite internal motivation, drive and raw musical talent to succeed in this competitive industry?

Jennie: Whoah, to be honest, I feel like I'm only just know realizing that I have what it takes to succeed in this competitive industry!!! But the drive and the love for music, well, that was always there. Ever since I was a kid I always took music a bit more seriously than most people, and relied on it more heavily as an outlet and escape. Like, in that recorder class that we all took when we were kids, I was that little girl who practised and practised all week then in class the teacher would always get me to demonstrate the homework! Or at those summer camps that a lot of us went to in Canada when we were growing up, I was that young girl with the guitar who would sing those classic campfire songs for everybody at night under the stars, and kept going even if everybody stopped singing along and just listened…

Andrew: Who are some of the musical legends that greatly influenced you growing up, and who you also admired both for their extraordinary musical abilities and the way they carried themselves in the public throughout their careers?

Jennie: Whoah, here we go…well, my parents listened to Ella Fitzgerald, Louis Armstrong, Frank Sinatra, Sarah Vaughan, Nat King Cole, Toots & the Maytals, Barbara Streisand, Johnny Mathis, Whitney Houston, Lionel Ritchie, John Denver and John Lennon for example so I grew up hearing & singing along to those artists. I'm sure they were a huge influence on my phrasing & musical sensibility whether I realize it or not! Frank, Sassy, Nat, Ella & Louis are still some of my favourite artists today. Once I was able to buy my own tapes as a kid, I picked up some Michael Jackson, George Michael, Bon Jovi, Def Leppard, Paula Abdul, Another Bad Creation & Salt n' Pepa for starters. I watched Michael's mini-movie over and over and over. I LOVED him! (like everyone & their mama!!!) I still listen to his music, amazed at his rhythmic approach, at his timing. He's got a sweet pocket. I still love George Michael's singing too--so soulful. In high school I listened to EVERYTHING—I went through phases. First it was classic & psychedelic rock: Grateful Dead, Pink Floyd, Led Zeppelin, Jimi Hendrix, even Miles Davis' Bitches Brew (that's how I got into Miles! Now I have a cat named after him!!!) Then I was a reggae freak, even growing dreadlocks for a short time: Steel Pulse, Dennis Brown, Bob Marley, Israel Vibration, Alpha Blondy, Black Uhuru, Peter Tosh. Then I was all about the funk for a while, like James Brown, Parliament, the Meters, Mandrill, Kool & the Gang & Chaka Kahn, then it was hip hop and techno, like Nas, Mobb Deep, Digable Planets, the Pharcyde, the Roots, Sugar Daddy Moth, Ritchie Hawtin, Murat, & Adam Marshall, plus I was into Ben Harper, Dave Matthews, the Beatles, Lenny Kravitz and Jamiroquai. I still listen to most of these cats. At the end of high school I got heavily into jazz, I guess because I was starting to study it--especially Herbie Hancock, Miles Davis, John Coltrane, Grant Green & Jimmy Smith, & I had a few blues records. I loved singing the blues. It wasn't until I got to college that I really got into soul & R&B & Gospel. If you can believe it, I was introduced to Stevie Wonder, Bobby Caldwell, Sting, Bill Withers, Eric Benet & Take 6 in small town Iowa! I fell in LOVE. I was changed forever. I found Donny Hathaway on my own soon after that & from then on I was a soul girl for LIFE! Minnie Ripperton, Joni Mitchell, Etta James & Aretha Franklin soon came into the picture, but for some reason I largely listened to male vocalists. Don't know why, I just did, & it seemed to really affect my singing style. Basically though, Bob Marley is my HERO, as far as the message he brought with his music, Michael Jackson as an entertainer, Stevie Wonder as an overall musician & person, and Donny Hathaway as a vocalist. And there'll never be another Ella or Frank…

Andrew: Who are some of the contemporary musicians that you admire the most and would love to have the opportunity to collaborate with on a musical composition?

Jennie: Hmmmmmm…let's see. Well, I got into Prince late in life, but now he's one of my favourite guitar players for sure! Would love to meet him & do a track. I'm loving Ne-Yo's writing too, & the soulfulness of Gavin DeGraw or Nikka Costa, Will I-Am's production, Justin Timberlake's singing & writing, Kanye's production & lyricism, Pharell's musicality, Tommy Sims' musicianship, Quincy Jones' arrangements (my dream is to apprentice under Quincy,) Van Hunt, Thicke, Amel Larrieux, Dwele, India Arie, Marc Broussard, Beady Belle, Meshell N'Degeocello…hey, you just never know! Now I listened to a lot of world music too, like traditional Indian music, Cuban, Brazilian & African music. Beautiful & inspiring…I already had the pleasure of collaborating with some up-and-coming talents I really admire, like my friends Chris Rouse and Joel Parisien!

Andrew: Where did the nickname 'Pop Mozart' come from?!

Jennie: Ha, yeah, I guess because I can write for any instrument, & I don't even need a piano in front of me. Like, I write music notation like it's English or something, just off of what I hear in my head, like Mozart did apparently. I don't know, I had to work hard at it, trust me! But since it's contemporary music & not classical that I write, that's where "Pop Mozart" came from.

Andrew: Talk a bit about some of your memorable experiences at Southwestern Community College in Iowa and some of the special relationships that you forged?

Jennie: Phil was amazing in that he was all about being a servant to the music… I'll never forget that. Make beautiful music for God. Come as close to perfection as humanly possible to glorify God. He wasn't the most chatty guy but his work spoke for itself—it really was beautiful. And he could see that I was hungry to learn so he fed my curiosity. He didn't treat me like I didn't have a brain just because I'm female. The more eager you were the more he pushed you—he challenged me to always look for the most BEAUTIFUL voicing, the most beautiful colour(harmony) for each melody. I benefited greatly from that push. He taught me SO much. It was more Jason, though, the other prof who took me under his wing. He was the R&B/Soul guy. The music he exposed me to, the way he believed in me and encouraged me, and the practical & straight forward way he taught harmony and arranging helped me SO much to be the musician I am today & propel me toward a career as a writer, instrumentalist and vocalist. Steve, the instrumental guy, from Dick Groves academy, also had an interesting approach that I learned from greatly. Every teacher there had something to offer!

Andrew: Does it truly live up to the nick name 'Phil Mattson's music boot camp'?

Jennie: Oh heck yeah! We had to practice about eight hours a day between the jazz & classical piano, voice & guitar, solo & in a group, arranging, conducting,  ear training & theory. It was all practical, hands-on stuff. You just had to put in the hours, you know? But it was really in rehearsals when it felt like a boot camp, cuz Phil would single you out if you messed up or were late or flat or something & humiliate you in front of everyone! It was good but also a bit damaging…a little too much perfectionism. An amazing foundation to have though, to acquire such a work ethic. It never leaves you.

Andrew: Performing in a class amongst your fellow peers is always different from performing live in a room full of strangers in different settings and cities across the country. What did you learn from your experience touring the U.S. while being apart of their R&B Vocal Jazz Group "Audio Radiance"?

Jennie: Hmmmmm…it's been a while, but from what I can remember, the point was that "the show must go on." No matter how you're feeling, what you're going through, whether you slept or ate or what have you, you gotta get it together and entertain the people, you know?! I also learned that it's pretty tough to be a vegetarian with motion sickness & go on tour!!! Naw, but really, Audio Radiance was great. We spent so much time together, we were like family. We rehearsed so hard, note by note, chord by chord, until we got everything to a certain level. But we never really did get it to where we wanted it to be…it just goes to show how much work it really takes to put a great show together, how much time it takes to get a band to really gel, to know the pieces inside & out so they can feel free to improvise and interact with one another. That's when the real magic starts happening…it's a lot harder than people might think!

Andrew: How has the Southwestern Community College environment and tutelage helped foster the development of your fundamental musical skills such as selfexamination of your strengths and individuality, creating improvisational music, and writing/performance techniques; shaping your musical competence?

Jennie: Wow! What a question!! Yeah, well, the sheer amount of hours we had to put in, in order to be able to perform whatever it was for class or performances was enough to kick my skill level up a couple notches! But it was also the approach: very in depth, practical, step by step. We never left a stoned  unturned, but we started from the bottom and built up from there. I believe strongly in getting a good foundation before trying to do something, you know, not skipping any steps. Really having a grasp and competency at something before moving on to the next thing. Patience. Focus. Repetition. One thing that was really interesting was that I never knew what an arranger I was until I got to Southwestern—I never even really understood what "arranging" meant! But it turned out that I had a knack for it, something I never would have known if they had not nurtured and encouraged that hidden talent. I still apply the vocal arranging techniques I learned there, including ones that Cedric Dent from Take 6 taught in a workshop one year. Apparently I have a very distinctive style of vocal arranging, a "Jennie Laws sound," and I think that's mostly thanks to my intense vocal jazz training at Southwestern as a writer and performer.

Andrew: The music program at the Berklee College of Music that your were in is unique in the sense that it focuses exclusively on contemporary music & music styles ranging from jazz, blues, rock, pop, and gospel to bluegrass, Latin, modern orchestral and world music. How much of the eclectic combination of jazz, soul, funk and folk that is clearly evident in your songs, could be attributed to your study, writing and production of a broad array of contemporary music styles at Berklee?

Jennie: To be honest, other than the conga class I took at Berklee that got me more interested in Latin music and the groove writing class that touched on Brazilian rhythms a bit, my "eclectic" style is due entirely to my eclectic taste in records that I seek out on a weekly basis! I'm a musicologist. I'm always listening for new sounds, or old ones I haven't heard, sounds from other cultures, rhythms, melodies, harmonies, textures that inspire me. I have SUCH diverse taste in music, I'm so curious about everything, eager to learn, and I just LOVE music that has SOUL. Any kind of music. As long as it's got HEART. You know? But if anything, being in the Gospel Choir probably had quite an effect on my sound. The phrasing, the voicing, the rhythms, the sheer energy and heart behind the music—it inspired me so much, and stays with me even to this day.

Andrew: The Boston Symphony Hall (BSH) is regarded as one of the three finest halls in the world, and has played host to legends from Singer Marian Anderson to the Oscar winning composer John Williams. The BSH has an illustrious history, so tell us about what was going through your mind when you stepped on stage with the highly praised Reverence Gospel Ensemble (RGE), looked up and saw the audience within the pristine interior of the 2,626 seated Symphony and Beethoven's name inscribed over the stage. How has that memorable experience impacted you?

Jennie: It was definitely a huge honour to be playing in such a historical and beautiful venue, that's for sure. It's great to be able to say I sang there. But honestly, when I was up there, all I was thinking was that I was going to do my best to sing my heart out faithfully and skilfully, to do justice to the music and my peers. I tell you, it was a monumental occasion. We truly did create beauty that day…It still give me shivers to think about it!

Andrew: Do you believe that exceptional musical talent (as oppose to musical skills and techniques) is something that some people are born with, or is it something that could be nurtured through education and years of training?

Jennie: Hmmmmm…that's a good one. Nature vs. nurture. Well, I believe in both. Not just in music, but in most cases. I think with music though, a LOT of it has to do with nurture. For example, someone who's parents are musicians, who heard music from the moment they were conceived, on an above average basis, then were brought up around it and encouraged to learn it and given the tools and techniques from an early age, are going to obviously be more able to pick it up fast if they had to or wanted to. They would have a sensibility, an engrained understanding of it that someone wouldn't have if they lacked the regular exposure and conditioning. I used to think that everybody could sing if they just worked at it, but then one day I had to teach someone who was tone deaf and I wasn't so sure about that theory anymore! I'm sure she could have learned to hear pitch eventually, but it would have taken a LOT of time and energy and it was highly unlikely that she would ever get to a level where she could be a professional. But those cases are really rare I believe…

Andrew: Where does your inspiration to write your songs come from?

Jennie: Always from personal experience. Usually my own, sometimes it's someone else's story, but I always write about real life, things that are really happening to me or someone I care about, or things that I truly think about and believe.

Andrew: My favourite song on the "One" album is "The Ocean," because the well written poetry in the song depicts in words a vivid picture of life that is symbolized by the ocean. Your song's vivid depiction of the vast, mysterious, unpredictable and multifaceted elements of your life via the ocean helped me to see a reflection of life outside of myself, which helped me to accept the many unknown, vast, mysterious, and multifaceted aspects of my own life.

Jennie: Really? Wow! Thank you! That means a lot to me…my whole reason behind making music is to touch others so I'm so happy to hear that I've affected you in some way : )

Andrew: How would you describe your writing process? Do you write songs for your self first & hope that others can relate & are touched as I was with "The Ocean", or does the personal satisfaction you get from creating music come from creating it for others first?

Jennie: When I write, I always just let whatever wants to come out, come out. Open my creative channel for the message to flow through, you know? Sometimes the message is a healing one, for me, or for others. Sometimes it's real, honest, edgy. Sometimes it's philosophical, sometimes it's playful. I try and get out of the way for the melody and lyrics to come first, without ego or end results in mind. Then, once the raw idea is out, that's when I start to craft the song. So depending on whether the song is for someone else (literally, as if I'm hired to write for someone) or if it's for my album, if it could be a single, or if it's really just an album track, that's what determines how I orchestrate, harmonize and arrange the piece. More and more since I've been learning more about the industry and want to make a living at what I do, I try and be strategic about how long it takes to get to the first chorus for example, or if the hook is strong enough, or if the lyrics are too specific and not enough people can relate, things like that. Song crafting. But I don't even begin to think about those things until the essence of the song has had a chance to express itself.

Andrew: In today's music industry where so many musicians are seeking the assistance of acclaimed music producers, writers, and composers to put together a great collection of songs for their albums; tell us why it is important for you to write, produce and arrange all of your songs?

Jennie: Uh, it's not necessary that I do everything myself per se, or even that great of an idea to be honest, but I just wasn't ready until recently to have someone else take my songs and guide them in a certain direction. I was still developing my skills as a singer and songwriter, and finding my own sound, so the people that did want to produce me didn't "get" me because I didn't even know myself, and my abilities weren't as apparent as they are now. They wanted to make me into something I wasn't as a result and I decided that I'd rather struggle on my own instead of being someone I'm not. It really is tough doing everything yourself though--it takes a long time to get anything done because it's just one person doing it, and it's not necessarily going to be as good as if you got someone else involved. And it's hard to have perspective, you know, when it's only you on your team. But I did learn a TON about so many things by doing it, which is knowledge that will forever give me a leg up once I do start working with other producers who've been around the block a few more times and have hits under their belt. I think the important thing is that you don't depend on someone else to get something done for you. If no one else is gonna do it, do it yourself. That's what I believe. But there's nothing like having a great team of people around to help get things done more efficiently and bring out the best in you, compliment what you already have and bring something more to the table. That's what I'm looking for now…

Andrew: What do you think of the Indie Music scene in Toronto in 2006? Is it thriving with a great pool of multi-talented musicians that have venues to perform at and adequate support from their fellow Torontonians?

Jennie: Oh yeah. TONS of talent in this city. It's incredible. Wouldn't say there's alot of support for original music though, especially with live instruments. It's really tough to find a place that'll pay for you and a band to play your original tunes, let alone get people out to hear it. But it's always been that way. It's not Toronto's fault. It just takes time to make a name for yourself and create a product in order to draw the amount of people out that would give a venue incentive to hire you. It's just the way it is.

Andrew: Are there enough Canadian media outlets and financial resources to help musicians market and promote themselves effectively?

Jennie: Definitely. This is a great country for that. I didn't see the grant programs in the states that we have here, that's for sure. And the radio stations for the most part are really open to supporting local talent, including MuchMusic as an outlet. They're really great at promoting Canadian music. Maybe CanCon has a lot to do with that, but it's definitely to our benefit at least this side of the border.

Andrew: Do you think that the use of technology within the music industry today is a double-edged sword? (Costing Record Labels billions of dollars via internet piracy from P2P file sharing software, but still empowering indie musicians by providing them with another avenue to market and promote themselves).

Jennie: Yeah, a bit. But you can't fight progress, you know? We just have to go with it, and find new ways to make money at what we do so we can continue to make records and perform for people. It's actually pretty exciting how much the industry is changing as a result of technology, and the possibilities that have opened up as a result.

Andrew: When did you begin to take an active interest in environmental and human rights issues, and what role can your music play in addressing these global concerns?

Jennie: I've always kinda been a bleeding heart, ever since I was a kid. But I guess when I was in the states and signed up for Amnesty International, GreenPeace, Biogems and other activist groups, that's when I started to gain awareness about what's going on out there and what can be done about it. It's pretty amazing what people are doing for other people in the world and for the planet itself. I try to contribute to these organizations in as many ways as I can, but for now, I'm focusing on getting my music out there, which has a positive message, and needs to be heard. Even if the message isn't obvious, like, "Save The Planet!" or "Love Your Brother!" if a song is sending positive vibrations then it's making a contribution to the well-being of the planet as a whole.

Andrew: I'm going to say a few words and tell me what immediately comes to your mind.

Andrew: The Ocean

Jennie: Freedom.

Andrew: Transition

Jennie: Chaos & Uncertainty.

Andrew: Empowerment

Jennie: Trusting in Yourself & the Process.

Andrew: Love

Jennie: Unconditional. God. Truth. Life.

Andrew: Nature

Jennie: Healing, nurturing, grounding, energizing.

Andrew: Poetry

Jennie: Art, Expression, Emotion, Creativity.

Andrew: Woman

Jennie: Me!

Andrew: Environment

Jennie: Stay connected with it.

Andrew: What is your favourite word?

Jennie: Eeeeeeeeeeeeeeeheeeeeeeeeeeeee! (really high pitched)

Andrew: What is your least favourite word?

Jennie: Religion.

Andrew: What is your favourite word to curse with?

Jennie: Dang!

Andrew: What is your favourite part of the human anatomy?

Jennie: Eyes/Smile.

Andrew: For all of our readers who will hear some of your songs, read the interview, and become instant fans; tell them where they can learn more about you and purchase your past and upcoming albums. Do you have a website?

Jennie: Yes, yes: www.jennielaws.com which should be updated soon with new music and photos and information! Otherwise you can find me at www.myspace.com/jennielaws

Andrew: Do you have any upcoming live performances and/or albums that you want to tell our readers about?

Jennie: Well, I'll be performing at Honey Jam on August 20th at the Mod Club for their 11 year anniversary show, which is going to be fabulous! I'm on my friend Vernon Da German's album that's coming out soon (www.myspace.com/wvgr) and Jeff Martin's new record which is in stores now: "Exile and the Kingdom." (www.jeff-martin.net) Other shows and further information about my music is always posted on my sites.

Andrew: Your at the pearly white gates of heaven and God is there waiting to greet you. What does he say to you?

Jennie: Were you kind to your fellow beings on planet earth dear child? Then you may pass…

Andrew: Thank you very much Jennie Laws for doing this interview with Pulp Magazine! It was truly a pleasure for us and our readers to learn more about you! We are all loving your new single "Heavenly," and look forward to the release of your latest album and in seeing your promising musical career reach new and exciting heights. We wish you all of the best in your future endeavours and would love to have you back anytime.

Jennie: The pleasure was mine : ) Thank you so much…I wish you and everyone at Pulp Magazine also the very best and look forward to celebrating each other's success and working together again in the future!

 www.pulpmag.net

Hey soul lovers, check out the track I did with Vernon Da German & Spudd Spliff in Detroit last year!! (www.myspace.com/wvgr --"Y T O 1 feat j laws") Vernon is truly an amazing person & musician & I was so blessed 2 get the chance 2 work with him : ) He was also a close friend to our beloved fallen producer, Jay Dilla. May his soul rest in peace...