“The role of Musicians is to provide a soundtrack to our lives. Whatever you’re going through when a song hits tends to come back to you when you hear it again no matter how many years go by. Music that resonates with you goes deep and gets lodged in the subconscious. There’s also an element of healing in it. It can calm you down or it can fire you up.”

Jennifer Batten: 

The Architecture of Sound

The buzz on Jennifer Batten rose from the guitar underground, and the guitar magazines promptly began chronicling her savvy musicianship and highly original approach to the electric guitar. A major turning point came when she was selected from over one hundred guitarists to play in Michael Jackson’s highly skilled band which toured the world for one and a half years playing for over four and a half million people. Jennifer wasted no time after the ”Bad” Tour’s grand finale, diving into work on her debut album with renown producer (and x-Stevie Wonder guitarist) Michael Sembello. Upon “Above, Below, and Beyond’s”, release in the spring of ’92, she was asked again to join Michael Jackson for his upcoming “Dangerous Tour”. In January ’93, she joined Jackson to partake in Superbowl XXVII’s half time entertainment which aired to one and half billion people in 80 nations. It was the largest audience in television history. Her follow up CD “Momentum” which was heavily influenced by world music, was released just before she left for Michael Jackson’s final global tour in support of the HIStory CD in 1997.

(Jennifer Batten / Photo © by Jim Dorothy - JD Photography)

In the spring of ’98 Jeff Beck asked Jennifer to join his band. They joined forces for 3 years on the CD’s “Who Else”, and “You Had It Coming” which were both supported by world tours. Jennifer has authored two music books and has released various solo CD’s venturing from world beat and rock n roll, to electronica. The CD “Whatever” is also accompanied by a 90 minute DVD which includes some of the visuals from her one woman multimedia show where she plays guitar in synch with her self made projected films, as well as unreleased music videos, and a guitar lesson. She continues to tour the globe in various formats, from bands, to solos shows, to clinics, and master classes.

Interview by Michael Limnios                    Archive: Jennifer Batten, 2017 Interview

How do you think that you have grown as an artist since you first started making music? What has remained the same about your music-making process?

I think it’s pretty standard when people first start to get on stage and play, to want to show off technique. I used to start out my clinics with flight of the bumblebee or my tapping version of John Coltrane’s Giant Steps. I think that’s part of the feeling of having to prove something when you first get out there amongst the mass of other guitar players. It was the 80’s when I first got out there and Shrapnel Records was a big deal with all of the artists blazing.

Over time chops alone do not satisfy,  so you look to add deeper meaning into your music. My first record was all over the map style wise also. I was searching for a direction and trying out different things. Jeff Beck has been my Northstar since I was a teenager so I think I was always looking to touch people with instrumental music in the way that he did and still does. It’s a lofty goal. You hopefully reach a maturity level in music that will reach people on an emotional level, and that involves being allowing yourself to be vulnerable and digging much deeper than you’re typically willing to do when you’re younger.

As far as writing, the process is typically the same now as then. I start with an inspiring drum groove and just jam for hours and see what happens until something sticks. The drums are the driver.

What's the balance in music between technique (skills) and soul/emotions? What keeps a musician passionate after five decades in rock music?

I think the balance is holding off on technique until it’s needed. If you start off a solo with fast chops, there’s nowhere to go. Nothing to build. Technique is just a tool. When you go see a beautiful house that’s being built, the last thing you want to see is hammers and nails. It’s what you actually do with those tools that makes an impact.

What keeps a musician passionate is always listening to the greatest new music. There’s energy in every song to be tapped. Listening to new music that inspires, can light a fire for your playing. And learning a tune is a whole other level. Getting it under your fingers and going through the motion of learning it and repeating it is another charge of energy. It’s really endless. It’s like a smorgasbord. You go out there and grab what appeals to you. You don’t always get the same level of buzz, but after years of playing you know that if you have a lackluster day, then next will likely be better.  I look at playing guitar as purging demons. It’s necessary to maintain a good mental health.

“I see it all as creativity in different forms. I find I’m happiest if I’m working on visual arts while listening to music and then going to my guitar with that perspective and see what it has to offer me as far as opening up new ideas. I think it’s super healthy to be involved in different art forms because they all feed each other inspirationally.” (Jennifer Batten / Photo © by Ali Hasbach)

What is the role of music/musicians in today’s society? How do you find opportunities for women in the music industry?

The role of Musicians is to provide a soundtrack to our lives. Whatever you’re going through when a song hits tends to come back to you when you hear it again no matter how many years go by. Music that resonates with you goes deep and gets lodged in the subconscious. There’s also an element of healing in it. It can calm you down or it can fire you up. It’s part of your surroundings that would be sorely missed if it were silenced. A Musicians role is the same as it’s ever been which I think is to enhance and or balance emotions. I saw a great video of a crying baby who completely calmed down once someone sang it a lullaby.  It’s more powerful than we know.

2) At this point I think there have been enough women in every genre of music that have been successful, that there is no excuse not to dig in if that is your passion.  We are a long way from balancing out the sexes in bands but the revolution has begun.

Finding opportunities is the same for male and female. I think you just need to immerse yourself in your craft, meet people that are doing the same, and just get out there and jump in as many musical situations as you can. That usually means there will be a whole lot of things that you get involved in that won’t go anywhere, or are just not a good fit for you in the end. But if you don’t reach out to everything that’s intriguing you’ll never know the possibilities from what you missed.  I’ve played in a few bands that I ended up just hating for various reasons but I’m still in contact with some of the players in other situations.

What do you personally consider to be the incisive moments and pieces in your work and/or career?

Getting the Michael Jackson tours and Jeff Beck tours were of course some of my highest achievements. But there were many years I’ve been out there playing in various situations that helped me grow as a musician. Being in bands with really great players, you have no choice but to step up. You don’t even realize it as progress is slow, but it makes you better overtime. And also releasing each of my three solo records was a big deal. It takes an enormous amount of work to make a record with thousands of decisions along the way. Heading out on the road with a motorhome to travel all over the US and do my solo show was a big feat as well. It took an enormous amount of energy and I learned a hell of a lot.

“I think the balance is holding off on technique until it’s needed. If you start off a solo with fast chops, there’s nowhere to go. Nothing to build. Technique is just a tool. When you go see a beautiful house that’s being built, the last thing you want to see is hammers and nails. It’s what you actually do with those tools that makes an impact.” (Photos: Jennifer Batten with Michael Jackson and Jeff Beck)

What are some of the most important lessons you have learned from your experience in the music paths?

Over the years I have found it much easier to spot red flags from offers and I’ve learned what questions to ask. And if the answers don’t suit me I either charge more or I don’t go out at all. I have also learned how to vet players if I’m gonna fly halfway across the world and play with people I’ve never played with before. I’ve been so disappointed so many times with people that don’t put in the work, I now know to start out with much simpler music until I know their capabilities. I’ve also learned that having players recommended to me does not necessarily mean they have any talent, or that they will do their homework.  At this point in my life almost all the players I play with are at least at my level or better, so I feel lucky.

How do you prepare for your recordings and performances to help you maintain both spiritual and musical stamina?

For recordings if I have the luxury of time I will just spend a lot of time on a tune experimenting to try to get the best angle of what will work for the track. As I said previously each tune inherently has its own energy to be tapped so I just usually go along for the ride and see what it has to offer, and what I have to offer it.

The relationship between music and other forms of art – such as painting, video art and cinema - has become increasingly important. How do you see this relationship yourself and in how far, do you feel, does music relate to other senses than hearing alone?

I see it all as creativity in different forms. I find I’m happiest if I’m working on visual arts while listening to music and then going to my guitar with that perspective and see what it has to offer me as far as opening up new ideas. I think it’s super healthy to be involved in different art forms because they all feed each other inspirationally.

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(Jennifer Batten / Photo © by Olly Curtis - Future)