-Your songs are definetely amazing, and rich in every aspect because they have no typical metric, with another completely different style, it's kind of the songs of Bowie from the seventies with so many richness and changes in the same song...

Thank you for that! Yes, it's fun to travel, explore and get a song feeling multidimensional. And of course a great deal of love went into the making of "The Musician"... lots of attention to detail, so it makes me happy that you could hear that. And yes, I love that about Bowie and other artists who were getting adventurous in the 70's.

-Through the character of Magdaline, in the song Mad Magdaline, you describe in a metaphoric way, the way you feel about the record industry, I guess it's the reason why you created your own company, not to depend on the people that really don't care about music, but about money...?

Yes, being independent has given me the freedom to express myself freely, which is a very beautiful and liberating thing. But this is not something that has just been handed to me. It's definitely taken some risk and self belief to stand firm when it seemed that the world was opposing me with my ideas about my ways of making music. It's always been a very sad and frustrating condition for artists who are trying to share something authentic and human in the world to have to rely on a largely paranoid, vision lacking, overly profit- oriented music industry for support. So the story of mad Magdaline is about this very old dynamic- the dynamic of a person trying to be free and the bigger forces trying to control and keep her down. This may seem like a slightly paranoid view point about art and industry, but music and art has always been a very powerful, often threatening force. Truth can be threatening, but it's so pertinent that it gets a chance to hit the open air, so when Magdaline kills the record executive, she is making the shift from relying on outside forces to relying on herself.

-The theme of The Musician is actually the story of a musician and its relation with music, is it biographical?

Aside from the story of mad Magdaline who kills a record executive (symbolism), The Musician is deeply autobiographical.

-During the cd you have a talk with the listener, which is very unusual, and at the same time it's kind of funny... the in between-zone part... for the listeners that listen straight to the cd... how did you came to this idea?

Those word plays you refer to, is a phenomenon I sort of discovered in my mastering process, which I call, "The in-between-zone". The in-between-zone is the place on a CD where you could (if you choose), have audio (music or "whatever") in-between the numbered tracks or songs. It's a phenomenon unique to the CD format, unlike say records or tapes. So for example, if you are listening to "The Musician" and you are at the end of the third track and decide to skip to track 4.... then you just missed out on what was between the end of one and the beginning of another. But if you are listening to the album straight through, you'll experience the whole thing.

As for the function of it, the in-between-zone became this magical realm where I could talk more directly to the listener or where very personal moments in time were revealed or sometimes the zone worked like a sort of glue connecting the songs. As far as some of those real personal moments- I'll just say that these were not intended to be recorded. They were accidentally recorded, but I ended up included them on the album because hearing them back made me really feel what I was experiencing at the time.

-You have been working as the organizer of the F.A.T (female artist tour), to help promote the independent musicians and listen to non commercial music through the States, tell me about this project?

Yes, from time to time I produce F.A.T. festivals so as to feature and support some of my favorite fellow indie musicians. It's all part of bringing good music into peoples' consciousness.

-You actually have made everything in your record, from composing, singing, playing, recording, mixing, mastering... I guess that's the reason why of the tittle of the cd "The Musician"

Yes, exactly right. Definitely being so intimately involved in the production as well as the songwriting and performing of the album was proof for my concept of the album, which was ultimately about self-expression through self-reliance.

-The cover shows you naked behind your piano, which is a way to say that you give everything from you musically?

The physical nudity you see on the cover or with Magdaline on the inside is a visual expression of being uncovered, raw, musically, emotionally... it's an image of surrender I think- vulnerability and strength.

-Even though is a kind of melancholic cd, it is as well very groovy... and it has a richness of vibes and styles in the way you compose songs, but with your sound magically in everyone of them. How was the process of recording, and how did you got this sound so personal and intimate?

Thank you for such a beautiful compliment and for noticing that aspect of the record. It was definitely my intent to try to communicate a real life, human sounding experience rather than a finely tuned, overly produced, shiny, glossy recording. So often I feel with highly produced records, that there is such a barrier between the music and reality. Sometimes the more produced a record is, the less human it seems. And often I find myself asking the question when listening to such a recording... where is this taking place? Am I witnessing a significant moment in time or just a product that's been overly perfected for the sake of "working" on the radio? It's not to say that this kind of recording approach can't be wonderful. Anything can be done well. I was just after something more personal and timeless with "The Musician". So in my engineering and producing efforts I made every attempt, at every turn, to make sure the sounds I put to tape sounded as natural and as much like real life as possible. Using tube, analog gear was an important part of making this happen, especially for creating that warmth. Then of course there were the performances, which had to be inspired or they weren't included. That was really the most important thing, capturing the inspiration even at the cost of compromising the sonics a bit or including some "wrong" notes. It was always a priority to choose a performance that I could really feel over the option of choosing something that was "perfect", but not entirely inspired. Ultimately I wanted the listener to feel like they could easily visualize where the music might have taken place, so that they could have a better chance of being part of a real experience.

-You have been performing with Brendan Statom for 11 years, I guess that since you started your career, Is he already a part of Jennifer Terran sound?

Yes, definitely when you play with someone for a long time, there is a depth you get that is very special as is the case with Brendan. It's interesting because he and I are very different musically in what we listen to and what we think sounds good, so it makes for a very unique sound when we combine.

-You said that your next album is going to be more mature than The Musican (which I think is just perfect by the way), how can you expect more from yourself, it's actually hard...

Well, maybe mature is the not the exact right word. I think I would more accurately describe "Full Moon in 3" as being one that will capture more sides of myself without inhibition. It's going to be a truer expression of me because I'm getting freer as I go and I'm getting closer and closer to my real potential.

-The critics from your album have been more than good, there's actually an american newspaper that recomends to their readers to exchange all their Tori Amos cd's from only one of yours, how do you feel so flattered by the critics all over the world?

I didn't really expect that the media would be so supportive of such a non-mainstream record like "The Musician", although I felt that there had to be some people in the world that would understand. But as far as the beautiful critical acclaim, I guess I would say that I am delighted and pleasantly surprised.

-When you play in a life show, I've read that there's no set list, that you kind of improvise through the concert, and even Brendan kind of follows you...

Yes, it can be varied as far as the organization of it. But mainly I am largely improvisational live because I'm coming to realize how important it is to be as true to the moment as possible... to let the music redefine itself... to take chances... to not be too closely enslaved by structure, set lists or social niceties. This approach for me has resulted in a very unconventional, intense, playful concert experience. In other words, it's an emotional rollercoaster. Which is good. Which is real. The main thing for me is to take risks when playing live, even if it means me falling on my ass sometimes.

-What cd's have influenced you through your life as to change your vision of music?

Oh, this has always been such a hard question for me to answer because it's not just the influence of other peoples' music that has shaped my way with music, but life itself. But I certainly have a healthy list of favorites all of which have one thing in common- I tend to like artists who have their own sound and aren't mimicking others.

-"Emotional Lavatives" describes how you feel music deeply, the way music gets inside your soul, and can makes us cry when we listen to a beautiful song, but "don't ask me what was wrong, I was doing fine" It's actually the way that some litlle of us can feel about music, I think is a gift that can't be tought.

I love that you understand this... that to cry, to feel deeply can be inspiring and good for the soul.

-Are you working already in your new album?

Oh yes, as sure as I am breathing. It's like oozing out of me... it's everywhere... it's everything I eat and see and feel and hear... has such a distinct presence, such force... I'm definately being taken me for the ride of my life.

-When can we see you here in Spain?

I will concentrate on getting to Spain as soon as possible... such a passionate place I've heard.