Interview with Jennifer Chase by Amani Francis © 2006 Amani Francis and Terri Staten

In 1993 Jennifer Chase hit Jacksonville's music scene with her band "The Blue Plate Special" and their unorthodox approach to old blues and jazz standards. In the spring 1996 she received critical acclaim in Europe and the U.S. for her debut original album Kid Jail and subsequent solo tour of performances in France, receiving frequent airplay on public and college radio stations throughout the northeast United States and Europe. 

In 1996 & 1997 Jennifer was a nominee in Florida's Jammy Awards and a chosen finalist and performer in the national competition of South Florida's Songwriter's Competition and has opened for Grammy award winners The Doobie Brothers, The Rippingtons and Lisa Loeb.  

Locally, in Jacksonville, Jennifer founded and spearheaded j.a.n.e. (Jacksonville Artists' Night of Entertainment) a non-profit organization boasting two fundraising concerts, silent art auctions and release of an original CD that funded child care scholarships for single parents pursuing a college education. J.a.n.e.'s goal was two-fold; 1.) To bring well deserved recognition and celebration of the enormous diversity of talent in the area (the events featured over 80 different local performers, artists and technicians) and secondly to bring together and funnel that talent into a contribution to better the community. The organization successfully achieved these goals and was the first and only event of its kind in all of north Florida. In spring of 1998 Jennifer was honored with the prestigious Annual University of North Florida's Women's Leadership Award for her creative service accomplishments with j.a.n.e.  

Jennifer's highly anticipated second album Famadihana was released in the Fall of 1998, featuring collaborations with well known songwriter and guitarist Gary Smalley. Complimented by Smalley's seniority and Memphis blues / rock style, the album illustrates a significant departure from the introspective lyrics and melodies of kid jail, exploring other themes ranging from racism, animism, mythology and ancestor worship while still adhering to the eclectic signature style debuted in the earlier work. The album also includes the first of several originals recorded in French. 

In the Fall of 1998 Jennifer was awarded the Rotary Ambassadorial Scholarship in recognition of her academic and humanitarian achievements. The scholarship sent her, as well as her daughter, to Senegal, West Africa for a semester to share her music with the people and become immersed in this Islamic/ French speaking country. 

In 2000-2003 Jennifer worked with several humanitarian and cultural projects in West Africa and served as the Educational Liaison for Theatreworks Inc. in Florida implementing multi cultural and musical performances in the schools and striving for equal access to the arts for all children. 

The trips to Senegal  following Jennifer's initial stay proved to have a profound effect on her music, inspiring her to write the single “Anta Majigeen Njaay”, a song with historic relevance, telling the story of a Anna Kingsley a disputed African princess captured into slavery and later becoming the wife of slave trader/plantation owner Zephania Kingsley. The song was recorded at studio 2000 in Dakar with popular Senegalese group Les Freres Guisse. Now Jennifer has written a musical based on the life of Anna Kingsley which will premier in the Spring of 2005.

Jennifer is currently working on her master's degree in Creative Writing through the University of New Orleans and works as an adjunct professor teaching English as a second language while preparing for the spring release of “Majigeen” (www.majigeen.com). She credits her children and friends with the inspiration she needs to weave humor and touching moments into song.

I interviewed Jennifer about what inspires her and I was fascinated to learn more about her amazing life.

Amani: Where are you originally from?

Jennifer: I was born and raised in Cape Cod, Massachusetts in a little area called Cedarville just as you leave Plymouth to enter the Cape. I went to school in Kingston, Massachusetts to Sacred Heart Catholic School. We had a little house on a cliff and would go to the beach to check lobster traps and dig clams. It was a magical place to grow up. There were very few families that lived there year round, so my sister and I have to develop fairly active imaginations and we did. I went back recently and couldn't believe how short the little dirt road from the main road to our house was. I would grumble if my mom wasn't there in the afternoons to pick us up from the school bus because it seemed to take hours to get to the house by foot; it's actually about 1/8 of a mile!

Amani: Tell me about the cultural influences on your work?

Jennifer: People. People fascinate, enamor and frustrate me, in that order! Initially, I began writing about people. Kid Jail , my first album has many of these kinds of songs, “Then Shall you Truly Dance” – a song dedicated to my mother after her death, “Chelsea,” for my firstborn celebrating the lessons learned from a child about embracing life's simplicities, “Rickoshea,” an ode to an incredibly modest, peaceful and brilliant visionary, my friend Rick O'shea. I also experimented with some original blues. “Confusion” is about the same frustrations everybody else has encountered with love/relationships. “Ditch your Date” is a funny, tough in cheek shuffle inspired by old 1-4-5 blues songs. Later with on my album Famadihana, I began to experiment with fictional stories about people. Famadihana is about a woman in Madagascar who finally saves enough money to have an elaborate funeral (a famadihana) for her husband who died 17 years before. She goes to his grave to explain to him that life is hard and that she isn't sure that she can laugh and dance, as expected of her. She honors him, but misses him and looks forward to joining him in his elaborate tomb one day. Another song Hathor's muse is about a modern day Hathor the Egyptian patron goddess of music. She is a creator and “destructress” at the same time!

Amani: How long have you been a musician and songwriter?

Jennifer: I began writing and performing professionally in 1995. I had no idea what I was doing, but it felt right. In 1991 my mother was diagnosed with cancer. That same year I almost lost my daughter, Chelsea, in a freak accident. They were both were hospitalized and in treatment for months. I cared for them both and was constantly in awe of the courage they both had. My mother lost her fight in 1993. Chels had many surgeries before recovering. These two women, a generation before and after me were influences that proved pivotal in my approach to use of time in my own life and ultimately my decision to express myself as an artist. Life moves fast! My father's credo was always “Do what you love and love what you do.” So, I went back to college full-time, recorded my first album Kid Jail , took my tax refund and bought two round trip tickets to France, and then put a down payment an old house in Riverside and started hanging out with musicians like crazy. It was an amazing year! I spent a lot of time creating, loving, laughing. It's all about choices.

Amani: What instruments do you play?

Jennifer: Just guitar. I don't consider myself even much of a guitarist. My instrument is my voice and lyrics. I like the different sounds and dynamic that combined phrasing and words can produce with my voice.

Amani: Who are some of your favorite musicians?

Jennifer: I grew up on Ray Charles, Elvis, Al Hurt, The Boston Pops. Our parents took us to many musicals also like The Fantastics, Jesus Christ Super Star, Evita, and Guys and Dolls. As a teenager, I loved Fleetwood Mac, especially Stevie Nicks' lyrics, the Allman Brothers, Janis Joplin, Eric Clapton, Boston, James Taylor, Prince and Led Zepplin. I spent all my money on albums! It wasn't until I was an adult that I really discovered old Blues artists like Buddy Guy, Ruth Brown, and Sippie Wallace through contemporary artists that covered and credited them like Bonnie Raitt who I adore. Locally, we have some great songwriters as well. The late great Gary Smalley was a wonderful friend, collaborator and mentor of mine, Lauren Fincham's music has stirring eloquence, and Akia Uwanda ‘s voice can move me to tears and so can so many bands that can really kick out powerful stuff. I have enjoyed a lot of Senegalese music as well like Cheikh Lo, Youssou N'dour and Les Freres Guisse.

Amani: Tell me about your albums Kid Jail , and Famadihana .

Jennifer: Writing is always a catharsis for me. Kid Jail , my first album, was introspective, melancholy and poetic. It is a folk blues genre. For my second album Famadihana, I attempted to write electric pieces with more backbone. Later, when I wrote “Anta Majigeen Njaay” in Senegal, I recorded it with a Senegalese group Les Freres Guisse, who added the Senegalese style to it. For the play Majigeen, I tried to write a theme song for each character with compassion for the character's perspective and apology for his or her role in Anta's world. They are the collection for the Majigeen soundtrack. I'm very proud of these pieces. I've incorporated some Wolof idioms and phrases, many metaphors and symbols reflective of the rich Seneglalese culture, especially “Laaylaa,” a song that reflects the beauty and similarities of faith in Allah/God as seen through the eyes of a Muslim and a Catholic.

Amani: How did you become fluent in French? Was it a result of the time you spend living in Senegal, West Africa?

Jennifer: Yes. I do love the attention, but it really isn't considered anything special to be bilingual in other countries. Every European and African friend that I have speaks at least one or two other languages. I look forward to a day when Americans are more global participants who are expected to learn at least one other language as well. I began studying French as an adult when I returned to college at FCCJ and then UNF and my oldest daughter started the same year in kindergarten at John E. Ford, a language immersion magnet here in Jax. I practiced in France on several trips, performing music, living with French friends and often hosted exchange students. It wasn't till 1998 when I received the Rotary scholarship to Senegal that I became immersed in French and learned rather quickly since I had the classroom background under my belt already. We Americans are rather brazen folks anyway, so I wasn't particularly afraid of sounding stupid and making mistakes that is half the battle.

Amani: Do you speak any other languages?

Jennifer: I speak some Wolof, the language of Senegal. It is a beautifully melodic language. I hope to become proficient in that language next.

Amani: How did living in Africa change your life and change you as an artist?

Jennifer: Wow! You should have started with this one…I could write volumes about it! I used to think that the outlook that changed my life was uniquely Senegalese. Living there in Senegal, I saw a dignity and pride in workmanship, whether it was a skirt made by a local tailor, a class taught by my language instructor, a meal cooked by a maid in a household. I saw an enjoyment of meals, greetings, a small glass of tea shared with a stranger during siesta, a good story told by a friend, a sunset each person took pride in his or her work and seemed to notice the little moments of each day. Many people, who had very little, seemed to laugh and eat good food, pray and sleep, even vacation more than many folks I knew back home who, economically at least, had much more than they. After my return from Senegal, I came acutely aware of how sanitized life can become in America. In Senegal, on any given day, you are confronted with life, death, birth and the songs, meals, and smells that go with it. Somehow this can sometimes translate into a greater appreciation of the magnificence of it all and how small we are. After spending time with many of my ESOL students from other third world countries, I noticed some of the same things that I admired about the Senegalese. I can surmise only that perhaps we, young Americans, with all of our wealth, might take some time to admire and learn how others value day to day life and honor its elderly and cherish its youth. Africa and her people gave me this. These passions hopefully are reflected in my art.

Amani: You received critical acclaim for your plan Majigeen, which is based on the life of Anta Majigeen Njaay. What was your inspiration for writing the play?

Jennifer: Initially, my inspiration was Anta's story that I read and could not avoid thinking about while in Senegal, her birthplace. Seven days after my arrival, I stood in the Doorway of No Return on Goree Island and thought of her standing in that very same spot, at thirteen years of age, before being loaded onto a slave ship. I was moved profoundly and immediately began writing the song that became the theme song for the play. Years later, I began to write the musical and tried to imagine the perspectives of the others in her life. Some I had to completely create as little or nothing is known about them like her mother, Aida, and her sister Mariama. These are characters who I created completely including their names, but they are inspired by extended family members and friends in Senegal. Others we know more historically about but have little information about his or her personality like the King N'della who sent his warriors to capture Anta and others in her village or Zephaniah Kingsley who purchased her then married her. Really each of the characters has an element of me. Some of the songs were written before the conception of the musical was realized. The premise is that Anta, who reveals very little of her intimate feelings and thoughts, is the ideal - grace, beauty and stoic courage. The fallible other characters are all you and me. We each have the ability for incredible kindness and love as well as potential hatred and greed. The Doorway of No Return, an important symbol in the play, is our conscience, whose presence can sometimes aid us to behave like good people.

Amani: Will you continue to run Majigeen and do you plan to take the play overseas?

Jennifer: In a heartbeat, if I'm invited! My ultimate dream is to see it performed in La Maison d'Esclaves on Goree Island, Senegal in front of the actual “Doorway of No Return.” We have the French translation ready for the occasion!

Amani: As you know, I'm from South Louisiana. I know you were in graduate school at the University of New Orleans. What are your memories of your first visit to the Crescent City?

Jennifer: I'm still in my graduate program. Unfortunately and ironically am not required or even necessitated to go to New Orleans at all. I'm required to participate in seminars through UNO's residencies abroad, conducted in Madrid, Montpellier, France and in Italy. I keep asking my advisor to please require me to come to his office! It was love at first sight. My first reaction was disbelief that Louisiana belonged to us! I was happy to be around charming unique folks. The architecture, music and food kept me in a state of perpetual joy. The brilliance of French culture mixed with so many other influences is addictive. Louisiana's culture has all the trappings of what I found so captivating about African and European culture. Attention to enjoying daily life: a meal, a trumpet's song, a drink with friends, a novel. Louisiana is one of our greatest treasures. A truly unique state and we better all fight to bring her back to her splendor because she's irreplaceable.

Amani: How does living here in Jacksonville help to shape your writing?

Jennifer: Jacksonville is an emerging city. We are trying to grow and achieving this. But in the meantime we have access to wonderful libraries, museums, festivals, markets, parks, boutiques, people, music, education. The cost of living is relatively low - we have beaches, a vital river and time. Time is the most important thing. Mothers rarely have time to be a person in other cities, let alone an artist! I have the luxury of having time to take my children to school and pick them up each day and cook for them and still go to a show in the evening or meet a friend for lunch or hang out at the library! It is a wonderful life, partially created through conscious choices, like the choice to have time instead of an expensive car with high payments that would take hours of work to pay for, or not to buy expensive clothes…etc but to work a meaningful limited schedule and have more time. This is in part credited to Jacksonville's accessible resources and affordable homes. In New York I'd have to work two full-time jobs just to take care of my children, and then I'd have to pay someone else to raise them!

Amani: Do you think that southern artists work from a different dynamic here in the United States than artists from other regions?

Jennifer: I wasn't raised in the south and was initially shocked at some of the attitudes that I experienced here that I hadn't encountered in the northeast. It is difficult for me to have an objective opinion about this. I have always felt different. I have always felt like I didn't fit in, exactly, anywhere. I think most of us feel this way. I know that the artists that I've encountered here are all vital members of the community as well as supportive of each other in general. I have never worked as an artist in other parts of the U.S. yet. I have an idea though, that they are by nature more focused on individual success, by necessity, than we are here in Jacksonville.

Amani: How does being a mother influence you as an artist?

Jennifer: Being a mother influences every aspect of my being. Motherhood constantly keeps me grounded and forces me to keep inventory of my character and values. We can't teach our children that war is unjust and unnecessary and then fight with our sisters, fellow motorists, neighbors etc. over trivial things! I am constantly trying to set a good example and not preach to them. I just want to be a person that they can be proud of and look up to. So they keep me in check! Princess Grace once said that cooking breakfast for her children each day was an “ennobling experience.” She was right. I try to savor the subtle moments and daily beauty with them like telling a bedtime story or meeting a school bus.

Amani: What do you want people to remember about your art?