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Batten played lead and rhythm guitar on Michael Jackson's Bad, Dangerous and HIStory world tours, as well as in Jackson’s 1993 Super Bowl half-time performance.
UG: What drew you to playing electric guitar? Who were your early girl guitar player influencers? Who are some of your new favorite girl guitar players?
Self-taught, formal instruction, or a little of both?
Mostly formal instruction. I had various guitar teachers from music schools or music shops, and I moved around a lot. Every time we moved, I got a new guitar teacher, with a whole new approach. One time I ended up taking lessons with a guy from a band called “Up with People,” a folk-type group, where I learned how to fingerpick. After that, I got a blues guy, a rock guy—a lot of different types of guitar teachers covering a wide variety of music styles, which was great. This was before I got to Musicians Institute—that’s what really kicked my butt. Although I had taken lessons for all those years and knew a bunch of songs, I flunked the test to get in, because I didn’t know the tools or the theory behind them. I didn’t have my major, minor, or melodic scales down, and I didn’t know a lot of the chord voicings that I should’ve known. So then I studied with a guy named Peter Sprague in San Diego for six months and he kicked my butt into shape—to the point where I could get into the music school. That was an intense year of learning the tools of the trade.
What’s your method to learning music… by ear or reading music notation?
It really depends on the gig. When I got the gig with Michael Jackson, nothing was written out. I think it’s a lot more valuable to listen. I wouldn’t ever try to learn the music by just reading alone. It can be a help, but by listening to it, you get more of the vibe of what it’s about, and the attitude you should be putting in to it.
"I believe what helped me stand out from the rest was because I knew the “Beat It” solo – that was a major thing that Michael Jackson needed."
Sure – it’s changing so I’ll share what I have and what I’m working towards. For the past 10 years, I’ve been using Digitech’s GNX Series which is a floor pre-amp with an expression pedal and all the effects built in. With most of my gigs, I fly over 10,000 miles to get to them, so there’s no way I can take an amp with me. And, often times when you request amps on the other side, they’re not right or they’re just crap. I like to have control, and everything’s included in the Digitech Series! I love having a Hammy pedal that bends down a whole step and up an octave. You just assign whatever you want to the expression pedal. The only other thing I take is a volume pedal so I can match the track volume or get louder with the drums if I need to.
I like to keep it very simple too. Even with a ten pound unit, a bunch of cables, and a volume pedal, I’m always charged excess luggage fees. It can be extremely expensive, especially in Europe where fuel costs a lot more that it does here in the U.S. So, my next step is to get all my sounds from Apple’s Logic Mainstage program, so that I can have all my sounds in my laptop to send direct to the house. I’m also adding a workhorse guitar which is the new James Tyler Variax. There are three different models: a Les Paul style, a Jackson style, and the other is a Strat type. And, although you can use the magnetic pickups that are in them, Line 6 technology allows you to use models of a bunch of different guitars. You get everything from a Les Paul and Telecaster to a Dobro and a Sitar. Plus, it has the technology to change the tunings with the flick of a dial.
I’ve gotten into acoustic over the last couple of years, including detuned acoustic. If I can only take one guitar with me, I haven’t been able to do the acoustic stuff. With this guitar, I can do anything I want and in any key. I’m glad that technology has caught up to where I want to be.
At what point in your music path, did you realize that you wanted to pursue music professionally?
I remember announcing it to my mother when I was twelve – I brought her into my room and did a little concert. After that, her response was “well honey, it’s a very competitive business.” To a twelve year old, that means nothing. I mean, I could tell that it was a warning, but you have no idea at that age what you’re up against. It was really just the love of music that kept me going. Sometimes I think I should’ve listened to her [laughs]. Overall, I can’t complain about my career.
What would you say was your big break – who “discovered” you?
Definitely Michael Jackson. I went from playing in six different bands in Hollywood to playing for the biggest pop star on earth. That was a hell of a jump. I had never done any big tours—in fact the only tour I had done was with an Elvis impersonator in the south pacific.
Playing with Michael Jackson—what was that like? And, what was key in your standing out from the hundreds who auditioned for Michael Jackson?
Playing with him was like a paid vacation. Don’t get me wrong. The rehearsals were tough, rigorous, and there were long, long hours. However, it was so exciting that it wasn’t any big deal … just exciting. I tell ya, it was kind of like joining the army where that was your life. Whatever you had on the side, or so-called life, was gone temporarily for at least a few months. Once we were on the road, it was just a vacation. Imagine: you get to see the entire world, and get paid for it. He had reached a point in his career where he didn’t have to play every single day, so we only played two or three times a week. We had time in Rome to take a day off to go see the Coliseum and the Forum … it was complete luxury. Ninety-nine percent of musicians out there don’t get to do this sort of thing. It’s so expensive to tour ... you’re either playing or traveling to the next gig.
I believe what helped me stand out from the rest was because I knew the “Beat It” solo – that was a major thing that he needed and I had played that for several years in a cover band. Having to play that for him, it wasn’t like I had to scramble to learn it or fumble through it at the audition. It had it down. And, that 16-bar phrase has earned me more money than all of my records put together so far!
"I went from playing in six different bands in Hollywood to playing for the biggest pop star on earth. That was a hell of a jump."
I’ve been influenced by Jeff since I was a teenager, when I discovered the Blow by Blow record, which was on the radio at the time (if it came out now, boy it would never be on the radio – good creative times back then). Just being around him was very exciting. He is such a legend, and so talented in so many ways, that writing for him was really just a joy. Inspiration just kinda poured out of the environment.
Any advice to up and coming musicians seeking to break into the competitive music industry?
Hmm, yeah … in the ‘80s and ‘90s, people seemed so interested in becoming famous—MTV and that whole thing. If that’s your focus, then you will most likely be disappointed. The best you can do is to maintain your passion for music, get better as a musician – play with other people and get experience. The better you are, the more versatile you are, the better your chances at making a living at it.
Which would you say is more nerve wracking: performing before millions or performing for an intimate-size crowd? Does crowd size even matter to you (ever get nervous still)?
Nerves come from not knowing the material. I’d say for me, it depends on the environment or sometimes even who’s in the audience. I can play the same show with Jeff Beck for a month straight and then all of a sudden, Steve Vai is in the front row and that’s gonna affect my brain – all of a sudden I’ll get nervous when I wasn’t before. I can’t say that I never get nervous, but it’s not that often anymore. It’s more about getting pumped up for the show – getting your show head on and focus on what you’re doing. The more you get inside the music, the less you have to worry about nerves.
Google “great guitar gods,” and you’ll invariably find Jennifer Batten on the list. How do you think you’ve earned this honor?
A lot of it is by association, who I’ve played with. Jeff Beck is a guitar god and Michael Jackson was the biggest pop star on the planet. That played a part in getting my name out there. Then, the people that are more guitar oriented, that are into my records, that’s a whole different audience. I don’t quite know who is voting but hopefully it’s more people who know my music than those who just see the big hair on Michael Jackson’s show.
Session/touring or solo artist: which of these endeavors has been your most fulfilling path?
Being a solo artist. I loved playing with Michael Jackson. It was really fun and sort of like being in theatre. You know ... I loved being a part of that. With Jeff Beck, it was 1000% more taxing as far as my responsibilities go. Instead of being one of two keyboards, two guitars, bass & drums, and a bunch of dancers and singers, with Jeff Beck, it was just the four of us and all the harmony was on me. I was very proud to be playing with him because he’s such a bad-ass and he hadn’t played with another guitar player since The Yardbirds. That was a guitarist’s dream—because all of his CDs were filled with keyboard sounds, and he didn’t have a keyboardist on the tours I did with him, I ended up playing a lot of keyboard stuff with a guitar synthesizer. I loved both of those gigs but in the end, it’s most fulfilling when I do my music and I see people enjoy it.
Do you have a project that you’re most proud of?
You know, it’s funny because in the last ten years I’ve really gotten into doing art. I did glass art pretty consistently for several years and this last winter I got into doing steampunk art which is Victorian era sci-fi art with copper and brass and other elements. I just had a couple gallery showings in the past few months, so that’s what is on my mind right now. Nothing to do with music! I see creativity as one element and whatever form you use to get there is kinda irrelevant. I enjoy getting into another art form, and then go back to music, and see what that brings to me. It’s gonna come back fresh in some way. Other than my art pieces it would be my latest record which is also a DVD ... I got into filmmaking as well, and that’s what my new show is about—playing along with tracks that are embedded into films that I make. I’m kinda all over the planet with creativity and what I’m currently involved with.
"It was really just the love of music that kept me going. Sometimes I think I should’ve listened to her [laughs]. Overall, I can’t complain about my career."
Currently, I’m subbing for another guitar player in the Zumanity. That’s an over-18 show—described as the sensual side of Cirque de Soleil. It’s a really fun show, a lot of talent, and a lot of incredible athletes. The music is really cool too and it stretches me. There are several songs that have me playing nylon string guitars, which I haven’t done in a long time (decades!), and another song where I play slide guitar. It’s really challenging in a good way. We’re doing 10 shows a week and I’ll be doing that till mid-February 2012.
Any “if I knew then what I know now” advice?
Oh boy, I’m not one of those who say, “if I had to do it all over again, I’d keep it all the same.” – I’d fix a whole lotta things [laughs]! I don’t know – I guess I’d have to tear it apart, year by year, to see what I’d do differently. There’s probably an offer or two that I was afraid of, that maybe I should’ve taken, which would’ve taken me onto a whole different path...
Any new favorite girl guitar players?
Teresa Russell is one. She won one of the Guitar Center competitions a few years back. I did a gig with her and I think she’s phenomenal—and she sings great. Linda Taylor is another one. She replaced me in one of the earlier bands I played in when I went off to tour with Michael. Linda also played with Tracy Chapman. There are some up and coming artists that are really fun, like Desiree Bassett. She’s 19 and she is with the Michael Jackson: The Immortal Tour (Cirque de Soleil) right now. Kristen Capolino is another young gun. I played on her record. You’ll be hearing about her.
I’m really glad to see Orianthi out there, doing great things to get women into playing guitar – she’s way more than a strummer/singer. She’s got it all, really. And, I think we’ll be hearing a lot from her for years to come. She’s brave, aggressive, plays well, sings well, and looks great. It does bug me a bit when they refer to her as Michael Jackson’s guitar player. I spent 10 years touring with him and she never did a live show with him, but is in the This Is It documentary film. So people assume this twenty-year-old has been with him for 25 years! It’s more humorous than anything.
