Since starting her own label, Sheeba Records, in the mid-1990s, Jane Siberry has released a handful of eclectic discs, ranging from live sets to early recordings to spirituals. Her latest, City ( Sheeba ) , is a musical skyline of collaborative efforts encompassing 10 years of work. The original version of "Calling All Angels," a duet with k.d. lang, appeared on the soundtrack to Wim Wenders 1991 film Until The End Of The World, as well as Siberry's 1994 masterwork When I Was A Boy. The version on City was re-recorded for the soundtrack to the Kevin Spacey/Helen Hunt vehicle Pay It Forward. "It Can't Rain All The Time," a 1994 collaboration with Graeme Revell is also taken from a soundtrack...The Crow. Siberry collaborated with Joe Jackson, on his 1997 album Heaven And Hell, and the song "The Bridge," is from that disc. Other collaborators include Frank London ( and other members of The Klezmatics ) on "Shir Amani," Hector Zazou ( "She's Like The Swallow" ) , Ghostland ( "The Kiss" ) and Barney ( "All The Pretty Little Ponies" ) , to name a few. ( www.janesiberry.com )
Gregg Shapiro: Your self-titled debut disc was released in 1981, so, with the release of City, your latest album, you are celebrating 20 years as a recording artist. How does that feel?
Jane Siberry: Let me think about it ( long pause ) . Good, I guess.
GS: City is a collection of collaborations recorded over a period of 10 years, released on Sheeba, your own label. Do you think if you were still on a major label, such as Reprise, that you would have been able to release an album such as this?
JS: I don't know whether they would have wanted the challenge of licensing. It was very hard to do. It brought a lot of things to light, just because I have such an extensive catalog now. It's taken me awhile to get my own catalog together to see who has the rights and to create our own templates for licensing to other people. So, when we asked for other people to license to us, it was interesting to see how even large companies had a lot of confusion. Not knowing who owned the rights and what territory.
GS: It sounds like a lot of work.
JS: Yeah, it was a lot of work, and an interesting exercise. So, I don't know if a large label would have wanted to ( do all the work ) . It's made a great record, I think. But it was quite demanding for Sheeba.
GS: Like many other artists who were dissatisfied with their relationships with the major labels to which they were signed, you have created Sheeba, your own label. What do you enjoy the most about having your own record label?
JS: The creative control. I can do a lot of things quickly in a small way, instead of one record of nine songs to take two years to get the marketing department going. We don't market anything ( laughs ) , so it doesn't take us very long. We just press the send button.
GS: Do you foresee releasing the work of other artists on Sheeba?
JS: Not right now. To continue the previous statement...that said, it's been very limited. To have creative control, I've also been limited by cash. I have so many ideas, and I haven't had the luxury create them, except for this kind of project ( City ) or Hush, which didn't take me too long. What else was there? The live records. I haven't had the luxury to do what I really want to do, which is an original record. To think of doing other artists, I couldn't even think of taking on that responsibility.
GS: That's understandable.
JS: Plus, I'm a real perfectionist. I'm still trying to get it right doing my stuff. If I can't get it quite right yet, I would hate to not get it right for another artist.
GS: A couple of the songs on City, such as "It Can't Rain All The Time" and "Calling All Angels" were included on movie soundtracks. Do you have plans to contribute more to movie soundtracks?
JS: Maybe. It's been a passive thing. People have just approached me. Yes, sure, if it's the right movie. I always look at a rough cut. I feel that's part of the process.
GS: Have you ever been approached to score a film?
JS: I have been, but what they wanted has been too labor intensive. I haven't been able to take all that time. What I'd rather do is write and direct and shoot my own film and then score it. Then it would be an investment of time that I would consider.
GS: Do you have ideas for screenplays?
JS: Yes. I had two full-blown films in my head for a while, but now they're out in the air. Time has passed. But the minute I have options open, my imagination takes off.
GS: Your songs are very cinematic, so it makes sense you think in those terms.
JS: Often I see a song before I hear it.
GS: That makes sense. Your collaborations with The Klezmatics and Joe Jackson, "Shir Amani" and "The Bridge," respectively, are a reflection of your New York experience. Can you please tell me about how the Sept. 11 attacks on New York have effected you?
JS: I always felt that things have been very fragile before that. Mortality is always nearby, and danger. Not that I'm paranoid, but there are forces of darkness. There's a war going on in other realms and has been. But, it's different than before. Sept. 11 is definitely beyond what most people can even talk about. On a more superficial level, it's effected my shows. I had to stop during a song, once, because I felt it was too much of a personal trip. It just felt like I'd gone down the wrong road.
GS: Have you been addressing it in your interaction with the audience?
JS: A little bit. Not directly. It doesn't feel right to make anything more than make oblique reference to it.
GS: I think it's still like a raw wound.
JS: Yes. Thank you ( emphatically ) , yes.
GS: The first time I ever saw you perform live was a few years ago, when you were a part of the Suffragette Sessions, organized by Amy Ray and Emily Saliers. What was that experience like for you?
JS: I love being a support musician. I rarely get that opportunity. I ended up being the keyboard player by accident. I didn't expect that. It was really interesting and intense and energizing.
GS: It feels like someone should have stood up and shouted, "Sisterhood is powerful." There was just this great energy there. It was really amazing.
JS: That's great to hear. I'd forgotten about that.
GS: In her new book, Patti's Pearls, Patti LaBelle writes about her good friend, the late Laura Nyro. When I interviewed her, LaBelle said Laura's death effected her and the she still misses her. You included the song "When I Think Of Laura Nyro," from the Nyro tribute disc Time & Love, on City. Did you ever meet Laura Nyro?
JS: No. I met her partner at the Laura Nyro tribute in New York. It was after her death. I did two totally different Laura Nyro songs. I can't remember which ones.
GS: Aside from what you say about her in the song, can you tell me what she meant to you?
JS: I liked her power, when she sang. I didn't necessarily like the sound of her voice, up high, but I liked something that came through. When I was really young, I really liked those high notes.
GS: D.C. Anderson, a cabaret artist and actor, does a stunning cover of your song "Are You Burning, Little Candle" on his new CD of holiday music. Are you aware of other artists covering your songs?
JS: Sometimes, but I hadn't heard of him.
GS: Wait until you hear it, it's really lovely.
JS: Oh, that's great. I'd love to ( hear it ) .
GS: You are an artist who has been embraced by the lesbian and gay community. Are you aware of your lesbian and gay following, and if so, is there anything that you would like to say to them?
JS: I just sort of tune out. I don't want to know anyone's sexuality. I think it's none of my business ( laughs ) . So, I have this diffusion filter that comes up. I'm just open to any spirit that's willing.
