In The Moment: Jennifer Getz - Releases Long-awaited Debut Album - Makin' History - And Take's it Live To L.A.'s Hotel Cafe on November 20, 2004.

Although named for the singer-songwriter’s beloved canine rather than a grandiose creative statement, Makin’ History is the final chapter in late producer John Herron’s rich legacy – and the beginning for Getz

Looking at roots rock singer-songwriter Jennifer Getz (Jennifergetz.com), you can’t help but think she’s cool – not too cool for school, but naturally cool: long dreads, tattoos, a tank top, lean jeans and that ever-present acoustic guitar. Listening to her melodically stunning, fearlessly honest self-released debut, Makin’ History, you know she is.

There’s no denying the album’s impact, and its back story is shocking, but the title has nothing to do with either of these things, except by coincidence. Makin’ History isn’t a grandiose statement on its content (although it’s not an inaccuracy, either), but rather, the wonderful truth of the matter is that Getz named the collection for her canine companion. And while some people have a tattoo of their beloved’s name, the green-eyed girl with a voice that glides over melancholy verses and rousing choruses has the indelible ink of History stamped on the inside of her left wrist.

An homage to a dog, but definitely not a dog of a disc, Makin’ History was produced by highly respected producer / musician / composer John Herron, who was struck by a car on his way to the studio, where he was scheduled to finish his piano tracks on what was supposed to have been the final day of recording. After seven months in a coma, Herron moved on to where, the saying goes, there are other worlds to sing in, leaving behind a legacy that includes creative contributions to everyone from The Electric Prunes and Flo & Eddie to Fleetwood Mac and Chuck E. Weiss. Makin’ History, the final chapter of his life’s work, is Getz’ beginning.

“He was so excited about getting this record out,” she says. “I felt so lucky that he chose to spend all his time
on just my project alone.”

With songs that glow with an alt-country vibe that kicks into a roots-rock wallop, Getz says of Makin’ History, “I want people to find their truth, and if my music helps them get there, the way music has done that for me, and does, then that’s the reward from putting yourself out there.”

Two years in the works, with Herron’s wife, Brenda Berkley executive producing the album after his death, Makin’ History has hit the Top 20 in Europe, and receives raves from everyone hearing the advance, including record companies and distributors, from whom Getz is fielding serious inquiries. In the mean time, the expressive, left-handed guitarist makes history come alive in a special performance at The Hotel Cafe in Los Angeles, Nov. 20.

Hearing Getz’ potential early on, Herron recruited major players for Makin’ History, such as bassist Gregg Sutton (Bob Dylan), drummer Rick Schlosser (Juice Newton), and southpaw guitarist Zeke Zinngiebel (Warren Zevon).

“These older guys came into [Herron’s studio] Rekordio, asking, ‘Who’s this kid? Who are you producing?’” recalls Getz, whose songs melted their skepticism. “Day by day they started taking off their sunglasses and talking to me more, instead of saying, ‘John, don’t you think it should be like this or that?’ And he would say, ‘Jennifer’s the songwriter; you gotta ask her.’ It took me a while to earn their respect, because they toured the world before I was even born. I felt really lucky to be in that kind of presence, and to be respected as a songwriter by these guys.

“The songs were already arranged in my head, so to navigate these guys who don’t necessarily want to be navigated was really hard,” she laughs, “because the last thing I wanted to do was tell them what to play. John had this great way of getting them to try things, and it was awesome.”

An inspiration to Getz even after his death, she wrote “Bonus Track #11” in tribute to Herron, and recorded it the night before Makin’ History was to be mastered. At the 11th hour, she and her ever-present guitar got it done in a single, poignant take, and while it’s a huge statement to say that Getz’ pure and exquisite rendering of the song matches Dylan at his introspective finest, it’s not an exaggeration. Listen. She’s cool like that.