It’s a glorious Shore day and there’s a rockstar sitting in my living room. He was his relaxed, confident, easy-going self. I wish I could say the same. Even if we had developed a rapport over the years, this just felt different. At once, it was personal and business.
Sitting across from me is a man as talented as your average rockstar, owning all the tools needed for success and one more, one that makes him unique, even from the A-listers he works with. But it is one thing to have vision, quite another to extract it from others.
It’s what sets Gordon Brown apart.
Brown is a veteran of music’s long and winding road, then that’s what songwriting, performing, producing, touring and artist development will do for an industry professional deep rooted in seminal music capitals like the Jersey Shore and Nashville. That’s how it becomes possible to mine creativity in others:
Jesse James Decker (Universal); Natalie Stovall (Hitstop/Warner Nashville); Rising Star contender Audrey Kate Geiger (ABC) and The Voice’s Audra McLaughlin (NBC) all and more among his roster of talents with foresight.
And surely they must have appreciated the support Gordon provided, one gained largely as founding guitarist and songwriter for Mr. rEALITY, Samhill and Highway 9; all signed to major labels.
Connecting and Reconnecting with Gordon Brown
By JENNIFER PRICCI May 5, 2015
Gordon’s new duo, Williams Honor - with lead singer Reagan Richards, who knows what it’s like to work with icons from Les Paul to Bobby Bandiera - is how country music began weaving its way into the Shore’s musical sensibilities. They’ve been touring the East Coast since ‘Mama Please’ debuted as a single, gaining visibility and connecting to a new audience, “brick-by-brick”.
So, this rockstar, a mysterious artist sitting directly in front of me with an inherent understanding for the importance connection plays in the creative process. And isn’t that the essence of creativity? The connecting of dots to create new ideas? An Instinctual cross-pollination of concepts that combine and recombine so unique and inspired output can be built? Time to reach for the diamond’s tip; I just had to know more.
Jennifer Pricci: So congratulations, today you’ve had a leadoff single drop. ‘Why God Made Summertime’, the title cut you co-wrote for Nashville-based Blackjack Billy. A debut single is a great honor…
Gordon Brown: Thank you. It’s very exciting. It’s always great when something that you’ve worked on is released and someone is playing it. Whether it’s you as an artist or somebody else… nice to wake up to today.
JP: So you’ve returned to the Shore and have brought back your Writers in the Raw Songwriting Sessions. Many of our most iconic songs have been inspired by profound emotion. When someone is coming to one of your sessions, must they be “open”? What level of “vulnerability” must they bring to the room?
GB: Lots. That’s what [allows] you to relate to others; being vulnerable. That’s where you find characters in songs. That’s where you find everyday people. We are all vulnerable to a host of things… I believe that really helps connect… to any artist, any painter, any actor, the emotion that’s created. That sometimes is the real trigger point that makes you [think] you understand - understand what’s going on in the art.
JP: How do you draw that emotion from that deep place within the soul, or that repressed place within the soul, out – so that those at your sessions can create to their best ability?
GB: So that’s part of the process, that’s part of the difficult process. A lot of writers, a lot of performers, they don’t want to let that stuff go. They don’t want to be vulnerable to admit those very personal things – which I never fault anybody for – and sometimes they don’t just want to sing a song that brings out some of that pain and vulnerability. And I always suggest, to give it a shot, and see how it feels on the other side. Most of the time people – anyone who’s creating – can feel that release, and cathartic meaning to everything they’re writing, singing or creating about.
JP: So do you think that release you describe helps in terms of the healing process?
GB: It has for me and I tend to lead by example when it comes to that. As a young writer, or as a young creative person sometimes that’s the first place you go to. The word “therapy” comes into play here a lot... people who are doing music are [often] looking for a way out of where they are. It creates a much bigger picture for them. And so you really have to find that place... that cathartic way of doing things... finding a release.
JP: So if you were writing that song - one that maybe got you to the other side of a painful place - when you're performing it 15 years later, do the emotions come rushing back?
GB: Well, I think it does depend but I can only talk about what I know first-hand. There was a song on our very first album called ‘In My Yard’ that through the years, in one form or another, has been able to be performed by me or anybody else in the band. Over the past year as we’ve started Williams Honor, not only have Reagan and I found different places for that song with her singing lead, but Peter [Sherer] will also come and sing it with us. And it is so monumental to be able to tell that story, perform that song, and have everybody be a part of it again.
I’m sure any artist that you ask, any songwriter that you ask, time is a great color on a piece of work. Bruce has said this many times through the years – in not so certain words – ‘your audience, and your life, will give the song a different meaning as time goes on. And to grow with that song, and to grow with that story, is one of the most fun things you can do with this stuff.’ That’s one of the gifts - that’s one of the things you get back from this.
JP: Do you find it easier for writers to create when they’re coming from a place of pain?
GB: This is a great question… If you asked me in the beginning of my career I might have had a different answer than I do now… pain, and emotional pain mostly, has been the great catalyst for a lot of amazing art. Great records. Amazing paintings. Great stories, inspirational stories. Most of the time the stories that we’ll read or movies that we’ll watch are the trials and the tribulations of someone getting to the other side of their pain and that’s if we just break it down at the foundation. So yes, I believe pain is a great catalyst. However, I also believe the other as well. Anything can be a great catalyst for great art if the artist is willing to let it happen.
This comes up a lot… ‘I haven’t been tortured enough so I don’t have anything to write about.’ I’ll show them how tortured they can be… pull [pain] from their life. I can find it for them. We all have stuff... I don’t know one person who’s had complete happiness. Sometimes an even better template to create from… being happy. Why not write about a life that you want… things that you love?
JP: Regarding ‘templates’, what elements would you say a song has to have to stand the test of time?
GB: More than anything, connection.
JP: And if you had to leave those attending your songwriting sessions with a single piece of advice?
GB: Every time you sit down, a fresh perspective is best… But I’ve found you could have a similar idea three days in a row and [it] comes out differently. Different tempos, everything... So my advice is every time you sit down, act as if it’s the first... You’ll be amazed that you can create something unique each time.
JP: So you’ve been in Nashville for a long time. I think a lot of Jersey Shore fans who know you, know you from Highway 9, Sam Hill and Mr. rEALITY. Now you’re back with Williams Honor which is very exciting. But tell us a bit more about what you were doing the many years you spent working in Nashville.
GB: So, Highway 9, our last deal was on RCA Nashville, and at the time – this was early 2000’s – we were building our fan base out of New Jersey and we ended up signing with SONY New York. And at the time that we signed our deal, the whole vision was to be able to get our country record out. And SONY put us in Nashville, that’s where we made it, and used everybody in town on the record, and that was a fantastic experience and we got back to New York and we realized we didn’t necessarily see eye to eye. It was important to us to do country mixes and to break in country radio, and they weren’t really in line with that. So we asked to leave. They did a soft release of our first single, and then we [were allowed out of our contract], and we went to RCA Nashville. And it was so great for us to be able to spread our wings and really get a sense of what we wanted to explore.
Photo Credit: Danny Clinch
As an artist, as you evolve, you continually try to build upon your artistry. We were at the point where we were really needing to make sure that all the influence that we had – the big harmony bands that had done incredible records, great story songs - and of course you grow up in New Jersey on The Eagles and Springsteen – it was big for us and we wanted to make sure it was in our music. So that’s why we situated ourselves in Nashville.
From that point I started working with artists and writing and co-writing and developing acts as well. So over the past ten years a big part of my career has been that.
JP: What made you come back with Williams Honor? And, being Jersey is known for such a signature sound, was there any hesitation introducing a new genre?
GB: We’re very lucky to have a great and supportive music community. When you grow up here that’s not something you easily leave behind. You end up wearing it on your sleeve no matter where you go, no matter who you’re working with. Any act that I have worked with; whether a side-guy, writer, producer - they understand that explicitly when I get there.
With Williams Honor we wanted to build a foundation in New Jersey. And country music is evolving so much. I say this all the time; ‘It’s not your grandparent’s country music anymore’. A lot of people have a hard time figuring out what they’re listening to when they listen to country today. So many people have broken boundaries. I mean a Keith Urban could not exist ten years ago; Little Big Town would never have been able to have superstar status. People’s tastes change. There’s a bit of backlash because tradition is big in country. But there’s also a growing audience that’s willing to accept how the genre is evolving. Williams Honor is a band that wants to help evolve the genre and also hold on to tradition.
JP: Let’s talk more about Williams Honor. The first single that you released was ‘Mama Please.’ It’s tragic. It’s heartbreaking. And more than anything, it really plays to the mind’s eye. How, as a songwriter, do you make that happen?
GB: Well, again, our goals; keep tradition in mind and keep evolving country music. So what is that? It’s stories. Great stories. Stories that people can relate to in their own way.
When we wrote that song we started with the feel. And it came directly from the mid-70’s and the great traditional country records, and the rebellious country records that were being made at the time. When we found our storyline, and we found our subject matter, Reagan and I both pulled from places that we’re familiar with. As we were crafting, and we started to find the characters in the story, we could put ourselves into it. And as we got to the end, we felt we had something that made a lot of sense to us, and would make a lot of sense to other people, and could hopefully speak for a lot of people as well.
Now that we’ve put it out into the world, it’s been incredible. Some people are in tears when we play that song. It’s part of that cathartic thing we were talking about before, it’s a very cool way to connect with your audience.
JP: You named your band Williams Honor as a tribute to your Fathers. Who both served our country. Tell me a little bit more about that.
GB: Bands go through everything they can to figure out a name that makes sense, right? So as we started to realize we have this new material that we’re proud of, and this is really going to be a band, what are we going to call this thing? We had a couple of trips to Nashville under our belt at this point and we started to think about what is it that we want to play under every night. What is the banner that we see ourselves supporting every night.
Reagan and I both lost our Fathers at young ages, and both still feel very close to the memory and the history that we had. Both our Fathers had extensive military background. And my Dad’s name was Bernard and hers was William. Bernard’s Honor just didn’t have the same flow, so we went with William. And of course as a tribute to where we come from, and as a continued symbolic gesture to everything that we want to do in the genre; hold up tradition, and help it evolve. So we thought that was a great way to tie it all together.
JP: One of your songs, ‘Don’t Wanna Let You Go’ there is a lyric; “your Father would be so proud of you.” What do you think your Father would be most proud of?
GB: Wow, well, (pauses) that’s a question only he can answer, however (pauses) I have been very lucky to get a sense from his other kids that it’s possible that what I’m doing is exactly what he would have hoped. So that is a part in all of our material and our catalog so far.
I love when we get to that part whenever we’re performing, because it’s like Reagan and I get to sing that to each other… And not just for us, but for anyone that understands those feelings. I really, truly believe in my heart, and I feel it – most of the time - that in following this dream and [making] this my career… he’s been right there alongside me. And I think Reagan does as well.
JP: Williams Honor, for only recently hitting the scene, you have been very, very successful on social media. What do you think you can attribute that to?
GB: Well, I don’t know to be honest with you. I realize that that’s part of the job now and I realize how important it is to build a fan base brick-by-brick. And when I say fan base I mean one that will stay with you throughout, and endure with you.
You’re watching a lot of artists that are in one year and out the next. To me, if you know what SXSW is in Austin, it’s just flavors of the week, not even the month anymore. It’s literally they come in, you hear about them, and they’re gone the minute you fell in love with the record. When I say “gone” I mean you just don’t hear them anymore. Because there are so many, and I believe now that the way we’re consuming music is so much more evolved.
I had a great conversation with Tony Pallagrosi the other night how the mystique is gone from all genres. And a 14 year old girl might think that’s a great thing, and part of the fascination when you fall in love with a band is wanting to know everything about them. Where they come from, what they do, what inspired them. And a lot of the mystique and wonderment, that stuff is gone.
But there’s other stuff in its place now. Going to their Facebook and Twitter and Instagram pages and seeing what they’re up to. What studio they’re in, and who they’re working with. So that’s taken the place of that stuff now.
Really you can chalk it up to it’s just different now. I think music now is more popular than it’s ever been, and the consummation of that, it’s bigger than ever. And there’s so much more of it. But you’re seeing a lot of smaller successes across all platforms and a lot more places to find it. Who would have ever thought that Spotify can put almost any given song in the whole world at your fingertips at any given moment? That’s just not something that you could have fathomed 15, 20 years ago. It’s really inspiring. Shazam is one of the most incredible inventions ever.
JP: Well, Shazam - and apps like Soundcloud – they allow users to get more information on a song they’re listening to in real time – the artist, the title, where you can buy the song, whatever - just by playing the music into the app recorder. Now, that data is sold to record labels so they know how to allocate their marketing dollars. That data is also sold to publishers, and to big time songwriters – think the David Foster’s of the world - it tells songwriters the models that are working, so they know what’s going to be a hit before it’s even written. Do you find that this is dangerous? Do you find that it is compromising to the art?
GB: When used in the wrong hands any information can be dangerous. But it depends on the level of expertise that we’re talking about. And there’s always a greater and lesser extent.
It's important information. If you look at the stats on how many people played your track on any given day, sometimes that’s a good gauge whether people like or dislike it. And we’re in a world of “Likes” now. “Likes” and “Shares” and “Streams”. That’s like the new Billboard charts.
What’s cool about that is it is immediate. If you put a song out there and you see people are responding and engaged you know that you may be doing something right. We have the tools to do this stuff now, find those stats and create our careers. I can go make somebody’s record this weekend, put it out on Monday morning and boom, you can just go for it. To me that’s really exciting, I think we’re in an amazing place where anything is possible. That’s how I look at record making and writing songs now. You can just dream it and make it happen.
JP: Are you disappointed at all that the digital download has compromised the continuity of the album?
GB: There’s a lot to be said for the way, especially in the ‘70’s, record making became conceptual. ‘Born to Run’ is conceptual, and probably one of my all-time favorite records. That started from the way Frank Sinatra was making records. The concept of an album I think has morphed into the concept of an artist now. Lady Gaga is a good example of that.
Pop music now – well, pop music was never about that, pop music was about the 45, and the one song getting on the radio and then following it up with other songs. Country music has those elements to it. Country music is not about conceptual records at all. It is about the best song; song by song. And I think the bands that want to keep going… they’ll continue to create work for us that you can dive into and find the story and find the connection; song by song. And nowadays I give kudos to the artists that are attempting to do that.
But a good song is a good song. And whether you know the whole story of ‘Born to Run’ or not, whether you know the way the whole thing kind of goes in a conceptual direction, it doesn’t matter. If you like just ‘Thunder Road’, or just ‘Jungleland’, or whatever it is, a good song is a good song. And when it starts you’re in it and when it ends - you can jump right out of it if you want.
JP: It’s interesting to hear your take on how genres compare. How they cross-compare. Steven Tyler recently announced he’ll be writing an album out of Nashville. Critics anticipating his approach will be similar to Robert Plant’s… and Bon Jovi wrote and created an album out of Nashville...
GB: Bon Jovi was the only rock band to reach number one on both the Rock and Country Billboard charts. That’s never been done before.
JP: Do you feel all these rockers going country is becoming a trend?
GB: It’s been a trend forever. Country really went pop in the ‘70’s. You had Eddie Rabbit from New Jersey… and Juice Newton, she – also from Jersey – started making records they thought would cross over and did. Shania and Garth brought it international. And Taylor, forget it, she’s taken it to a whole new level. These acts sometimes grow beyond country music and they get great reward from this; their fans get great reward from this.
JP: We’ve dropped some big names here. As a professional embedded in communities known throughout the world for its superstars – is it important to you to have friends at this level? Is that something you need in your life?
GB: I think in any business you want a support system. It is important to be supported by your peers… they nudge you, sometimes push you to a new height. That helps a lot. Are you invited over for Thanksgiving? Not always. But do you have a support system in place? When you do, it’s a great thing.
I’ve been very fortunate. I have been in some amazing positions to really create with people that I admire. As a songwriter, you get in a room and the goal is to get something out of the room. You spend three, maybe four hours, have some coffee and you take off. Sometimes a single comes out of it… sometimes nothing. I can’t tell you how many songs I’ve been a part of but there’s been a lot. If only a small percentage of that stuff gets out… that’s incredible. For a lot of the people from the Jersey Shore, their output is 10 percent of all the work they’ve done. And we get the very best of it; that’s why we love it.
JP: So, you’ve had great successes, as a songwriter, as a performer. You’ve worked with people who’ve had great successes. When we do what we love inevitably they’ll be nonsuccesses. How do you deal with nonsuccesses?
GB: Great question... I changed my views on success a long time ago. When you can wake up in the morning and do what you love, that’s a great day. The more days you have like that, the more successful you truly are. Now, if the money comes in and you can go buy the house and car… it’s icing on the cake. I’ve really come to value my time and the time that you spend doing what you love is the true meaning of success.
I’ve never had a record that’s sold a million copies but I’ve been lucky to go through all the steps with tremendous appreciation and gratitude. And that’s what keeps you going. As long as you stay in the game… and you keep doing the work, sometimes that lottery ticket becomes a big winner.
JP: How does it feel to know that your work, your artistry, has an impact on people?
GB: Well, when someone reaches out… I got this great call today, a side story, I won’t mention names, but someone who’s had great cuts with great pop acts through the years – I mean Lady Gaga, Britney Spears, etc., he had been reaching out to me. We finally connected earlier today and he said ‘you know, I was a fan of your first record, I’d come to see you guys play all the time, and you inspired me to find success and do what I love’.
There’s really no feeling like that in the world. That is a tremendous gift. When someone is actually courageous enough to tell you that, I’m really, really thankful for those kinds of things and that’s what adds fuel to the fire, and that’s what gives you continuous inspiration to find new ways to do what you’re doing and realize that there’s tremendous reason for doing it. I just had never taken that stuff for granted.
So I’m extremely appreciative of people that have been a part of my work through the years, and that’s why I said 'let’s do a new band!' Not only do I want that outlet still, as an artist, but I also want to make those people proud and create something new for them, and myself, and give them something to bite into again.
JP: I know one band that’s had an impact on your life, that’s been a true influence, The Eagles.
GB: Oh, absolutely. Starting [my] very first band, that was the template. My amazing singer, Peter Sherer... his voice had all the whiskey soaked fueled elements that The Eagles had... and [the first time] I heard that voice come out, I was like, ‘that’s the voice that I hear in my head when I’m writing.’ So we were emulating – in the beginning – and doing it in a way that made sense to us.
JP: Quick: Who wrote the Hotel California solo; Don Henley, Joe Walsh or Don Felder?
GB: You and I both know the story of that in great detail because we’ve had tremendous discussion about it for years (laughs). I mean we shared Felder’s book.
JP: Is that your answer? It was multiple choice.
GB: My answer is out there. You can Google it (laughs). Ok, the classic story, well, did you see the (History of The Eagles) documentary?
GB: It’s funny, you’re in bands, you pay attention to brotherhood and synergy, the way everybody connects. I’ve watched it a ton of times. When I see the tears in Don Felder’s eyes… and the fact that he’s even in it to begin with, is a testament to those guys trying to tell the truth from both sides. That’s pretty cool.
JP: I know it’s not the first time you’ve heard this; being in a band is like being in a dysfunctional family…
GB: My God, it’s the most dysfunctional family. And I’m the king of that subject, so… (laughs).
JP: The relationship between a lead guitarist - particularly a strong lead guitarist who also does the songwriting - a lead vocalist… it can be particularly strained. How have you navigated those relationships?
GB: Wow… ok, Bruce and Steven. Jon and Richie. Mick and Keith. Steven and Joe. I constantly think about those relationships because that is my business. I don’t compare, I just watch… listen, see the way interactions are important to the whole circle. And I watch them break up. And get back together. And the great lesson is not the break-up but the coming back. It’s that dysfunction that keeps things interesting.
Whoever you are, and whatever level, I truly believe there’s something that happens on stage that makes the heart beat just a little quicker, with a little more foundation for the truth. The connection, when it is that strong, tears people apart, brings them back together, creates incredible music, rebellious music; a backdrop for people’s lives. It’s been part of my life’s study to watch those interactions… and I can see myself in them sometimes.
JP: You mentioned Jon and Richie. Do you think Richie made a mistake leaving Bon Jovi?
GB: It’s funny to talk about people that come from our area because you hear things… you’re privy to information on the smallest and grandest levels… You gotta’ walk a mile in another man’s shoes to truly understand. I could never judge anybody for making [career] decisions. We have to follow the muse and continue to please our artists’ hearts. Without doing that you become stagnant, feel miserable when you don’t get that sense of artistic integrity.
There are a lot of reasons why people leave projects. I mean, I had an incredibly unsuccessful band for 15 years, I say this because – the Beatles were around for 6 years sold millions of records and created rock’n’roll history – and my guys and I were together for 15 years and kept trying and trying and trying. At some point, people want to move forward, and you can never fault them for that.
Bruce broke up the E-Street Band for a little bit. There is a reason he felt he needed to do that. You have to be there to understand these things. And that is not for us to do. I applaud anyone who makes a decision to follow their happiness… and as I was saying before, time after time, the great teams always find their way home.
JP: One of the great movies of our generation that speaks to this, to the strained relationship between great teams, Almost Famous.
GB: Of course, right?
JP: I know that’s a movie that resonates with you so I am just going to spend a couple minutes here. You saw Philip Seymour Hoffman on the street in New York City a couple of weeks before he died. What was that like?
GB: So, as you and I have discussed through the years… well, let’s just talk about his incredible, immense talent. The guy could do anything that an actor was ever thought of to do. And in one of his early successes being Almost Famous, I think you and I both felt how that role resonated, and the way that he portrayed the amazing (rock critic) Lester Bangs, and the way he portrayed it in that movie was so passionate and thought provoking that for everything else he did after it was tough for me to not see Lester Bangs – as I think anyone who’s in the music industry and who’s seen that movie feels. As he went deeper and deeper as an actor and as a creative, talented force, it was just mind boggling what he was capable of.
I was rehearsing with an artist right down the street from – either his actor’s retreat, or maybe he lived there – and he was standing outside having a cigarette. And my buddy said, ‘do you see who’s standing there just right down the street?’ And I had to just walk by. And that was two weeks before he passed. And once again, you just never know what’s going on in somebody’s mind no matter what level they’re at. And just to be able to walk by, and pick up on his energy, not in a million years did I think that was a guy who was contemplating not being around anymore. And maybe he wasn’t, maybe it was just a tragic accident. But, he’s left us with a body of work that will be watched and loved forever.
JP: If you knew he would be gone two weeks later would you have spoken to him?
GB: You know, I’m one of those guys, I don’t need to meet everyone I look up to and admire. Because what I’m looking up to and admiring, most of the time, is not really who the artist or person might be. And, you go out and you do the work and that work is there to be consumed by the public. And who you are as a person is supposed to be consumed on the inside of that. And sometimes people (pauses) they kind of reveal a little too much, and we feel like we know them. And we never really do.
JP: You’ve spoken of amazing experiences, the importance of truth, connection and facilitators for great art. Do you think a song is better if it’s actually happened to you?
GB: We will never know where some of the greatest songs of all time came from. The reason why they become meaningful to us is because we take the song and make it our own. We add our perception… we see ourselves in it.
And that’s one of the reasons I fell in love with country. It’s not about the artist. It’s about the audience… first and foremost.
To me, part of this job is putting out enough to create something that you’re proud of, and not necessarily revealing exactly who you might be personally. To me, that’s the great magic trick of being a songwriter and being a musician.
* * *
This afternoon I learned firsthand about the “difficult process” Gordon described when we first began. His diplomacy; both laudable and challenging. And I’m driven to find within him that connection between vulnerability and creativity.
The question; is it sheer talent? Is it connective affability? Or is it the combination of the two responsibile for his success? I dig a bit further and it is unearthed.
Jennifer Pricci: Name something you can’t live without?
Gordon Brown: Connection to people. That’s very important. I have found in my life when I had not felt a connection or a support system to be difficult times. And when I kind of switch that up a little, I find an easier way through it all.
You can buy the Williams Honor debut album online at the Williams Honor Online Store, at area retailers and online at Amazon.com and iTunes. More information will be available at the Williams Honor Official Website and the Williams Honor Facebook Page.
RELATED: Williams Honor Does Poetic Justice (Album Review)
Connect with Williams Honor
Connect with GnR
About the Author
Jennifer Pricci, a Jersey Shore music enthusiast, has been a contributing writer for New Jersey Stage since its inception. A self-admitted name-dropper, Jennifer’s articles tend to cover those she holds in high esteem -- with a goal of paying homage to local talent in addition to enticing and educating readers. For this reason you’ll rarely find a negative review written by Jennifer; constructive criticism at best.
Jennifer Pricci is a Marketing Professional with 15 years of broad-based experience combining both brand and agency side successes; perhaps most notably driving the campaign that secured sponsorship for ClearChannel’s iHeartRadio Theater Presented By P.C. Richard & Son in New York City. On the performance side, she has appeared as part of a barbershop quartet at Carnegie Hall, The Alamodome in San Antonio, the Superdome in New Orleans. The Times Union Center (formerly Pepsi Arena) in Albany and more.
In 1999 Jennifer founded her own marketing agency; PHANTOM POWER, a fully integrated marketing firm serving the needs of local musicians and small and mid-sized businesses throughout the Tri-State.
For more information about Jennifer Pricci and PHANTOM POWER Marketing visit www.phantompowermarketing.com.