I started working with Jann in 2004 after his BLACK BOX ep came out, because I enjoyed both his creativity and music, and felt he was very memorable. After he co-produced the chamber pop-folk masterpiece REVERIE with Stewart Lerman, I heard his first release, ENOUGH SAID, which he created while attending school in Cleveland, just starting to study voice. This album is "diamond in the rough" Jann, a kid with a strong voice, melodic and lyrical music ideas, combining a range of music. It shows his personality, both in each individual song and in the "Seussian"-looking sculpture Jann created for the album's cover picture. Just as different people interpret each song on REVERIE with a variety of reflections, I think ENOUGH SAID's tracks pays tribute to a range of music from folk to untamed progressive pop and rock concepts with vocal melody, thoughts covering gamuts of spirituality, relationships, and nature. I hear the signature Jann guitar attacks and strums especially on NOTHING TO CONCEAL, and lyrics that combine his unique "olde" time syntax with modern imagery and that of days gone by. The philosophy for creating this album rests in the "No one can tell me what to do" attitude of ENOUGH SAID's last song, the a capella, "Higher Ground." Returning to Cleveland to study voice after staying in Germany, performing civil service and being told by his parents not to make music, this album is the result of that struggle "to spread his wings and be the winds of his motion" (and emotions). I have such love for his seafaring exploration in "To The Sea," which could be recorded by Fairport Convention, Strawbs, Tull, or Styx if they were interested in covers..... Even though his lyrics and music displays tender sensitivity, there's also a macho energy in his voice and musical arrangements in a number of the album's songs, "Anyday Morning," "If This Be My God," the jazzy "Wide Fields." There's rock and fusion, vibes of country prog groups like Pearl Jam and Marshall Tucker on this album. Just a pure magic of Jann's creative influences and imagination, and his and the band's understanding of using instruments for drama and story as much as accompaniment, which has become Jann's M.O. in making music. Even with all the creativity, there are comparative flaws on ENOUGH SAID. Jann's voice is more scratchy; he was a cigarette smoker back then and also hadn't started learning how to use his voice. But he was scatting, hitting the high notes, growling, hissing, and taking his voice on new tangents. Likewise some songs on ENOUGH SAID go on tangents for better or for worse; always interesting tho' for true Jann fans. His first effort in the studio gave no clue that someday he would master the ability to weave a variety of influences into personal and definitive song arrangements as executed well enough on BLACK BOX's "That's Not The Way" and "Black Box," and flawlessly--yet with honest emotion on everything from REVERIE. Back in 1997 I was working with a number of progressive rock artists--Jethro Tull and Ten Ton Tide, members of Dream Theater. If I had received this disc then, I probably would have pursued this artist to work with him. I'm not sure if I would have encouraged him to find his pop muse or stay on this progressive rock path, because I like what's on this album quite a bit. The musical understanding displayed on ENOUGH SAID shows why all the realized potential Jann's created both live and on his later songs and albums can reach the hearts of a range of music fans from the softest to the hardest edged lovers. ENOUGH SAID is a fascinating notebook and story, showing Jann Klose's potential, sense of drama, and music and life-loving personality.