The Jane Getter Band

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Reviewed by: Joshua Turner, September 2005 

 Jane Getter – See Jane Run

Jane plays in a male-dominated sport, but her abilities are superior to the average man or in this case the common shredder. While she is both a rarity and anomaly in the field, she certainly stays in contention with all the current greats. Her style is probably closest to Steve Morse while the rest of her team has a tendency to play the blues and even hints upon R&B at times. Even though her music displays enough dimensions to appeal to pure instrumentalists, she still manages to work in a number of vocal verses. On the whole, Jane has gathered a highly eclectic bunch to back her. By definition, this is a real fusion of styles and easily qualifies Jane’s membership into what was once exclusively an all-boys club.

Here is what I got from my very first read of Jane Getter’s See Jane Run:

The Loop – If you thought Audioslave was a stretch, how about pairing up Soundgarten with Santana? Over a rhythm section that could have easily been crafted by Chris Cornell, Jane’s shredding authentically imitates Carlos Santana. As an added effect, keyboards subtly streak in and out of the mix as if it’s Derek Sherinian playing a plush piece off one of the Platypus albums. After a full treatment of tumultuous drums is applied, a thick coat of percussive polish is slathered on for good measure. Also added to the list of active ingredients is a small dose of Spanish congas. As different as each style might be, this makes for a veneer that’s shiny, slick, and squeaky clean. When it drives by, the detailing will be sure to impress the neighbors.

Something Better – While the rhythm of the first is more inline with jazz and rock, the beat of this one more closely channels modern day R&B. It may not be blatant, but the bass says Mike Kenneally Band. Vocals are present as well, preaching a tone that’s purely Alicia Keys. Aside from the female voice, the music elicits the kind of pattern one would expect from Will Smith or Jimiroquoi. Thulani is the name of the singer and she demonstrates a great deal of ability in her delivery. The musicians are good enough to go strictly-instrumental, but the vocals give this song its gusto. A band by the name of Bird Mancini is brought forth in my mind as they too permeate a similar kind of sound.

Leap Year – I see no reason to miss out on this psychedelic celebration. It brings Stevie Wonder, George Clinton, and James Brown together for one happy reunion. It has the groovy nature of music from the seventies, loops like the eighties, and provides the heavy grunge that was so prevalent in the nineties. With all these elements coming together from past eras, the music is perfectly suited for today’s ear. Come to think of it, the song sounds a lot like Echolyn. So, just like Stevie, it should be no wonder why this is my favorite section to come out of this subscription.

Did I Ever Tell You – Jane seems to use a layered approach when it comes to the track listing. Like clockwork, we consistently click between instrumental tunes and song-oriented tracks. In this piece, Thulani returns for her encore presentation. This one in particular is more or less a pop ballad. For something so routine, it’s incredibly implemented. We get some backing vocals from Jane herself as well as some from a fellow named Jerry Barnes. As Thulani sings like Sarah MacGlaughlin, Jane’s note-picking is soft and subdued. The suggestive nuances oozing from her guitar are surprisingly sublime. These supplements give the album its sugar in addition to its spice.

Lost & Found – A foundation of rhythm and blues is laid upon a bed of flowers in bloom. Overhead, Abbou M’Boup’s percussions tap like the pitter-patter of precipitation upon leafy branches. Underfoot, Adam Holzman’s piano crackles like arid twigs with every measured step. It’s a relaxing stroll in the middle of a fascinating and fertile forest. If this is what it means to be lost, please don’t find me.

Nebula – This track is experimental and acoustic. To me, it sounds a bit like the jazz outfit Tuatara. James Genus bass really adds gravity with the lowest of low notes. The guitar, on the other hand, merely sprinkles its notes. This technique adequately impersonates a harp. From her guitar shredding to her simple harmonics, she reveals quite a range to her audience. You will be dazed, confused, shaken, and stirred by the spectrum of styles she shares with us on this far-out track.

Know You – Like The Loop, we get a combination of styles and influences. This has bluesy riffs with vocals that cunningly kidnap Destiny’s Child. Beyonce Knowles is at the heart of this calculated caper. It’s interesting how they take these primitive styles and mix them with ultramodern approaches. Using these primary colors, they make new shades from the brightest pinks to the most emerald of greens. It’s hard to say if - Live 365 Radio

JANE IN THE PRESS

The fuse of soul, funk, feeling and sincerity - that would be the description of Jane the debut album from Jane Getter on Lipstick Records, distributed by Allegro Corporation. Jane is a musical blend of authentic technique, formal training, raw and energetic drum patterns and intense passion arranged to simple perfection.

The New Jersey native first fell in love with the guitar at age nine. "I was taking piano lessons and would sneek and peek in on my sisters guitars lessons and watch her classes." Jane Getter candidly admitted,"it was then that I felt a real connection." That connection, as she describes it, must have been fate. In the 1980's, Getter had emerged as both a guitarist and composer and had become a virtual jewel in the glittering New York scene. She encompassed the invaluable training from the likes of pianists Richie Beirach and Kenny Barron. She developed a keen sense of musical motion working stints with violinist Michal Urbaniak and saxophonist Joe Lovano to name an impressive few.

Jane systematically breaks down the small-minded stereotypes of women in contemporary instrumental music. Ask any true music lover about what Getter is capable of delivering and you'll absolutley receive a response of overwhelming accollades.

She has a backround of playing with legendary musicians and even the current collaboration on her debut album showcase the likes of drummer Rodney Holmes and bassist Victor Bailey. "All the reviews in Europe have been very positive," Getter shared with me as we talked about the concern of being catogorized, "but I was curious about how I would be catgorized since my music has various styles." Combinations and creativity abound in Jane and keyboardist-producer-husband Adam Holzman (Miles Davis Group, Grover Washington Jr.) plays an intricate role in making that happen. Holzman's synth skills are represented in funky hitting tracks like Cat Walk and he delivers deep groovey basslines in the selection Headphone Hair. It also doesn't hurt that Holzman has his own band experiance (Brave New World).

Jane is bold, with refreshing selections like the very well done rendition of the Gap Band's Outstanding, which was produced by Jerry Barnes, the hard-hitting Peek-A Boo,is a hold-nothing-back track also produced by Barnes and is Getter's take on George Benson's signature scat-and-play technique. As for Riza, Getter delivers a scorpion-like sting affecting the senses with a subtle approach leading to an awesome high energy crescendo. If you have things to do, if you have somewhere to go -- put Jane in your CD player and get it done or get there fast!

Jane absolutely delivers.

-- Niecy-D, Central Florida Advocate


- Central Florida Advocate

Although her highest-profile gig was with the "Saturday Night Live" band in its 1995-96 season, guitarist Jane Getter has played alongside a diverse array of artists like Michael Urbaniak, Joe Lovano, and organist Jack McDuff. Jane (Lipstick), her first effort as a leader, showcases Getter's energetic playing and well-rounded pop/fusion compositions alongside the production and keyboard skills of Adam Holzman.
-- Steve Grabow, Billboard, - Billboard

Guitarist Jane Getter's debut album features an energetic fusion of jazz and rock. Getter, who was a member of television's Saturday Night Live band in 1995-1996, blazes with all the power an electric guitar can muster. Her husband Adam Holzman, provides the keyboard accompaniment, while their 3-year-old son Russell provides miniature intermission breaks in several pl aces at the drums, on harmonica, and as a doo-wop "vocalist". Getter's band ranges in size from three to six and pumps up the volume enough to fill a stadium.
    Getter wrote most of the tracks for the session. "Storytime," "Little Hands" and "Peek-A-Boo" reveal the never-ending mischief and constant stream of energy associated with raising a child. The heavy back beat, wall-shaking electric bass, and head-bobbing solo instruments provide a parent's momentary escape from the daily routine. "Headphone Hair" employs a quirky zigzag rhythm at a danceable tempo, as Getter raises the rooftop with her powerful guitar. The tempo slows down some for "Cat Walk" as keyboard and guitar provide prancing and dancing that you'd associate with the song's title.
    Both husband and wife pump up fiery solo encounters on their respective instruments: the session is alive and contains elements that are noticeably imported from jazz, rock and contemporary blues.
-- Jim Samterim, L.A. Jazz Scene,      
- L.A. Jazz Scene

Jane Getter is a very accomplished and experienced player, as evidenced by her versatility on the CD "Jane". Her music spans the pantheon of electric guitar, from the smooth Bensonish tones of Storytime to the heavy metal widdling of Deep People.
    While much of this CD will not be to the tastes of your mainstream jazz guitar enthusiast, there is no denying that she does what she does extremely well and with commitment and sincerity.
    For my own taste Storytime is the standout track. I hope that she eventually makes an entire album of this kind of groove, she really excels at it.
-- Andy MacKenzie, Just Jazz Guitar, - Just Jazz Guitar

See Jane. See Jane jam. She's New York's Jane Getter, and she may be the fieriest fretboarding female to ever strap on a Stratocaster. An A-list sidewoman for years, she's been the go-to gal for Brother Jack McDuff, Joe Lavano, Slide Hampton and Kenny Barron end even logged time with the Saturday Night Live Band. On her latest solo outing, See Jane Run (Alternity), Getter proves she's a player and composer who's ready to take center stage. Mixing high-octane instrumental workouts with smooth R&B vocal tunes, See Jane Run plays like a funkier, more urban Mahvishnu Orchestra............ - Vicki Hartung