Lipstick LIP 8958-2
Sounds to check it out:
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Quicktime 3.0 Sound |
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Realaudio-File |
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Storytime
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Cat Walk
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(End of guitar solo and start of last melody, ca. 20 Sek.) |
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Guitar Player Magazine has published an article by Jane Getter about improvisation. Due to some people at Fender hearing her album, she is also now sponsored by Fender guitars and has just received a special guitar made to her specs by Fender. It is a special Strat with several adjustment to her personal taste. In the summer of 2000 she will also appear with Rachel Z. and Ursula Dudziak at some european jazz festivals.
Jane Getter came to New York in her early 20s - taking guitar lessons from John Scofield, Jack Wilkins and Chuck Loeb in the 1980s as well as studying composition with Jim McNeely. Her enormous music talent was very fast recognised and she soon got a job as guitarist in Jack McDuff's band.
She went on to tour with several musicians including jazzrock-violinist Michael Urbaniak, pianist Kenny Barron and Regina Carter and co-wrote songs with drummer Lenny White. 1995 and 1996 she was a member of the "Saturday Night Live"-Band - and was seen worldwide on TV with this group. Some of her songs with Lenny White became hits on US-NAC radio charts - including "Hopscotch", which brought Michael Urbaniak back into the charts. She also won the 1991 ASCAP "Gershwin"-award for her composition "Red Earth Suite".
When she recorded her own debut album at the end of 1997, she was helped by some of the musicians she worked with before. The belong to the elite of the New York funk and jazz scene - Adam Holzman, Victor Bailey (Bass, ex "Weather Report", Zawinul, Bill Evans), Rodney Holmes (Schlagzeug, "Brecker Brothers Band", Mike Stern, Leni Stern), Aaron Heick (Sax), Abdou M'Boup (Percussion), JuJu House (Drums, "Arrested Development", Chaka Khan, Grace Jones u.v.a.) and James Genus (acoustic bass).
The album was recorded and mixed at the "Avatar"-studio in New York (the former "Power Station", where Bon Jovi and many other top rock and pop acts usually record. The price would normally have been unaffordable for a jazz-rock record, but since the owners were so impressed by her demo tapes and knew her reputation, they gave her studio time at their own operating costs.
The final (analog) mastering of the music was done at the legendary studio "Masterdisk" to get dynamics and overall sound suitable even for the next generation of 24-Bit digital audio.
Some press reactions for the album (some translated):