All About Jazz

Home » Articles » Live Reviews

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

5

The Jane Getter Premonition at Iridium

The Jane Getter Premonition at Iridium
Roger Weisman By

Sign in to view read count
The Jane Getter Premonition
Iridium
New York, NY
April 17, 2018

The Jane Getter Premonition's set at Iridium showcased the guitarist/composer's continuing explorations in the area of progressive rock with a set of music that was inventive, volatile, and expertly played. Primarily featuring material from her most recent studio album, On, Getter's band consisted of some of the finest musicians working in the jazz-fusion, funk, and progressive rocks genres, including guitarist Alex Skolnick (Testament), bassist Mark Egan (Elements, Gil Evans), drummer Rocky Bryant (Average White Band), and her longtime collaborator, keyboardist Adam Holzman (Miles Davis, Steven Wilson).

Getter is a powerful and versatile player, and her compositions are complex, sophisticated, and dynamic. Known for years for her work in the jazz milieu, much of the Premonition's music has a heavier, more ominous sound. The opening song "Pressure Point" set the tone of the evening, and exemplified many of the compositional trademarks of this project. Brooding and moody, the pounding riff hooked the audience in, while the odd time-signatures and abrupt changes kept them from getting too comfortable.

Perfectly at ease with sharing the spotlight, she welcomed Living Color guitarist Vernon Reid to the stage for the song "Kryptone," his first of several appearances of the evening. Again, her gift for odd, ear bending melodies came to the forefront with this piece based around a nasty Viking dirge of a riff, continually building in intensity before the band stopped on a dime.

The band functioned like a well-fueled steam engine, locking with each other, deftly handling the intricate melodic lines and sudden dynamic shifts. On "Inversion Layer," from Getter's album Three, the band explored a "whisper-to-a-scream" approach reminiscent of early 70s King Crimson, featuring crunching riffs and a thudding bass line, alternating with delicate, slightly discordant passages. Initially a vehicle for the guitarists to improvise, ultimately the baton was passed to Holzman, who ended the piece with his most blistering synth solo of the set.

For non-instrumental songs, she was joined onstage by Randy McStine, who shared lead vocal duties and sang harmonies. His bright, clean voice cut through the arrangements with great effect. The lyrics, while at times vague and unspecific, fit the mood and the sometimes mournful tone of the music. Songs like "Surprised" and "Alien Refugee" (a new song written about the war in Syria) frequently dwelt on themes of worldly injustices, while "Transparent" dealt with distrust and the artifices of everyday interactions. At their best, in songs such as "Falling," her words guilelessly express a deep world weariness and need to stave off helplessness. "I know that I will get up," she sings, "I know because I always do."

Not to say that there weren't moments of light. Jane's gorgeous solo introducing the song "Diversions," with its clean tone and tasteful use of delay, washed over like crystalline water. As the band joined in, they established a rolling groove, with the intensity building and ebbing with each successive soloist. Moment of driving force balanced by flashes of meditative tranquility.

The band also cut loose a bit with a killer rendition of Jeff Beck's driving rocker, "Led Boots," before ending the set with "Train Man," another musing on social themes, with lyrics taken directly from a homeless man that Getter had encountered. At first soulfully relating the protagonist's pleas for aid and understanding before relating his delusions and hopes ("His book is gonna come out soon... Gonna get rich and die") the song quickly turned into a tumultuous, pounding workout, with Getter, Skolnick, and Reid trading off solos before coming together in a fiery collision. Having thus sufficiently bowled over the audience, the band took a bow and departed the stage.

Returning to encore with satisfyingly funky "The Loop," a favorite from Getter's jazz-fusion back catalog, the players all got a few more licks in, and one more solid vigorous rave-up before leaving the stage for the final time.

It was a set of intense, inventive, searching music, and if there was a motif of world-weariness, it was never jaded or numb. There is a depth of emotion in the music and in Getter's playing, and also an endless supply of energy. Her intricate compositions engage the mind as well, while leaving plenty of room for spontaneity and surprise. It was a remarkable evening of heavy music for thinking people.

Tags

comments powered by Disqus

Live Reviews
CD/LP/Track Review
Extended Analysis
CD/LP/Track Review
Read more articles
ON Tour

ON Tour

Big Fun Productions
2017

buy
ON

ON

Madfish Music
2016

buy
Three

Three

EmArcy
2011

buy
Jane

Jane

Lipstick
1999

buy
Jane

Jane

EmArcy
1998

buy

Related Articles

Read The Magpie Salute At The Grand Point North Festival 2018 Live Reviews
The Magpie Salute At The Grand Point North Festival 2018
by Doug Collette
Published: September 23, 2018
Read Chris Isaak at The Paramount in Huntington, NY Live Reviews
Chris Isaak at The Paramount in Huntington, NY
by Christine Connallon
Published: September 23, 2018
Read Detroit Jazz Festival 2018 Live Reviews
Detroit Jazz Festival 2018
by C. Andrew Hovan
Published: September 19, 2018
Read Beethoven, Barber and Vivaldi at The Jazz Corner Live Reviews
Beethoven, Barber and Vivaldi at The Jazz Corner
by Martin McFie
Published: September 18, 2018
Read Bryan Ferry at the Macedonian Philharmonic Hall, Macedonia 2018 Live Reviews
Bryan Ferry at the Macedonian Philharmonic Hall, Macedonia...
by Nenad Georgievski
Published: September 16, 2018
Read Live From Birmingham: Dinosaur, Meatraffle, Hollywood Vampires, Black Asteroids & Paul Lamb Live Reviews
Live From Birmingham: Dinosaur, Meatraffle, Hollywood...
by Martin Longley
Published: September 16, 2018
Read "Hyde Park Jazz Festival 2017" Live Reviews Hyde Park Jazz Festival 2017
by Mark Corroto
Published: October 1, 2017
Read "Jazztopad 2017: Concerts In Living Rooms" Live Reviews Jazztopad 2017: Concerts In Living Rooms
by Martin Longley
Published: January 17, 2018
Read "Vijay Iyer at SFJAZZ" Live Reviews Vijay Iyer at SFJAZZ
by Harry S. Pariser
Published: February 4, 2018
Read "Nels and Alex Cline at The Jazz Bakery" Live Reviews Nels and Alex Cline at The Jazz Bakery
by Jonathan Manning
Published: January 22, 2018
Read "E. J. Strickland Quintet At Scullers Jazz Club" Live Reviews E. J. Strickland Quintet At Scullers Jazz Club
by Nat Seelen
Published: October 3, 2017