“The highlight of the Symposium [Cybersonica: The International Festival of Music and Sound, London, May 2002] was Matt Rogalsky's presentation of his Kash software...feeding pauses back into the live event in his collaborations with experimental violinist JANE HENRY...” — Lina Dzuverovic Russell, “Cross Platform”, WIRE Magazine, August 2002

“What a revelation, the performance of this austere and spirited woman, barefoot and alone with her violin on the stage of the sold-out Kikker Theatre! Henry's short and motoric improvisations are no propoganda, no 'agitpop', but the most highly personal, subjective digestion of extreme experiences. And that is, even in contemporary music, the optimal fertilizer for fascinating music.” — by Jurriaan Meyer, Utrechtse Niewesblad, (NL), October 11, 1995

“Direct and concise compositions, interpreted in a very personal manner, revealed an amalgamem of sound phenomena rising from her violin like a snake from a basket.” — by Roland Spekle, in Dwarf (Dutch Gothic music journal), July/August 1995

“...the high point of this evening [of electro-acoustic music] was the dialog between violinist JANE HENRY — an old acquaintance of the [Theatre] Kikker — and [Joel Ryan] behind the computer [giving] this piece its literal “electrifying” charge.” — by Jurrianne Meyer, Utrechtse Nieuwseblad, Feb. 23, 1996

“Jane Henry’s cat-scratch violin technique — something like Evan Parker’s wildest alto-sax sputterings transcribed for stringed things — overwhelms Toral’s aerodynamic swells and lashings.” — Gil Gershman, Magnet Magazine (USA), May/June 1998

“She takes her violin way outside the usual Mendelssohnian circuit: difference tones, microtones, bowing distortions. She’ll run her instrument through a bowing device called “the grinder”, an invention of the irrepressible Jerry Hunt, and accompany herself with greeting-card microchips gone haywire.” — Kyle Gann, Village Voice, “Voice Choices”, May 14, 1996

“In “Chimanzzi (Olun):core”, Jane Henry plays stream of consciousness violin while Hunt rattles jingle bells and scrapes a hardware store full of doo-hickeys...His secret language is frenetic and frustrating, producing exquisitely and mysteriously wrought compositions.” — Kyle Gann, “Pick Hits”, Village Voice, 1994