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LIVE REVIEWSTrudy Kerr and the Michael Garrick Trio 19 September 2009 - Scarborough Jazz Festival Michael Garrick’s lyrical compositions rank among my favourites, and his precise, careful playing fits with Trudy Kerr’s meticulous intonation and elegant swing. This was reason enough to look forward to tonight’s set. I am also a firm believer in the dictum that you need a strong jazz singer on stage about half way through the festival. Most popular music has featured the voice heavily, and while I’m a fanatic about jazz playing, getting back to a singer is a refreshing restorative 15 hours into a festival. The trio were ideal accomplices for Kerr, turning reserve into a virtue, gently swinging behind her, and then filling the instrumental solo spaces with distinctive ‘voices’ of their own. Garrick and Clark Tracey echoed each other’s percussive lines, but the pianist’s pastoral feel is never far behind, while Geoff Gascoyne was responsive to every situation. The Ellington pieces (from Kerr’s current CD with Garrick) were a joy. She made the well-known compositions her own. This is a woman who commands a stage anyway, but she loves to sing and I was drawn in to very number. But Garrick was always an equal in the musical stakes, even if he is more self-effacing up on the stage. This was genuinely a jazz trio with a jazz singer, and everyone in the room seemed to feel that they earned their place in a very strong festival line-up. I like a singer who respects as well as uses the jazz tradition. TIM WALL http://justlikejazz.org/tag/trudykerr Australian expatriate TRUDY KERR is another artist who understands the importance of seducing the public. A combination of artful programming and assured arrangements has made her one of the country's most polished singers. At Ronnie Scott's all this week, she has the imposing task of preceding Hugh Masekala on stage. After her haunting ballad performance on All the Way, her trio slipped easily in and out of a straight four-to-the-bar beat on My Resistance is Low. A few years ago Kerr still sounded as if she was processing different vocal influences. Now she is coming into her own. The new album Day Dream gives a taste of that maturity, but the bandstand is where she truly flourishes.
CLIVE DAVIS THE TIMES, NOVEMBER, 2000 RONNIE SCOTT'S
Australian singer Trudy Kerr brought October to a close with three evenings that unveiled the contents of her latest album 'Day Dream', built around the contents of the Great American Songbook.With pianist Mike Gorman, bassist Geoff Gascoyne and drummer Sebastiaan de Krom providing splendid accompaniment, she came up with some enchanting interpretations of classic standards, including a superb rendition of 'Sweet Lorraine', supported by Geoff Gascoyne's delicate bass, and a beautiful 'Glad to be Unhappy'. With excellent diction and masterly microphone technique, all combined with a warm expressive voice, she is an extremely welcome addition to the local music scene. BOZ MAGAZINE, NOV 2000, PIZZA ON THE PARK
…Her Sassy vocal style is very much in the manner of the American greats and she delivered a compelling performance. Whether a sweet wistful ballad or a tough upbeat tune she remained sincere and convincing. Highlights of the evening included TOUCH OF PARADISE. The influence of gospel and soul were most evident throughout this tender tune. YOU'RE EVERYTHING would tax the most agile of singers, but presented no problem for Kerr who made every difficult chord change seem natural. Since Trudy's arrival on these shores she has gained a reputation as one of the most important acts around. With gigs like this there is every likelihood that her star will rise and rise. Australian born vocalist Trudy Kerr provided a packed Cellar with a highly satisfying evenings's jazz on Saturday. Miss Kerr has a style which moves between swing, subtlety and seduction, with all moods fully evident in a programme which included standards such as GLAD TO BE UNHAPPY, JUST ONE OF THOSE THINGS and ON A CLEAR DAY as well as items arranged by Nick Weldon. He alongside Geoff Gascoyne on bass and Mark Fletcher on drums, provided excellent support both for the singer and saxophonist Mornington Lockett. Overall there were some neat time-changes too, and Billy Strayhorn's tune IMAGINE MY FRUSTRATION brought things to a raunchy close, although the vocal/bass duet A TOUCH OF PARADISE had provided an early highlight. DARRYL GEE HUDDERSFIELD EXAMINER MARCH 99 HUDDERSFIELD JAZZ
….Kerr is an engaging performer who likes to give her all. She moves confidently between standards and ballads, adding in contemporary material to give her set a degree of variety. She can change easily from her opening role as a torch singer on TAKING A CHANCE ON LOVE and become a hip strutter on I'VE GOT JUST ABOUT EVERYTHING, before tackling NO MORE BLUES, extending her range to achingly high limits. There is also a more soulful side to her, the echoes of Aretha Franklin coming through as he attacks and pushes her numbers through to a forceful climax. OCTOBER 98 THE STAGE NEWSPAPER, RONNIE SCOTT'S, LONDON |
