Reviews for Aphrodite's Child


DOWNBEAT MAGAZINE *** (3 stars)

A young Londoner with film star looks, Juliet Kelly serves up a good first recording that begs for listening by adherents of jazz and pop-jazz. Kelly, who came to jazz through the jazzy side of Sade before discovering Shirley Horn and Ella Fitzgerald, begins Aphrodite's Child unimpressively. Her lovely voice fails to make secure connections with four original compositions and the standard "Softly, As In A Morning Sunrise." A chirpy naïvete exists where a smoky worldliness might.

Kelly turns things around on the last half of the set with five originals. She brings emotional credibility to her interpretation of words on hesitant romance in the ballad "Wait For Me" and her newfound confidence extends to the swinging "Love Can Change Your Life." Kelly confronts a "warning cry from deep inside" with gentle surety in the slow-paced "Siren Song" and puts across Sade's "Your Love Is King" without callowness or affectation. "When You Believe In Love" evidences her joy in the freedom of expression, the projection of the jazz elements in her singing.

FRANK-JOHN HADLEY

JAZZREVIEW.COM

I don’t think we have to worry about another British Invasion, but Juliet Kelly’s new album, Aphrodite’s Child evidences its possibility. The young vocalist is talented, knowledgeable and hard-working. The London located artist gives us an almost complete album of originals, and at the same time challenges us not to fall in love instantly.

In fact, most of the album is about love. Kelly’s compositions are about the possibility and magic of romance. She sings unabashedly about the wonderfulness and beauty of such passionate feelings. Although abstract at times (from “Garden of Eden” – “There is a place, far on the horizon; The faster you run, the farther away it seems; A land that’s new, full of hidden treasures; But where is this place, the secret’s in your dreams.”), her lyrics are poignant and engaging.

Equally engaging is her voice. Her rich alto tone grabs our attention immediately. Like so many great jazz songstresses, her voice is powerful but always in control, giving us the impression it could burst at any moment. Not only is her tone vibrant but her rhythmic feel is just as vivacious. Her articulation is smooth but accurate. Her lyrics clear but not over enunciated. All these things combined give us the feeling of a truly instrumentally knowledgeable vocalist. Her entire performance gives an air of perfection without the perception of over-preparation.

Equally evident is her knowledge of jazz that comes through in her song choices and compositions. One of the only two non-originals is “Softly, as in a Morning Sunrise,” a familiar and heart-wrenching ballad. In the melodic themes of “Too Late Now,” we are reminded slightly of “Too Darn Hot.” A probable accidental and slightly subconscious nod to another jazz vocal classic.

The most romantic track on the album is the beautiful ballad “Wait For Me.” Kelly’s voice is beautifully matched with the song, and she does wonders with this gorgeous tune. Kelly is equally comfortable in burning, Latin rhythms as she is in simple, unadorned ballads. It is a tribute to her talents as a leader that she and the rhythm section can be so comfortable in all styles.

The rhythm section deserves special attention. This is truly a remarkably talented group of musicians. Seb Rochford provides the backbone for the group on drums. Always steady and driving, the rhythm section never for a second lacks energy due to his sticking. Also, Mike Gorman on piano provides an awe-inspiring performance. As accompanist he provides better than adequate support, but as soloist he shines with creativeness and technicality. With a nod to Ms. Kelly, he also does this without ever seeming pressed, but at any moment ready to burst. Finally, Tom Barlow on bass is an ever-present member of the group. Rounding out the section well, he also provides unique and musically intelligent solos within the framework of the group. He adds particular maturity to the ballad, “Wait for Me.”

Ms. Kelly swings hard and swings well on Aphrodite’s Child. Her songs elicit the feelings of a lover who has been jilted more than once but who has not lost hope. One has much hope for Ms. Kelly and her vocal talents. This is a wonderful album, and one hopes that more albums as good and greater are just over the horizon for her.

SCOTT GOTSCHALL

JAZZUK

An impressive debut CD from this highly distinctive singer, whose warm tones and engaging delivery bring these songs to life. All but two are originals by Juliet Kelly, and together they illuminate various aspects of her strong musical personality - even the two others are reshaped so as to reflect her very personal approach. Excellent and highly compatible support too, from pianist Mike Gorman, bassist Tom Barlow, and Seb Rochford on drums, and there's the bonus of saxophonist Tony Kofi, who makes his presence felt on three tracks.

PETE MARTIN

JAZZWISE*** (3 stars)

She describes her style as "acoustic groove", but whatever you call it, Kelly's debut is an enjoyable, cool-ly, sensual jazz album. A relative newcomer to jazz singing - the Londoner grew up in a household that banned non-religious music - Kelly has at least two qualities that mark her out from the throng of female vocalists currently plying their trade. Firstly she writes her own material, in a variety of styles. She easily embraces a goddess-like, strong woman vibe, as on "Aphrodite's Child", but she can also write upbeat accessible ballads such as "Love Can Change Your Life". She also has an elegant articulation which, combined with a magisterally-paced delivery, makes each lyric crystal clear. The phrasing can be a little too stately - Ms Kelly could hardly be described as a red-hot swinger - but it works on a cover of "Your Love Is King". And the band's not bad either. Guest sax Tony Kofi's spiky bursts make a neat contrast to Kelly's cool, while Seb Rochford's fluid, understated drums reveal why he is an up-and-coming star.

ANDY ROBSON