JAZZWISE

"Melancholy can be uplifting" mused Juliet Kelly between songs, as she expressed surprise that some people consider her songs to be dark. Certainly some of her songs have a touch of melancholy, but Juliet's skilful and intelligent lyrics led us through a spectrum of emotions from outright joy to the bittersweet regret of unrequited love. From 'Parallel Universe' with it's infectious beguine rhythms to the soulful delicacy of 'Unicorn Dream' with Carl Orr's atmospheric guitar accompaniment, each of Juliet's songs has its own distinctive character. And these truly are jazz songs that draw on a variety of jazz harmonies, rhythms and song forms.

If Juliet could not sing a note, her songwriting alone should assure her of a successful career. But sing she certainly can and this launch gig for her new CD, Delicious Chemistry, confirmed her as a warm, passionate and witty performer who engages with her audience as she debates life's conundrums and ironies through her songs. She also engages with her musicians so that we heard a wonderful dialogue between Tom Barlow's bass and Dave Ohm's drums, Kate Williams exploring minor blues territory on Aphrodite's Child, and the exciting build up of Omar Puente's soaring violin lines on 'Guardian Angel.'

CHARLES ALEXANDER

NORFOLK EASTERN DAILY PRESS

From Byron Wallen's Miles-ish muted trumpet introduction, shuffling beat and catchy melody there's a hint where we are headed here. Kelly is on a musical journey into what was once Sade and is now Cassandra Wilson territory. Certainly from the recent high output of what's become known as "jazz-lite" from any number of female vocalists it's clear that someone thinks there's a vast market for it. And when Kelly does it, her ability rises above the others. There's no doubting her skills as a singer (husky, yet silky, soft and endearing) and judging by this set she's hot stuff when it comes to songwriting having written all 11 tracks here - and there isn't a duff one among them. Her band, too, are first class. Carl Orr (guitar), Tom barlow (bass), Seb Rochford (drums), plus Courtney Pine guesting on saxophone, Roger Beaujolais on vibraphone for Alone Again. This is a good deal smarter than the average outing.

ALL ABOUT JAZZ

Contemporary jazz vocalist Juliet Kelly remains accessible in her quest to interpret original material that members from all factions of the jazz world can enjoy. Convincing in her interpretations, yet laid-back with a comfortable groove, she delivers each original song with subtle passion.

The extensive range of Kelly's contralto voice lets her reach out with open arms and a genuine, heartfelt demeanor. She surrounds herself with a fine band of like-minded jazz artists who deliver original concepts on target. Their sound remains contemporary while weaving an exotic thread through its presentation.

On “Delicious Chemistry,” she transports the listener to a distant land through acoustic sounds and a heartfelt appeal. Her “I Wish You Love” is performed as an intimate vocal/guitar duet. “Black Rose,” a tribute to Nina Simone, carries a smooth jazz texture while spreading its message with comfortable overtones. “Unicorn Dream” represents a winning formula with its combination of Kelly's passionate message and her band's acoustic accompaniment. Together, they're both exotic and convincing.

With “Parallel Universe” and several other selections, the singer weaves a comfortable tango pattern into her contemporary interpretation. It's her secret ingredient. The tango effect matches her vocal delivery and keeps the session both exotic and alive. Recommended, Delicious Chemistry appeals to a wide audience.

SHEFFIELD STAR

In the brave new world of jazz Juliet Kelly has already made her mark with the critics and she mixes it with some of the genre's new elite (Courtney Pine among them) for a record with a sassy edge.

The Londoner achieves accessibility with a self-penned batch of laidback songs which don't entirely surrender to the pop-jazz culture.

Album two sees Juliet wade easily between smouldering chanteuse and wine bar chic on a collection that ticks a lot of boxes to stylish effect.

BIRMINGHAM EVENING MAIL

Juliet Kelly is an immensely talented musician as this album made up entirely of her own compositions clearly shows. Her vocals are clear, crisp and drenched with emotion without ever overdoing it. She has a lightness of touch heard in the very best of Cassandra Wilson, her compositions fit her sensuous voice like a warm glove and the stellar collection of guest musicians are a tribute to the quality of this recording.

The bulk of the music comes from a superb and subtle trio with guest appearances from Byron Wallen - outstanding on the opening track, the brilliant Cuban violinist Omar Puente is featured on 4 tracks and joined on the finale by Courtney Pine.

This is an outstanding album from first to last.

ALAN CROSS

YORKSHIRE EVENING PRESS

Juliet Kelly's Delicious Chemistry (Chantiko Records, distributed by Proper) is written, arranged and produced by the young Londoner. Juliet follows a lead from Jacqui Dankworth by using guitar instead of piano in her backing group. Her arranging and producing skills are impressive, creating a varied musical setting for her vocals and the recording quality is immaculate.

Her judicious use of over-dubbed backing vocals is particularly effective on Letting You Go and her choice of musicians is impeccable.

Prize-winning drummer Seb Rochford sounds sympathetic and restrained, in contrast to his astonishing speed and volume with Acoustic Ladyland, heard live recently at York Fibbers.

Star guest Courtney Pine adds class to the final track, Black Rose, and acid jazz ace Roger Beaujolais provides atmospheric vibraphone to Alone Again. Delicious Chemistry is a very pleasant album, with optimistically hippy song lyrics, alternating with touches of melancholy.

RON BURNETT

NOTTINGHAM EVENING POST *** (3 stars)

This CD is a collection of her own material, largely ballads. She is accompanied by Carl Orr (guitar), Tom Barlow (bass) and Seb Rochford (drums), but illustrious guest musicians include Byron Wallen (trumpet) on the first track, Secret; Kate Williams (piano) on the title track, Parallel Universe and Searching For Clues; and Courtney Pine plays imposing tenor sax on Black Rose - a tribute to Nina Simone. Vibraphonist Roger Beaujolais adds a completely different texture on the emotional Alone Again. Juliet's vocals are delivered with great dignity, poise and clarity. Her compositions are rich in emotional response, written with depth and feeling.

AJ

BBC MUSIC

Second albums can be a disappointment. Too often an artist's best ideas evaporate after their first record, but that's not the case here. Londoner Juliet Kelly's second album proves that she's on an upward curve as a singer/songwriter. Like most long-loved albums Delicious Chemistry demands repeated listening before you're hooked, but then you'll want to play it to everyone you know.

Juliet doesn't regard her self-penned songs as 'dark', she says they're 'uplifting melancholy'. This is one positive woman! She sends ex-lovers packing without blame in "I Wish You Love" and "Letting You Go", but sets her to-the-point lyrics against ominous melodies. Seb Rochford and Tom Barlow, highly respected London-scene jazzers and the mainstay of her first album, are back again to weave their haunting fabric of bass and drums. Dense, complex vocal harmonies ooze through "Letting You Go", Seb's drums dancing around the bass as it hits you right in the groin chakra.

While the rhythm section remains the same, eminent guests make Delicious Chemistry a varied and satisfying listen. Byron Wallen plays a haunting trumpet solo on the smooth-funk "Secret", and Omar Puente - the brilliant Cuban violinist - lights up "Guardian Angel" with a melancholy and persistence that sustains Juliet's mantra 'keep believing in yourself'. On "Alone Again" Roger Beaujolais gets spooky on the vibes, while Juliet's yearning molasses voice and the strikingly simple instrumentation invite comparisons with Cassandra Wilson.

Most of Juliet's songs come to her fully formed in dreams. "Unicorn Dream" is one of these and has the airy feel of a Scandinavian piece. Tick-tock drums, Carl Orr's exceptionally light touch on guitar and Juliet's controlled and beautiful vocals are a hypnotic combination. In contrast, "Parallel Universe" is a catchy song with the hallmarks of a foot-tapping standard. It was inspired by Sliding Doors, a film about a life extrapolated in 2 directions, and Juliet draws the words and rhythm out like chewing gum. Result - a perfect amalgam of vivid image and mournful Latin soundtrack.

In Delicious Chemistry the elements of restrained instrumentation, intelligent arrangement and superbly controlled vocals come together into a powerful compound. File under 'self-development soul/jazz' and give a copy to a friend in need.

KATHRYN SHACKLETON

JAZZWISE **** (4 stars)

Where Aphrodite's Child, Juliet Kelly's powerful and eloquent debut recording, bravely limited itself to just a brace of covers, Delicious Chemistry goes even further. All 11 songs emanate from the singer's pen, and why not? As Kelly has stated previously in these pages, jazz offers an inordinate amount of creative freedom and almost limitless expressive possibilities, and it doesn't get more intensely expressive than writing and singing your own songs. From the loping groove of the album opener "Secret" to the concluding emotive tribute to Nina Simone, "Black Rose", Kelly's songwriting explores inner visions and outer appearances through some exceptionally beautiful musical journeys. The album's high-water marks include the stripped down guitar/vocal of "I Wish You Love", the haunting chorus of "Unicorn Dream", the skewed internal monologue of "Alone Again" and the Janis Ian-esque "Behind Her Smile". The subtle colours and varied palette provided by guest musicians such as Courtney Pine and Byron Wallen display a complete understanding of the singer's very particular artistic sensibility.

PETER QUINN

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

JAZZ JOURNAL INTERNATIONAL

London born and based, during the last couple of years Kelly has gained a strong local following, one that this debut CD is likely to expand by quite a margin. She has a strong voice, sweet but with an appealing hint of astringency that helps give her a distinctive sound. Like many young singers, Kelly has opted for writing the words and music for much of her repertoire and all but Softly and Love is King are originals. Of these, I especially liked the lively closer. More than most who occupy the jazz-pop crossover arena, Kelly's phrasing and unforced swing keep her closer to the jazz boundary without ever quite, to my ears at least, getting fully into that groove. Her accompanists are all good examples of the currently very strong London contemporary jazz scene. Those of you who lean towards this style will like this newcomer. Good sound and the accompanying insert gives the lyrics of the original songs.

BRUCE CROWTHER

JAZZ AT RONNIE SCOTTS MAGAZINE

Juliet Kelly’s debut album has been receiving plaudits since its release and it’s not difficult to see why. It’s a cliché to talk of an assured debut, but Ms Kelly demonstrates frightening maturity, writing, producing and performing as if she’d been doing it for years.

With the exception of a tribute to early heroine, Sade (a stately reading of ‘Your Love Is King’), and a sassy arrangement of the Hammerstein and Romberg standard ‘Softly, as in a Morning Sunrise’, all the songs are Kelly originals. ‘The songs on this album are very personal to me,’ she says – songs about love and life, given life by great arrangements and a great band. Mike Gorman’s piano, Tom Barlow’s bass and the excellent drumming of Seb Rochford mesh beautifully with Ms Kelly, building intensity and releasing at the appropriate moments. Check the album-closer ‘When You Believe in Love’ – a cheerful romp that demonstrates just how well the band click.

Muscular saxophonist Tony Kofi signs up for the album’s standout and title track, a sort of power ballad with a nicely ambiguous lyric that illustrates all that’s good about Aphrodite’s Child the album – a real jazz sensibility, depth in the writing, a band that doesn’t mind stretching out and a little intensity; rare and welcome weapons in today’s jazz vocalists’ often limited armoury.

Juliet Kelly is not a purveyor of pyrotechnics, depending instead on nuance and note selection. But on this first outing she demonstrates, if you’ll excuse the singularly inappropriate image, jazz chops cut from the best end.

MIKE GAVIN

ALLABOUTJAZZ.COM

Juliet Kelly was an unlikely prospect for jazz singer and composer. She was raised in London in a strict, religious household where only music of a specifically religious nature was allowed! She knew nothing about jazz, and she had never sung in public. Studying for a degree in economics, she enrolled in an a cappella jazz vocal class at a local music workshop.

Thus serendipitously did she discover her talent for singing and her love of jazz. Within a year she had auditioned for and been accepted into the postgraduate jazz program at London’s prestigious Guildhall School of Music and Drama. Since that time she has worked with many musicians from the other side of the pond, performing in venues around the United Kingdom, as well as Ireland, Italy, Germany, Israel and Australia.

She is backed in this her debut album by a fine trio of musicians, being joined on “Aphrodite’s Child,” “Siren Song,” and “When You Believe in Love” by alto saxophonist Tony Kofi, who has played with Branford Marsalis, Andrew Hill, and Jazz Jamaica. Ms. Kelly has a warm, rich, lush, natural instrument, and she sings with comfort and assurance. Except for Hammerstein/Romberg’s “Softly, as in a Morning Sunrise,” and Adu/Matthewman’s “Your Love is King” (previously recorded by Sade), compositions are her own and personal, ranging from lovely ballads to relaxed, medium tempo grooves.

Taken as a whole, the album casts a luminous spell, with mesmerizing rhythms and haunting lyrics. With this auspicious a debut, Ms. Kelly is a talent whose future contributions will be eagerly awaited.

J ROBERT BRAGONIER

CADENCE MAGAZINE

Juliet Kelly... doesn't do much real jazz singing... Her voice is haunting and melodic but without a sense of swing. Her choice of covering Sade's "Your Love Is King" says a lot about the path she's chosen, but when she gets into a song like "Too Late Now" and lets the seductive qualities of her voice take over, you don't much care what bag she's in. Her backing is more in the Jazz millieu. Mike Gorman plays very hip piano, Seb Rochford lays down a gentle beat and Tom Barlow is subtly in the pocket all the way through.

JEROME WILSON

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

VIVANTE

Another very attractive summer jazz CD from the 33 jazz label this month. Aphrodite's Child is a sensual pop/jazz/soul recording that fans of singers like Sade, Dianne Reeves and Cassandra Wilson will find very rewarding. London born, Juliet Kelly is a talented singer, who is able to be soft and sensuous as well as powerful and passionate when the song demands. She could well be a name to watch for the future if Aphrodite's Child is anything to go by.

Everything on this album seems to work. The music grooves nicely and the band (a piano led trio) know their stuff. Special guest Tony Kofi on sax, is a particular delight, whose contributions add much of the real jazz content to this set. Don't expect musical fireworks, this is an album that has its focus on the singer and her songs. Get into her groove and you'll enjoy yourself.

There are good covers of Sade's Your Love Is King (which equals the original) and Softly As In a Morning Sunrise, complementing some fairly memorable original material from Ms Kelly. Enjoyable album, if light soulful jazz is your thing.

JAZZ NOT JAZZ

What a really pleasant surprise! Like Deborah J. Carter Juliet Kelly is a jazz singer. Certainly I wouldn't have heard anything about either one without the internet. And it would be such a pity since both of them have their respective albums released by small labels one wouldn't usually find in a record store.

Although Juliet discovered her love for jazz music relatively late in her life, since she grew up in London in a strict, religious household where all music apart from the religious variety was completely banned, she sings like she has been singing all life long.

Juliet not only has a great and rich voice but also had written eight of the ten songs on her debut album Aphrodite's Child. The two cover versions are the Hammerstein/Romberg standard Softly, As In The Morning Sunrise (that is done in a very appealing way and certainly a whole album full of cover versions and standards wouldn't have been a bad decision for a debut album, but I really like Juliet's brave move to trust in her own compositions) and a very good jazz version of Sade's first hit Your Love Is King. And like real good singers should, Juliet adopts this song and makes it her own.

All songs are recorded with a trio consisting of Mike Gorman (piano), Tom Barlow (bass) and Seb Rochford (drums). For some extra attractions there's also Tony Kofi playing saxophone on three songs (Aphrodite's Child, Siren Song and When You Believe In Love). The result is a tight and very competent musical background that's just tailor-made for Juliet's voice.

It's extremely hard to single out a favourite song since all ten songs sound great and provide enough entertainment to keep this CD in the player for hours.

Lyricwise I really like Too Late Now that tells the story of an affair that begins fine ('Our first kiss was like coming home/ A sensation like nothing I'd known/ It felt so good') but then her partner leaves, love turns sour and suddenly he wants to come back ('Now you say you were so wrong to leave/ You've realized that your future's with me/ You had your chance/ But the moment has passed/ And it's too late now').

There's also the pleasant ballad Wait For Me, the swinging Love Can Change Your Life and When You Believe In Love, that tells us what can happen if you're in love. Juliet takes us to the Garden Of Eden as well, another fine original composition with a nice drum solo by Seb Rochford in between.

If you're into vocal jazz in general and appreciate singers like Carmen Lundy, Dianne Reeves or Nnenna Freelon, I'm sure you'll love this album. Aphrodite's Child really sounds like a very promising start of a long-term recording career for Juliet Kelly. So check out Juliet's website to hear some sound samples and make sure to get her album.

CD BABY WEBSITE CUSTOMERS

***** Love your voice never stop please
Reviewer: Paul SEQUENCE Ferguson

"Glad to see that there is still magic in the world, never stop the music it is life itself."

**** Tantalizing Jazz Vocalist!
Reviewer: R.B. Duncan

Juliet Kelly is an absolutely soulful young vocalist! Her rich voice captivates audiences and touches the our hearts of each listener. Expect more to come from Kelly, she is also a wonderful writer. This cd is a winner!

AMAZON.CO.UK CUSTOMER

***** An outstanding first (?) effort,
Reviewer: anthony-edwards from Selby, N Yorks United Kingdom

This is an amazing album. It is tough for an artist to make a commercially successful career in this genre, but if anyone deserves to do so, Juliet Kelly does.

Every song on the album is a masterpiece, beautifully sung, supported by backing musicians of the highest calibre. Tony Kofi's sax playing is of particularly high quality, but in truth the four musicians and Juliet gel as a breathtaking, totally coherent unit.

This album can transport one in spirit to one of those exquisite small jazz clubs such as the 606 Club in Fulham; although not a live album, it has a totally live feel, full of energy and enthusiasm, spontaneity and improvisational skill.

The icing on the cake for an audiophile such as myself (Meridian CD player, ATC pre-amp and active loudspeakers) is that it is superbly recorded, one of the best technically recorded and engineered albums that I possess in fact. The double icing is, as others have mentioned, the version of Sade's Your Love Is King; it is hard to believe that anyone could improve on that masterpiece, but Juliet has done so.

This CD is being spun again and again in my player. Highly recommended.

OXFORD TIMES - JULY 2003
JULIET KELLY & TONY KOFI
THE SPIN @ THE WHEATSHEAF, OXFORD

SINGER Juliet Kelly has definitely got something. Ever since her gig at "the spin @ the wheatsheaf", I've been trying to work out what it is. Thinking of other vocalists who have appeared there this season, Kelly doesn't do improvisational pyrotechnics in the manner of Clare Foster. Scat singing was very thinly spread, but the little she did was moving.

She doesn't display the raw power and passion of Reem Kelani, the Palestinian singer who took the place by storm a few weeks ago. Kelly is British, after all, and restraint is part of her technique - she hardly ever went above mezzo-forte. It was all deceptively simple. She just sang standards and a few of her own songs, sang them straight, and kept the audience captivated for a couple of hours. The arrangements were fresh and sometimes funky, and the original songs drew from wider influences, but it wasn't composition and arrangement that had the punters purring.

I think she has two secrets. First, she's a natural communicator. She established a relaxed rapport witht her audience. When she sang, she not only articulated every word, but sang as though she meant it. Her other not-so-secret weapon is alto saxophonist Tony Kofi. She sings a song sweetly and simply, then Kofi kicks in with the purest bebop - close your eyes and it's Charlie Parker. It's a good cop/bad cop act, and it works like a dream.

ROGER VAN SCHAICK

Juliet Kelly is a graduate of the Guildhall School of Music and Drama - both of which were apparent in this set, where she moved between standards and her own material. I would have to say that she is one heck of a jazz diva.

This was a striking show and Juliet herself cuts a striking figure. Tall and with a mane of hair, in the instrumental passages she swayed back and forth, eyes shut tight, as if transfixed in the music. In her own vocal passages she veered from the smoothness of standard jazz singing to the power of the blues - an iron fist in a velvet glove.

Highlight of the first set for me were two standards. 'Softly As In A Morning Sunrise' came like a sudden stun gun. Lead in by a bass solo, which became a groove held down hypnotically throughout. Joined by shimmering cymbals from drummer Seb Rochford, and overlaid by Kate Williams' piano. The vocals came to the fore, pitched perfectly and tingling at the spine. Early in the set, you wondered if she could possibly top it.

She did, right at the end, with Sade's 'Your Love Is King'. Apart from the piano intro this was centred on the vocal. Out to the front and delivered coolly, almost austerely, yet with an emotive punch. The band played underneath deceptively simple and to the point.

Mind you, Juliet Kelly plainly sets great store by her own material. 'Too Late Now' was sung passionately, and was evidently meant put down of a one-time lover, while 'Garden Of Eden' featured a more percussive vocal style.

The second half saw further mixtures of standards and original material. 'You Go To My Head' had the band bubbling away below a sensuous vocal. 'If I Should Lose You' was more up-tempo, opening on a jaunty bass solo, and smoother vocal set somewhat beneath the band. The band blew loose in the instrumental section here, with exuberant piano and racing bass line.

The band laid down grooves of their own throughout. Playing with emotion and spreading out in their solo spots, they also provided a discreet and sympathetic accompaniment, allowing the vocals their place at the forefront, letting the singer take the flights on which she deserved to go.

PAUL GARDNER

"A very, appealing, warm, singing personality - beautifully accomplished, sweet, sexy and seductive. Her higher notes are somehow very intimate and very personal. She seems to handle all areas effortlessly - ballads, medium swingers and up-tempo flyers... excellent time and poise.

It was an absolute pleasure to listen to her and the rhythm section."

IAN CARR