JUDY CARMICHAEL AT PLYMOUTH MUSEUM
(review - 04th December 2009)
By PHILIP R. BUTTALL
Dec 11, 2009 - The Herald Plymouth, England
It’s not often that a pianist can enthral a packed audience with a programme which seems essentially the same throughout, save for some changes of pace and the odd vocal thrown in.
But American jazz pianist and singer, Judy Carmichael, simply wowed her listeners with a great set of swing numbers that temporarily transformed the usually sedate surroundings of the art gallery into a buzzing jazz club.
Such is Judy’s consummate mastery of stride piano that there was never a dull moment, and especially when coupled with her innate and so effective feel for harmonic colouring.
Her vocals hit the right spot too, benefitting from the venue’s excellent natural acoustic, and avoiding the need for any unnecessary amplification.
Purists might have been bothered by the ‘rhythm section’ - Judy’s constant foot-tapping.
But this is such an integral part of her performance, and indeed made a particularly telling contribution where only the right hand was playing.
While there was surely something in the programme to delight every jazz piano aficionado, the anecdotes and repartee, delivered in such an informal and laid-back fashion, provided an added bonus.
Best of all, though, the often-maligned Museum instrument really came into its own in Judy’s expert hands, and has perhaps at last found its true forte, in this style of piano-playing where well-rounded and sustained tone isn’t a major priority.
JUDY CARMICHAEL - STRIDE!, CITY HALLS, GLASGOW
by ALISON KERR
30 Nov 2009 - THE HERALD
5 STARS!
A touch of New York sparkle came to Glasgow when the vivacious pianist Judy Carmichael made her Scottish debut as part of Jazz International’s winter programme.
With her witty and engaging repartee, Carmichael had won her audience over before she even began playing, and it was clear from her fast-swinging, playful opener, Lulu’s Back in Town, that her sense of humour translated into her music.
Carmichael, who was nicknamed Stride by no less a jazz legend than Count Basie, has made a name for herself as a purveyor of this early style of jazz piano, but such numbers as an evocative, bluesy Lazy River and her own Boisdale Blues, which had a rollicking boogie-woogie section, demonstrated that she’s more than a one-trick pony.
It was her Earl Hines and Fats Waller-flavoured output which most delighted the crowd, and it was a treat to hear such rarely exhumed gems as Love Is Just Around The Corner, Christopher Columbus and Gladyse played with affection and panache.
CAUGHT IN THE ACT: JUDY CARMICHAEL
August 31, 2009 - Feinstein’s, New York City by Joe Lang
It is strange how years go by, and somehow you keep missing opportunities to catch jazz players who had always been among those that you had greatly enjoyed on those occasions when you had seen them in the past. Upon catching up with them, you realize how much good music you had been missing. This was the case for me when I saw Judy Carmichael at Feinstein’s on August 31.
Carmichael put together an interesting trio for this gig, with Harry Allen on tenor sax and Chris Flory on guitar. They set a great feeling for what was to come with a romp through “I Found a New Baby, and followed it up with a swinging “You’re Driving Me Crazy.” Next they declared that “Love Is Just Around the Corner.”
Primarily known as a superb stride pianist, Carmichael has grown more eclectic in her approach over the years, and has recently started to add some vocals to her performances. She next provided a taste of this side of her talents as she assayed “Deed I Do,” “All the Cats Join In,” and “How About You,” singing the latter away from the piano, accompanied by just Flory’s guitar. She is a very appealing vocalist, with a husky sound, and a wonderful way with phrasing.
“Lady Be Good” and “Honeysuckle Rose,” performed as the encore piece, rounded out the program for the evening.
This was an hour of good spirited music. Carmichael provided a lot of between song commentary that was full of fine wit, but occasionally went on too extensively, taking time for patter that would have been more wisely spent with music. Allen never fails to excite. He is a consistently creative force who has carved out a niche at the top of the mainstream tenor sax players. Flory is one of those cats who knows how to be masterfully supportive, but who also has the chops and imagination to shine when the solo light falls on him.
When a set seems to go by too fast, you know that the players are doing everything right, and this was one of those times when this proved to be the case.
JUDY CARMICHAEL'S GLOBAL STRIDE April 9, 2009, by Elise D'Haene
Come and Get It - Rating 4 /12 Stars
COME AND GET IT April 2009, by Kevin Jones
Australian Broadcasting Company's Limelight Magazine
Rating 4 1/2 Stars
Acclaimed as a polished exponent of stride piano with one of the most swinging left hands in jazz, Judy Carmichael shows she is a more than capable singer, as with her all star septet she slinks through the Benny Goodfman chestnut “All The Cats Join In” and teases playfully on the title track . Her group, all class, includes two Australians, trombonist Dan Barnett and London-based guitarist Dave Blenkhorn but none is more impressive than trumpeter Jon-Erik Kellso. Except Judy, whose joyful solos capture the spirit of Fats Waller, especially on the inspired version of Christopher Columbus.
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Acclaimed as a polished exponent of stride piano with one of the most swinging left hands in jazz, Judy Carmichael shows she is a more than capable singer, as with her all star septet she slinks through the Benny Goodfman chestnut “All The Cats Join In” and teases playfully on the title track . Her group, all class, includes two Australians, trombonist Dan Barnett and London-based guitarist Dave Blenkhorn but none is more impressive than trumpeter Jon-Erik Kellso. Except Judy, whose joyful solos capture the spirit of Fats Waller, especially on the inspired version of Christopher Columbus.
