Vocal Point
– Kelly Dickson
“From Dickson’s very first phrase on the opener “Close Your Eyes” it’s obvious that “Vocal Point” is going to be a cut above most of the releases by female jazz singers in what has become a very crowded market place. Dickson has an innate feel for jazz that makes her stand out from the crowd. Her phrasing is impeccable and she really gets inside a song and tells a story on songs like “Baltimore Oriole” and “Everything Happens To Me”. She has a way with a ballad too such as “I’ve Never Been In Love Before”-arguably the album’s stand out track. There is an emotional depth to her singing that many other superficially similar singers don’t get close to”. -Ian Mann
Doodlin’
– Kelly Dickson
Kelly Dickson's return to New York to record her second jazz album, Doodlin', marks a significant milestone in her musical journey. With George Garzone rejoining her on saxophone and Werner Kristiansen on guitar, this is a captivating album that offers a rich listening experience. There are some rarely heard gems but even the more ubiquitous material is executed so well that the familiar songs feel refreshingly new. The album flows beautifully from start to finish, with each track offering something unique while contributing to the overallnarrative. The album closes with "To Michael Brecker," a heartfelt tribute to the late saxophonist. During the recording, Garzone received the news of his friend Michael Brecker's passing. In response, Garzone dedicated this composition to Brecker, askingDickson and Kristiansen to contribute their parts to honor the jazz giant. Garzone's saxophone takes center stage here, delivering a performance that is both virtuosic and deeply emotional. Dickson and Kristiansen provide a sensitive and supportive accompaniment, ending the album on a powerful and moving note.
From the six corners
– Players
“Following on from 2003's Clear TheDecks, contemporary funksters The Players have undergone some personnel changes. Out goes superstar plank spanker Aziz Ibrahim, and in come vocalists Kelly Dickson & the Papenfus brothers. The Players take a cleaner and more modern approach to production than most of their neo-funk contemporaries (The New Mastersounds et al), blending samples and programmed beats with really fine musicianship. Giving the proceedings more than a whiff of that spooky Portishead sound; managing to sound contemporary, but old and dusty at the same time. Not that the music here ever loses attention to the groove, with a rhythm section currently utilised by Paul Weller and The Who you'd expect nothing less. This is an album that looks forwards and backwards, and is all the betterfor it”. -Greg Boraman, BBC Music