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All About Jazz
All Music Guide

American Reporter 
Axcess 
Bennington Alumni Magazine 
Billboard
Blue Coupe 
Boston Globe
Boston Phoenix
Boston Herald
Cadence 
Cape Cod Times 
Chicago Reader 
Chicago Tribune 
Classics Today
The Cleveland Free Times 
College Media Journal 
The Education Digest
Denver Post
Detroit Free Press
Education Digest 
Epinions.com 
Erie Times 
Exposé 
Feminist Voices (Madison WI) 
Gramophone UK 
The Improviser 
Jazz Now 
Jazz Nu (the Netherlands) 
Jazz Times 
Los Angeles Times 
Minneapolis Star-Tribune 
The Music Paper
National Public Radio 
The New Yorker
New York NewsDay 
New York Observer 
New York Press
New York Times
Newark Star-Ledger 
NewMusicBox 
Jacqueline Ostkamp (The Netherlands) 
Philadelphia Bulletin
Philadelphia Drummer
Philadelphia Inquirer

Pioneer Press (Minneapolis-St. Paul) 
The Real Paper (Boston) 
The Resident 
Rolling Stone 
San Diego Tribune 
San Francisco Chronicle
Schwann Spectrum 
Signal to Noise 
Sonus (Italian music journal) 
Splatter Effect 
splendidezine 
Time Out New York
The Trentonian 
Dmitri Ukhov (Russia) 
Vermont Review 
Victory Review (Seattle WA) 
Village Voice
Wall Street Journal 
Washington Post
WestChester County Weekly
THE WIRE
The Wisconsin Humanities Council 
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“Brilliant and dangerous.”
“Enthusiastically recommended.”
“A major surprise.”
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“Spellbinding...a natural stage presence.” |
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“Pending Armageddon.” “Never less than
compelling.” |
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“Although this is definitely hyphenated
music, there is a dark cohesion, a pervasive mood…it caresses and
swaggers, sometimes all at once.” |
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“Sexy, fierce, disjointed, unpredictable,
humorous…like a good mild natural psychedelic…Brazelton seemed
to have drawn energy from…the creative chaos...” |
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“Brainy, boisterous and quintessentially
downtown…
She also knows her compositional way around the music academy…
an original, compelling voice.” |
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- “One of the brighter lights on the downtown scene…”
- “Kitty Brazelton deliberately cut the roots,
creating…[an] Ivesian iconoclasm…” —Edward
Rothstein
- “Rich, colorful structures…more diffuse,
but also more exotic…”—Allan Kozinn
- “The cleverest work…was Kitty Brazelton's…”—James
R. Oestreich
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“The contradictions and complications
of fealty and fucking spill out all over LOVE NOT LOVE LUST NOT LUST (Buzz,
CD), an album of impressive nerve by Kitty Brazelton's DADADAH. The capital
letters attest both to the group's breadth of color (brass, harp, cello
and Brazelton's ambition. Her songs are suitelike minefields of full emotional
disclosure, sung with a pop-operatic pow and orchestrated like Kate Bush
kickin' it with the Mingus Big Band.” |
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“musical cinema…where
pop-rock and improv jazz collide/commingle/congeal, where beauty and ferocity
restlessly reside in close proximity and where contrariness…creates
a jarring freshness like two clashing weather fronts prompting thunder
and lightning yet ultimately delivering downpours of bracing rain.” |
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“Use Annette Peacock, Kate Bush, Siouxie
Sioux, Laura Nyro, Rickie Lee Jones, and Jane Siberry as points of ref-erence,
but don't expect Brazelton's "musical cinema" to sound like them.” |
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“Brazelton is a totalist
composer, part of a generation that believes that there's more than one
way to compose and that all musical genres are available for use, from
high modernism to downtown funk. She isn't interested in cheap irony or
vain attempts at hipness, though; she's stylistically inclusive because
she simply wants to make interesting and original sounds.
“There's not a dull piece on this disc: Each is well
crafted and has a specific, singular voice. Smashing chords give way to
beautiful melodies; trembling, spiky sonorities melt into light-hearted
ragtim-ish figurations, and it all happens with an effortless flow.” |
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You might wonder how someone's musical appetite
can be quite so voracious, but the results are anarchic, wacky and hard
to resist. |
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