Systems Over-Ride: 

“This album, by one of Australia’s most adventurous musicians, is a wonderful example of the possibilities of the experiments… an intense, unpredictable, often melodic and even more often not melodic ride.
Australian jazz is often less known and hence under-appreciated. If anything, it is in the forefront of avant-garde jazz anywhere in the world. This album would be a spectacular way to discover new jazz sounds from across the world. Remember the name Andrea Keller.”
Keith Black, 4.5 stars, Winnipeg Free Press

“The best improvisers never settle, they reach waypoints then quietly move on. Andrea Keller is just such a musician. She is a creative force in perpetual motion and her steady output attests to that.
It is entirely consistent with her musical openness, that she expresses a fascination with both free jazz and doom metal; this is referenced in the liner notes and it makes sense that she should navigate a course between these turbulent waters. She is in her element here.
As the pieces unfold, Keller’s pianism is always at its heart, with her unhurried serialism and melodic interjections drawing you ever deeper; notes and the spaces deployed to maximum effect. Much is implied beyond the notes too, as the tunes navigate a course between the turbulent waters ruffling the music’s edge. The quintet members respond in kind, and there are solos of course, but the album breathes as one.”
JazzLocal32.com

Life is Brut[if]al: 

“By any measure, Andrea Keller is an extraordinary musicians and her latest release, Life is Brut[if]al is the proof of the pudding. This is music for our times, and it reflects her well-documented and highly original creative journey… As we listen, we find ourselves in a world located far from the mundane, a world full of intricacy and wonder, but revealed via the medium of minimalism and kaleidoscopic shifting patterns… An intersection for the adventurous and a place where the finest of improvised music is headed.”
John Fenton, Jazzlocal32.com

“Life is Brut[if]al is a generous and elaborate album, delicate and nuanced, further cementing Keller’s stature as one of our finest composers and bandleaders.”
Des Cowley, Rhythms

“The image of angels dancing on a pinhead is what comes to mind when describing certain albums by Andrea Keller. The pianist has a way of condensing epic passages into unassuming vignettes, as if there’s no expression so massive that it can’t be captured as a concise, perfect impression to be cupped in the palm of your hand. Her 2013 release Wave Rider is an excellent example of her talent for toying with the dimension and perspectives of sound, but her newest leaps to a higher plateau by widening both the scope of the imagery and the influences that shape it.”
Dave Sumner, Daily.bandcamp.com

Five Below Live:

“a thought-provoking glimpse into the musical mind of Andrea Keller, a most innovative Australian jazz pianist/composer… Whenever she plays piano something magical happens... Five Below Live is full of such interesting innovations… there is much to discover on this fascinating, mysterious album.”
Eric Myers, The Weekend Australian Review

“Pianist/composer Andrea Keller continues to surprise, as well as being one of our most consistently prolific music makers… Andrea Keller stretches jazz into whatever she wants here – as a composer, musician and visionary, she always has. Using many of the most noble aspects of modern jazz – its curiosity, freedom and genre-inclusive nature – Keller enriches and expands the form. It is always a thrill to see where she goes next… enveloping and mesmerising atmosphere… exquisitely balanced and blissfully hypnotic.”
John Hardaker, Wordsaboutmusic

Journey Home.

“Her pianism has qualities of tone and touch that rival that of Bill Evans; her musical intelligence rivals that of Paul Bley; and her discipline and use of space, that of the brilliant Frank Kimbrough.
To my ear, Keller creates some of the most beautiful piano music I’ve heard. Her work on Journey Home, though darker, is no less beautiful because of that. Perhaps even more so…we should be grateful we’re alive to bear witness to the beauty of the pianism of Andrea Keller, improvising artist, whose unique musical response to the world is more telling than any perceived ideal of beauty, in academia or otherwise.
Journey Home therefore may be experienced as the exquisite and beautiful relief of sculptured sound made art infused with the deepest feelings of one of our finest artists. There is inter alia a ravishing exploration of the lower end of the piano. The programme is meditative, joyful, self-reflective, and perhaps a reaction to noise, and suggests a deep respect and love for the sounds of music, its essence and seed, as experienced on the finest instruments.”
Ian Muldoon, ericmyersjazz.com

“The soundscape of Stuart & Sons pianos cradles well Andrea Keller’s exploration of Minimalist music style in her epic, Journey Home. Warmth, depth and harmonic congruency carry the inner labyrinth of Keller’s longing for solace and belonging.
Boundless parameters are demanded of a simple acoustic device to effectively communicate such yearning via Minimalist notation. A unique sound quality is everything in this deeply personal dance with fate and destiny. It’s 9 octave frequency range, extraordinary tonal clarity free from internal masking, a dynamic range and tonal spectrum with no equal. Bravo Andrea, your revelation is carried forward on a thread of acoustic gossamer to the ears, hearts and minds of others.”
Wayne Stuart AM – Stuart & Sons company founder & designer

Family Portraits

“The Australian pianist’s wordless songs are eloquent, intimate, surprising. The music is deeply emotional, but never merely sentimental; truly beautiful, rather than merely pretty. No two Andrea Keller albums are too much alike. All are uncommonly rewarding.”

— Doug Spencer, Radio National: The Weekend Planet

“It’s a richly textured album that explores the piano through loops, delay pedals and various preparations. The compositions feature a natural restraint that grounds some wonderful flights of imagination… There’s plenty of soul within Family Portraits and an adventurous, experimental spirit that is engaging and satisfying… There’s a lot of love here, both between Andrea and her family and in the process of creating music to celebrate their lives.”

— Perry Holt, PBS FM: In the Quiet

The Wayne Shorter Project

“Imaginatively, she explores the possibilities of her instruments, delighting in her decisions to adjust or retain forms, celebrate harmonies and melodies, and create opportunities for improvisation.”

— Roger Mitchell, Sunday Herald Sun

“She gives Shorter’s melodies such freedom and vitality that they sound completely spontaneous. At other times her improvisations are so flawlessly structured as to seem set in stone... This is Keller’s first album without the support of a band or collaborator and it is a ripper.”

— Aaron Searle, Music Forum

Transients Live (STRATA/Phoenix Central Park Festival):

““Throughout their set the connection between these masterful musicians is totally apparent as they combine in infinite iterations of lead, rhythm, melody. At times Keller and Anning work as a unit with Wilson floating above them, at others Anning provides a rhythm for Keller and Wilson to weave lead lines around each other.

.. Keller again proved why she is one of this country’s most celebrated pianists and beloved collaborators, conjuring dark, rumbling, ominous tones one minute and floating, ethereal lines the next, always totally in step with what her colleagues were doing. ”
Hugh Robertson, 5 stars, Limelight Magazine

Transients Volume 1:

“You can hear pianist Andrea Keller scraping the irrelevances from her art like unwanted skin. Always a fine composer, she has honed and polished these pieces with a crystal clarity about each sound-world and the direction the improvising should take. ”
John Shand, 4.5 stars, The Age

“The trios comprise the cream of Melbourne’s improvisers: Steve Magnusson, Julien Wilson, Sam Anning, Tamara Murphy, Christopher Hale, James McLean, Flora Carbo, James Macaulay and others (and it says much about Keller’s standing that she can gather around herself such a surfeit of talent). What do these musicians bring to the table? A flexible and pliant approach for starters, brilliant musicianship, and a willingness to fashion Keller’s music into endlessly distinctive shapes.”
Des Cowley, Australianjazz.net

Transients Volume 2:

“If evidence were called for as to Andrea Keller’s stature as a composer and musician, we need look no further than Transients volume 1 and 2. In a career already littered with highlights, these albums take their rightful place as seminal Australian jazz recordings, demanding space on the shelf alongside recent award-winning albums by Jonathan Zwartz, Sam Anning and Julien Wilson.”

Transients Volume 2:

“If evidence were called for as to Andrea Keller’s stature as a composer and musician, we need look no further than Transients volume 1 and 2. In a career already littered with highlights, these albums take their rightful place as seminal Australian jazz recordings, demanding space on the shelf alongside recent award-winning albums by Jonathan Zwartz, Sam Anning and Julien Wilson.”
Des Cowley, Australianjazz.net

“If you haven’t already been mesmerised by Melbourne jazz pianist and composer Andrea Keller’s earlier Transients album, released in May, the Volume 2 is an equally marvellous way to indulge yourself… Keller has turned her boundless passion and creativity into a career that’s garnering much deserved attention.”
Album of the week, 4 stars, The Age

“While acquitting herself artfully as both pianist and composer on Transients: Volume Two… pianist Andrea Keller makes a point of casting a flattering light on the impressive Melbourne jazz scene. ”
Joseph Woodard, Downbeat

“The transparency of Keller’s arrangements left space for every word – and wordless phrase – to resonate with perfect clarity, while Keller, Stephen Magnusson (on guitar) and Julien Wilson (tenor sax and bass clarinet) created exquisitely delicate moods that were by turns sombre, melancholy and hauntingly beautiful.”

— Jessica Nicholas, the Age

“This work is an extraordinary meditation on grief and loss, being both exquisitely beautiful and profoundly moving. I had the great joy of being present at this work’s premier at the Melbourne Recital Centre, and its effect on the audience was galvanizing and palpable.”

— Iain Grandage, Artistic Director, Port Fairy Spring Music Festival

“As a concert Still Night captured the imagination of the entire audience at Melbourne’s Recital Centre. Studying the faces around the room throughout and immediately following the performance, each member of the audience had clearly yielded in some way to Keller’s exquisite musical palette and selected passages of text.”

— Jude Gun, Executive Producer, Asia TOPA

“Totally absorbing… This concert worked on many levels, but I found myself slipping easily between momentary explorations of the ideas conveyed by the words and the pure joy of experiencing voice and other instruments… The vocalists blended and crossed beautifully… Each member of the sold-out Salon audience will know whether this work succeeded, but I can say that to me it was a journey to places that I needed to explore”

— Roger Mitchell Ausjazz Blog

Performance:

“Keller’s compositions are innately distinctive and interesting. If jazz conventionally has a soul rooted in the blues, Keller’s version is much more cross-fertilised with contemporary classical music… Keller was a joy throughout with her delicate touch and beautiful ways of building tension.”

— John Shand, The Sydney Morning Herald,

Wave Rider:

“This is totally original music; by that read no one else composes anything like this... Andrea Keller should be known throughout the jazz world, one can only hope that this album raises her international profile to where it should be.”

— Michael Prescott, jazzwisemagazine.com

“The mind and sound-world of Andrea Keller, a place that is one of the most original – if not the most original – in Australian jazz... It is only when one hears music this brave and fantastically new that one is hit – yes: an intake of breath, a stab of joy and a little shiver of fear – with the realisation that there are still new languages to be heard, new seas to cross. and it just reaffirms one’s faith in jazz, art and human courage that little sweet bit more.”

— John Hardaker, australianjazz.net

“[Keller] flaunts minimalist influences, quirky yet catchy melodies, and a flair for string arrangements. As opposed to jazz artists who flesh out their sound with strings, Keller has a deep understanding of their potential, seamlessly incorporating them within her musical ethos.”

— Tom Greenland, The New York City Jazz Record

“An absolutely gorgeous and thrilling album.”

— Bird Is the Worm, birdistheworm.com

Angels and Rascals:

“One of this country’s most daring and fascinating composers, she produces work that bristles with surprises, a powerful blend of European lyricism with space and improvisation.”

— Leon Gettler, The Age

“Pianist Andrea Keller is a major talent on the thriving Australian scene... Apart from being an outstanding piano player, Keller has the gift for writing totally distinctive and engaging compositions. This recording stands as a marker of just how good Australian jazz is.”

— Bev Stapleton, AllAboutJazz.com

“One of the most original thinkers on the Australian scene... she has the priceless ability to think outside the square.”

— Adrian Jackson, Rhythms

“Angels and Rascals is further compelling evidence of Keller’s brilliance.”

— Kenny Weir, Sunday Herald

“These musicians (are) such a fine and inspiring lot.”

— Jasmine Crittenden, Drum Media

“Glorious!”

— John Clare, The Sydney Morning Herald

“It’s not surprising that this foray out of Keller’s comfort zone works so well – after all, her work is always lit brightly by the spark of originality… Acoustic, electronic, prepared, improvised and composed elements are interwoven with subtlety, so that there is no feel of artificiality or domination by devices.”

— Roger Mitchell, Ausjazz Blog

“An avant garde, post modern exploration of jazz music. An incredibly innovative and ambitious project.”

— Eastside897fm

“If you like your music with wonderful colours you don’t expect, intelligent, musical connections across a wide variety of sound, dazzling virtuosity and generosity of spirit, then this album is one you should have in your collection.”

— Houston Dunleavy, Music Forum

Tim Wilson/Andrea Keller Duo

Consider This:

“Both performers are accomplished composers and equally share credits across the seven tracks here. Their musical rapport is nothing short of extraordinary: both players utilise extensive classical influences in music that nevertheless maintains a jazz sensibility... This unique collection displays very high quality duo playing in unusual styles that successfully blend classical concepts with improvisation and jazz influences.”

— John McBeath, the Australian & jazz.org.au

Barnett/Anning/Keller

Performance on International Women’s Day:

“Mesmerising virtuosity from Shannon Barnett & Andrea Keller in a masterclass of Australian jazz.
This presentation by three gifted musicians was an unusually exquisit­e experience — a faultless exhibition, with many fundament­als in place.
Those familiar with Keller’s music were gratified to hear version­s of two of her compos­itions, Sleep Cycles and Inside Out, which appear on her recent Transients albums. While they were a reminder of her ascendancy as one of Australia’s most interesting jazz composers, it is sometimes overlooked that she is also one of the country’s most forceful improvisers at the piano. This performance underlined that well-deserved reputation.”

— Eric Myers, The Weekend Australian

Keller/Murphy/Browne

Travellers:

“Keller plays with superb touch, economy and, most importantly, obvious emotion... Keller should be appreciated by a wider audience than she is. Over several albums she has proven to be a consummate composer, arranger and performer, that is, the complete package.”

— Michael Prescott, jazzwisemagazine.com

Live:

“(Keller/Murphy/Browne) demonstrated the wonderfully intuitive rapport that makes their music so engaging.”

— Jessica Nicholas, The Age

“Another pianist with impeccable touch, Andrea Keller, made music of diaphanous beauty with Tamara Murphy and Allan Browne.”

— John Shand, Sydney Morning Herald

“The set highlighted the exquisite interplay between Browne and his empathetic trio colleagues, Andrea Keller (Piano)and Tamara Murphy (bass) ”

— Jessica Nicholas, The Age

Carried by the Sun:

“Pianist Andrea Keller, bassist Tamara Murphy and drummer Allan Browne are assuredly poets on their instruments. There is no bravado and no music for music’s sake on this album; just a pure, interactive creativity”

— John Shand, Limelight

“Andrea Keller, Tamara Murphy and Allan Browne’s debut CD Carried By The Sun is varied and full of the adventurous rapport of a fine jazz piano trio.”

— Lucky Oceans, Daily Planet, Radio National

“Intensely telepathic communication.”

— Ken Williams

The Komeda Project

“The pianist’s masterful arrangements often moved as swiftly as a film in fast motion, darting from woozily plodding rhythms to graceful dances or majestic horn-led crescendos. … an exhilarating evening of music, played with intense focus by an awe-inspiring group of musicians.”

— Jessica Nicholas, The Age

“Extraordinary solos by an extraordinary band… Some themes leaned towards vaudeville, while others were wild and dark and others distilled a peculiarly European sweet melancholy.”

— John Clare, SIMA

“Krzysztof Komeda was dead at the age of 37. In that truncated life this Polish medical doctor had penned the scores for more than 40 films, including most of Roman Polanski’s up to and including Rosemary’s Baby. Simultaneously he was a jazz pianist who did more than anyone since Django Reinhardt to develop a variant of jazz that was overtly European in flavour.
The Komeda Project, jointly led by pianist Andrea Keller and trumpeter Miroslav Bukovsky, preserves and expands that legacy. The pair have concentrated on Komeda’s film music, arranging the material for an octet and often combining pieces into mini-suites.”

— John Shand, Sydney Morning Herald