Fullers voice is pure, clear and pitch perfect and her music and lyric writing stand out. There’s also an entertaining narrative stringing all of these songs together. She sings about her “fifties housewife” life in Los Angeles and times in the UK in Oxford at the Half Moon Hotel.Yes, there’s a definite country edge to this music, but it’s arranged and delivered in a way that puts it close to the top of that genre.
like sugar in gin, her voice skillfully drops despondent lyrics in happy-to-be alive rhythms and soundscapes. As the ensemble thunders, and plays with tempo and syncopation, it’s as if the album breathes with the life Fuller converses in her lyrics.
SAM Awards, Finalist in the Most Popular Jazz Artist and Most Popular Country Artist categories, 2016.
WHEN jazz singer-songwriter Kate Fuller was living in Oxford, UK, she hosted a regular music night called Speakeasy Sundays. Upon her return to Adelaide, she created something similar in her hometown — the Soapbox Sessions.
Hanging backstage with Chick Corea, Montreux Jazz Festival, 2011.
Adelaide-born Fuller has been living abroad for several years and in Annie’s Room she shows off everything she’s learned. The results are a masterclass in jazz vocals and stagecraft.
Meeting Al Jarreau with my classmates, mentors and friends at the LA Music Academy, 2011.
Adelaide’s country sweetheart Kate Fuller weaves resplendent narratives and the complexities of perspective through her new album and its folky dichotomous textures.Fuller experiments with light and dark moods as Daffodils Or Weeds swims in natural imagery and bright acoustics. Her fourth album also has its darker moments. Violins, cellos and percussion rumble ominously in country scepticism
Hotel Cafe, Hollywood, LA, 2012
Most importantly, of course, is her performance, both as a jazz singer and as an actor. She studied at the Los Angeles Music Academy and again at home at the Elder Conservatorium of Music at the University of Adelaide in vocal performance and jazz voice, and has already recorded several albums. There is no doubt at all about the quality of her singing, her phrasing and interpretations reminiscent of Ross, but with Fuller’s own personality driving the style. When we got to the vocalese work, on Twisted, she was nothing short of amazing. She even attempted to give us Lambert, Hendricks and Ross, all on her won, and pulled it off.
...such dazzling technical virtuosity and heartfelt passion one cannot fail to be impressed.
Cuddles with Quincy Jones, Montreux Jazz Festival, 2011.
Singing some standards at Slide, Sydney, 2014
A stark rendition of My Funny Valentine, with just simply Zerna’s bass, is sensationally haunting but it’s the vocalese techniques Fuller displays on songs like Twisted that show her off as a true jazz vocal virtuoso.
With Siedah Garrett and the wonderful Dorian Holley at LA Music Academy, 2010.
Fuller doesn’t attempt an impersonation of Ross, although her vocal range is about the same and she imitates some of the mannerisms... though she often hits more of the notes than Ross ever did and has a virtuoso technique.
Performing at Kulaks Woodshed, LA, 2011