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Talk about a chameleon! Kerry Poltizer can do it all. On her first pop album, “You Took Me In” Politzer takes on almost every musical genre and hits every one, perfectly showcasing the immense talent that she possesses. “Always” is a light-hearted ska number which instantly showcases Politzer’s musical versatility. “I Hope You Find Me” sounds like a beautiful melding of Joni Mitchell’s voice and Norah Jones’s straight-to-the-core piano playing. “Love is the Atmosphere” is a sultry jazz number that shows her fluid piano skills while managing to sound like it would be at home on a Jill Scott record. Politzer’s skills don’t stop there. She takes on rock music on “I Cried Wolf” with fantastic results and then she completely tones it down on the quietly simple “Joseph.” Kerry Politzer been playing jazz piano for years and has released several instrumental jazz albums, but this is her first foray into the pop world and she has nailed it. “You Took Me In” is a wonderful jazz-pop record and a great introduction to Politzer’s talent and possibilities.

Talk about a career change, jazz pianist Kerry Politzer takes a break from what she’s known for to record “You Took Me In,” a very nice collection of pop songs. Most impressive is the way she’s able to incorporate her “jazziness” into the songs and not make it sound forced in any way, while still showing the versatility that most jazz musicians should have. “Love is in the Atmosphere” sounds as if it could serve as background music in a coffee house, as well as a swanky blues bar. “Wallflower,” a beautiful ballad about failing to live up to your own expectations, sounds as if it’s ready for a major motion picture soundtrack. I hope Politzer continues her career in jazz music, but the contemporary music world needs her the most. This is a really refreshing album… perfect for a lazy day.

Kerry Politzer's Brazilian tinged debut CD Yearning drew favourable comparisons with fellow pianist Eliane Elias. While that record paired her up with a guitarist and soprano saxophonist as well as rhythm section, Watercolor finds her in the classic piano trio format and proves that Politzer, like Elias, has quite a few strings to her bow (or even her piano). A reading of Gershwin's "A Foggy Day' aside, these are all Politzer originals and showcase both a strong compositional talent and considerable improvisational flair. None of the pieces exceed 5 and a half minutes, pointing to Politzer's taste for economy. This extends to her improvising, which is finely and sensitively controlled throughout and ranges from a limpid impressionism worthy of Keith Jarrett or Brad Mehldau (as on the gorgeous "Silent Morning" to playful, angular left hand figures reminiscent of Thelonius Monk ("Watercolor") orvivid, Bud Powell-esque hyperspeed ripples. She swings hard too, as on the Monkish "Whim", where she engages in some impressively fiery exchanges with drummer Scott McLemore. Politzer never seems stuck for ideas either; each solo is carefully constructed, a fine balance of head and heart. Mclemore and bassist Dan Fabricatore provide sensitive, controlled propulsion, finely in tune with Politzer's writing and responsive to her soloing. Though the bassist is a bit lost in the mix at times, his rapport with the pianist is reminiscent of Eddie Gomez's work with Bill Evans, and he gets a couple of nice solos in too, particularly on "Waiting". The piano trio seems to be undergoing a bit of a resurgence at the moment, with the likes of Brad Mehldau and Esbjorn Svennson breathing new life into a format that had seemed to reach its apotheosis with Jarrett's Standards Trio. Politzer's undoubted ability as a writer and player should hopefully put her in the same bracket before long. Not an album that will change your life perhaps, but one any serious piano afficionado would do well to check out.

For Kerry Politzer, her fourth recording is a major break from the past. Known as a talented jazz pianist, on You Took Me In she reinvents herself as a pop singer/songwriter. Although her piano fills are jazzy, this is essentially a pop album consisting of 11 of Politzer's originals. Her voice is appealing in a gentle style not far from that of Norah Jones, the backup group does their job well without drawing attention to themselves, and Politzer's lyrics are intelligent if predictable, dealing with the usual topics ("Love Is the Atmosphere," "I Would Give the World to You," "You Took Me In," etc.). From the jazz standpoint, there is little here, but the pop world can always use new talent.

Following her three releases as a jazz pianist who composes much of her material, Kerry Politzer steps out as a singer-songwriter with You Took Me In. As well as performing all the vocals, she plays piano with the band, which consists entirely of jazz musicians. Although the turn from jazz piano to pop-oriented song may seem surprising, Politzer has actually been active as a singer-songwriter for several years, and has received awards in songwriting competitions. On the songs that center on finding or seeking fulfillment in love, Politzer’s voice is bright and sensuous, reminiscent of pop-jazz singer Norah Jones. A case in point is Politzer’s title song, the sunny and laid-back “You Took Me In,” which delights in the shelter and comfort of a good relationship. Politzer’s voice is silky on the soul-jazz-styled “I Would Give the World to You.” Towards the end of the tune, her emotive obbligato uses contrasting inflections to set off the melody. She also plays blues-tinged piano throughout, soloing on the concluding vamp. Musically similar, although less intense, is “Love Is in the Atmosphere,” which enhances a simple melody with tight harmonies. In “I Hope You Find Me,” a slow rock tune with tasty guitar work by Tom Guarna, Politzer portrays a lonely young woman in the big city who yearns to be noticed by someone. Rousing opener “Always” is a testament to happiness that’s backed by an aggressively bouncy brass choir (George Colligan’s trumpet, multi-tracked) that nods to 1960s jazz-influenced pop. Politzer takes an edgier approach in the straight-ahead rock “Wallflower,” expressing pique and determination through engaging lyrics that rhyme “wallflower” with “no power.” On the punk-ish “I Cried Wolf”, she takes an interesting turn to a lower-pitched, throatier vocal style, backed by suitably raunchy bass and drums. With Politzer’s lyrics set to Kenny Lockwood’s folk-ish, minor pentatonic melody, “Joseph” is a quiet rock ballad about a young bellhop who yearns for a better life. Politzer’s voice is open and warm as she sings the role of sisterly friend. The angelic-sounding backing vocals interweave pleasingly with Zach Brook’s violin. “Trampoline” centers on Politzer’s novel metaphor for a life partner who supports her every leap into a new project, and to whom she returns as surely as gravity. While the band plays at a deliberate 3/4-time pace that falls into the first beat of each measure, her voice floats on the well-crafted tune, sending the second syllable of “trampoline” up an octave. With this song, Politzer creates an interesting musical image of a happily complex relationship that encompasses both comfort and risk.

The only thing more outstanding than Kerry Politzer's smooth, sensitive piano style is her talent for composition. Politzer's pieces sip from the fountain of bossa nova, but have the good taste not to gulp. Rather, Latin themes gently infuse her music without ever nudging it into orthodoxy, and Politzer's delicate touch remains her unique creation.

In the first of her self-published CDs pianist Politzer focused on Brazilian music and was compared to the great Elaine Elias. On this her second album, she presents 11 of her own tunes plus Gershwin's A Foggy Day in a more standard jazz piano trio format. Her tunes are melodically inventive and demonstrate a versatile range of styles and moods. Her playing is economical and sensitive, as was Bill Evans'. The lyrical Silent Morning boasts a lovely solo, but on tunes such as Sparks Politzer can swing with the best of them, and with fine support from her rhythm section. Tracks: Watercolor, Sparks, Early Spring Chill, A Foggy Day, Whim, Waiting, Woodpecker, Silent Morning, Waltz for Charlie, Identity, Simmer, Green Light.

Pianist/composer Politzer is making a name for herself as one of the cannier talents on the New York scene, a reputation emphasised by this ebullient, intelligent, warm and well-structured amalgam of jazz and Brazilian influences. Brilliantly supported by bassist Chris Higgins, George Colligan (better known as a pianist, but here a fine drummer) and, on four tracks, a superb Andrew Rathburn on tenor and soprano, she's an imaginative, concise and expressive soloist with a full-bodied touch. No Rubicons crossed here, but there's a vibrancy and individuality about the results that suggest she knows what she wants from herself and her colleagues, and has the technique, lyric inventiveness and nous to get it.