"Johnsrud has a soft, flexible voice with a hint of a Nancy Wilson influence and she knows how to play with lyrics even in a straight Jazz arrangement..."

- Jerome Wilson, Cadence Magazine

"When “Anything Goes” tiptoes in atop “All Blues,” you know you’re not in familiar Cole Porter territory.

Indeed, the long-anticipated debut album from Chicago vocal stylist Keri Johnsrud is largely about finding the unexpected in the familiar. The bright shimmer of her voice, a crystalline instrument of deceptivity simple beauty, defies the depth of her artistry.

Consider, for example, how her “Old Country” at first echoes Nancy Wilson’s classic rendering before following Matt Cashdollar’s lilting flue to a dramatically darker space. Similarly, her “The Great City” starts out on the expected Shirley Horn path, then, turning on the word “whirlpool,” descends to a harsher yet still intoxicating place. On “A Blossom Fell, “ Johnsrud echoes Nat Cole’s tender regret and is ignited by Darren Scorza’s smoldering drum line; the heat of her anger slowly rises, and the performance builds to a scorching finish.

More startlingly orginal is the onomatopoetic way in which she makes the walls crumble and the winds blow on “Cabin,” and how she loosens “Cryin’ Time” from its desolate Ray Charles grip and reshapes it as a quietly contemplative study in shrugged acceptance. (Emotional tumult ebbs and flows around her, courtesy of the gifted pianist Matt Nelson.) Which isn’t to suggest that Johnsrud can’t just settle into a lovely ballad, as she does on a dove-soft “But Beautiful” and a sweet, gently bossa-fueled “You’d Be So Nice to Come Home To."

- Christopher Loudon, JazzTimes Magazine

Chicago-based Keri Johnsrud opens her debut CD with something novel, yet it’s no novelty. She seamlessly sings Cole Porter’s “Anything Goes” to the beautiful and distinctive melody of Miles Davis’s “All Blues.” The melding works wonderfully, as does Johnsrud’s cool and casual delivery throughout this project.

The CD also includes her reworking of Nat Adderley’s “The Old Country,” Buck Owens’ country classic “Cryin’ Time,” and a range of American Songbook material and more. The seven players supporting her in a range of groupings are excellent with great empathy throughout.

You’ll enjoy the standout soloing by Matt Nelson on piano, keyboard and organ, flutist Matt Cashdollar and guitarist Ari Seder on various tracks. Johnsrud’s duet version of “But Beautiful" with Seder is just that. A low-key, laid-back beauty.

-  Ken Franckling's Jazz Notes

Chicago-based singer, Keri Johnsrud has a unique and appealing voice. Sweet, clear and understated, but the girl can tinge it with blue more naturally than many of the female vocalist trying for that vein.

In addition, she has eclectic and fascinating taste with the songs on her debut album ranging from well-known and lesser-known standards like Cole Porter's "You'd Be So Nice to Come Home To," Harold Arlen's "For Every Man There's a Woman," Nat Adderley and Curtis R. Lewis' "(The Old Man From) The Old Country" and Burke/Van Huesen's "But Beautiful" to more unusual fare like country and western songs like Buck Owens' "Cryin' Time" and Merle Kilgore's "More and More," as well as "A Blossom Fell" (a hit for Nat King Cole).

Johnsrud deftly utilizes the strengths of her backing musicians - mixing and matching among keyboardist Matt Nelson, guitarist Ari Seder, vibraphonist Chris Graham and flautist Matt Cashdollar - along with double bassist Cory Biggerstaff and drummer Darren Scorza. The singer shares the spotlight with her instrumental soloists while creating the appropriate focus on her sophisticated yet natural delivery.

Graham shines on the opening track - a clever merger of Miles Davis' "All Blues" with Cole Porter's "Anything Goes," while Cashdollar and Nelson are featured to good effect on "The Old Country." "But Beautiful" is a lovely duet with guitarist Seder that showcases Johnsrud's mixture on clear tone and emotion, while "More and More" is a delightfully funked up R&B number. Perhaps my favorite portion of the album includes the swinging straight-ahead version of Chicagoan Curtis R. Lewis' overlooked song, "The Great City" and a brilliant version of Paul Bowles (yes, of The Sheltering Skyfame) and Tennessee Williams (yes, the Cat on a Hot Tin Roof'splaywright)'s American Art Song "Cabin."

Arranged by Nelson, this short slice of life lieder song is extended into near epic proportions to form the somewhat romantic/somewhat unsettling centerpiece of the album. Biggerstaff takes a nice solo turn and percussionist Ogie adds tasty congas, before the heralded Nelson performs his magic. Johnsrud's world-weary vocals fit the song perfectly - a true highlight. Nice to hear the bluesy organ and guitar version of "A Blossom Fell" as well. A very nice debut from a singer with an appealing combination of talent and taste. Can't wait to hear more from her as her career progresses.

- Brad Walseth, JazzChicago.net