Reviews

  
"Gorgeous! Sarah Morrow is the truth—a true master. The AIR is changing. I'm not at all surprised that it sold out in Japan—the US needs Elektric Air! It's an instant classic and yet the sonic chemistry that Morrow, Glasper and Dave have cooked up is groundbreaking at the same time.”

– YVONNE GILMORE, the Cornell West theory

Elektricaircoverforwebsite
     
On The CD Greenlight

Greenlight

PULSAR Radio, France
"Ray Charles had in his ranks a great musician, Sarah Morrow. For proof, this 1st album Greenlight, is a jewel... A long and beautiful career awaits this talented jazz woman."


Philippe Meziat, Jazz Magazine, France
"On these classical basis and inspired from the bop era of the 50's and 60's, Sarah is imposing herself as one of the most interesting soloists of jazz today."

Kevin O'Connor/Music Director-KBEM-Minneapolis
"Sarah Morrow plays and leads with a ferocity that defies comparison to any of her trombone contemporaries. "Greenlight" is full of curves and textures that will awake the sensibilities of those who seek an original sound. Outstanding!"

Greg Robinson, Jazztimes, USA
"Morrow has a wide sound and a moderately adventurous, bop-rooted approach. Her compositions don't owe too much to any one influence, which by itself sets them apart from a lot of current small group writing. Greenlight is a strong debut by a talented trombonist."

Jean Szlamowicz, Jazz Hot Magazine, France
"Sarah's music is revealing itself with a strength-the heritage of the 60's is here put back with intelligence and sensitivity."

Dwayne Breashears, Program Director, WWOZ, New Orleans
"...pleasant surprise...looking forward to Sarah's progression as an artist in the future."

Jazz Notes Monthly Magazine, France
"The mastery of the instrument is absolutely fabulous-supple, delicate and of the most elegancy in the slower tempo, You Don't Know What Love Is the sound purrs and on the up tempos virtuosity and roundness are always there. I was absorbed in this chant. What assurance, Madame. Bravo! To the discovery of this label."

Bruce Crowther, Jazz Journal International
"...Morrow's technical expertise is nicely balanced with taste and swing. She is modern in outlook... but hints at an awareness of tradition...Morrow deserves wider exposure."

Henri Marchal, Semaine des Spectacles Weekly Newspaper, France
"... a young talented woman that has dedicated herself in the mastering of an instrument as difficult as trombone... she proves a personal style and imaginative solos. A newcomer to follow very closely."

Dave Nathan, All About Jazz.com
"Sarah Morrow should be a staple on the jazz scene for a long time to come."

Jim Santella, All About Jazz.com
"Trombonist Sarah Morrow has it all : creative music with a strong foundation and superb musical skills..."

Marc Boujnah, France Aero Magazine
"Morrow has a sharp sense of rhythm, profound melodic intuition, spontaneity and a daring touch, are signs of rejoicing intimacy with her instrument, also illustrated in the ease that flows through all the tunes. An intelligent and delicate record but none the less spectacular. A revelation!"




On The CD
Standards And Other Stories...

Standardsotherstories

Shaun Dale, Jazz Review.com
"Trombonist Sarah Morrow holds the distinction of having been the first female instrumentalist to tour with Ray Charles, but the emphasis there should really be placed on instrumentalist rather than female, because she's an impressively strong and soulful player, regardless of gender. On Standards and Other Stories... she demonstrates a level of talent that gives her a solid spot in the lineage of trombonists like J.J.Johnson and Steve Turre... she shows a full command of her instrument in every setting. This release should establish her among the front rank of young leaders in the jazz world."

David Dupont, Cadence, September 2003
"Sarah Morrow fills her dance card with a clutch of reliable standards and several impressive originals in the company of some high class partners. Morrow's approach on trombone is Bop-based and coloured by a few swing mannerisms. Her stylistic range is evident in the first few moments as she moves from the opening plunger muted fanfare into her own up-tempo Bop tune, "Leaving Home". Morrow pumps out her lines with a rounded articulation and a gutsy, fat sound. She whirls through the up tempo "Well You Needn't", sure-footed and full of attitude. Here and elsewhere she's matched by her supporting cast."


On The CD Sarah Morrow & 
The American All Stars In Paris
Featuring Rhoda Scott & Hal Singer

Allstarsinparis

Scott Yanow, All Music Guide
"Trombonist Sarah Morrow organized this jazz party, which features a group of American jazz musicians who are living in Paris. Both tenor saxophonist Hal Singer and bassist Wayne Dockery (who was with Art Blakey’s Jazz Messengers in the 1950s) were in danger of being forgotten by Americans, so this recording is quite welcome. The music, mostly swing standards and basic material, is played in spirited if sometimes ragged fashion, occasionally getting quite rambunctious. Morrow is a fine trombonist who deserves to be better known, while Singer and the great organist Rhoda Scott (who plays in the U.S. now and then) emerge as her co-stars. Fun music."

Accolades

Legendary Trombonist Curtis Fuller (John Coltrane, Art Blakey, Benny Golson) 
“Sarah Morrow is the first original voice I’ve heard in a long time.  She has a personal and identifiable sound—Sarah Morrow is the new voice of this Era.  Her Elektric Air cd inspires me. I’m proud of her.”

Jazz Review
"Sarah Morrow is “among the front rank of young leaders in the jazz world.”

PULSAR Radio, France
“Ray Charles had in his ranks a great musician, Sarah Morrow.  A long and beautiful career awaits this talented jazz woman.”

Jazz Journal International
“Morrow’s technical expertise is nicely balanced with taste and swing. She is modern in outlook … but hints at an awareness of tradition…. Morrow deserves wider exposure.”

Jazz Review
"Trombonist Sarah Morrow holds the distinction of having been the first female instrumentalist to tour with Ray Charles, but the emphasis there should really be placed on instrumentalist rather than female, because she’s an impressively strong and soulful player, regardless of gender. … she demonstrates a level of talent that gives her a solid spot in the lineage of trombonists like J.J. Johnson and Steve Turre, both of whom she counts as inspirations"

Jazz Notes
“Sarah Morrow’s sound and her strong sense of rhythm, make her one of the most important figures of "Jazz trombone" today.  What assurance, Madame.  Bravo!"

Jazz Review
"Sarah Morrow’s originals “hold their own impressively amidst material by Ellington, Mingus, Gillespie, Monk and other masters.”


On Live Performances

Albany, NY Times Union, June 2004
"Freihoffer's Jazz Festival featuring Peter Cincotti, Bela Fleck and the Flecktones, and others. Musical Highlights: The Sarah Morrow Quintet, Dianne Reeves, the Greg Osby Four, Femi Kuti "Speaking of Discoveries, trombonist Sarah Morrow earned a well-deserved standing ovation for her gazebo show. Showcasing new original material, Morrow and her crack quintet slid easily from the Latin rhythms of "Leaving Home" to the celestial ballad "To Reach the Stars" to the funky strut of "The Temptress". The Sarah Morrow Quintet was our top rated musical highlight of the festival."
 
The Saratogian, June 2004
"Morrow was an absolute delight. Capping a set that found her digging into the Monk songbook for "It's Over Now" (known instrumentally as "Well You Needn't") while also presenting new material like "The Temptress", Morrow ventured off the stage for her set-ending audience participation call-and-response segment which was not only fun, but pure performance magic."
 
 
All About Jazz.Com, June 2004
"Sarah Morrow's band, that included Reggie Jackson on drums, swung like mad. And Morrow- the first female insturmentalist to be hired by Ray Charles, WAILED. her work on the slide trombone was first-rate, bluesy, swinging, blaring and bold, all the the delight of the crowd... it was musical and fun."



W. Royal Stokes, renowned jazz author, contributor to the annual DownBeat Critics Poll, and former editor of Jazz Notes
"...a superior show...an exceptional musician. Frankly, I was blown away...."

 

Jean Szlamowicz, Downbeat, December 2003
"Trombonist Sarah Morrow and tenor player Abdu Salim were the biggest surprises of the 10-day Marciac Jazz Festival. Morrow played a highly individual form of straight ahead jazz, bristling with energy and challenging arrangements that featured solid backup."

Jazznotes, May 2003, France
"The rhythm takes accents of improvisation and swing in a party type ambiance. Sarah makes her trombone sing with finesse and gives punch to her quintet. Her sound and her strong sense of rhythm, her assurance makes her one of the most important figures of "Jazz trombone" today!"


Felix Sportis, Jazz Hot Magazine, May 2003, France
On the 20th, The Duc des Lombards received the quintet of Sarah Morrow (tb) whom the music surfs on the edge of foreign and friendly, arranged and spontanious. She also always brings very original groups : the "Rollins" power of Denys Baptiste, and the dynamic of the rhythm section of Aruan Ortiz (piano), Pierre Boussaguet (Whims of Chambers) and Jeff Boudreaux (dms) raising the crowd into an overheated ambiance."


Jazz Hot Magazine December 2001, Paris JVC Jazz Festival
"Sarah Morrow (tb) is not a new discovery anymore, but with her sidemen the lyrical Jesse Davis (ts), the imaginative Victor Atkins (p), the decisive Clarence Seay (cb) and the musical Donald Edwards (dr), the music is as intelligent as it is flamboyant, and has taken off and reached new heights on October 23rd at the New Morning, Paris. With Morrow's great arrangements on "Night in Tunisia" or "Anthropology", the music is sophisticated but also powerful. The climates and colors are at the service of the performance and we are taken away by a seismic rhythm section."

Jazzbreak, Nice Jazz Festival, 2000
"Sarah Morrow expressed herself with her golden trombone... with well thought out phrases... her bald game continues in the tradition of the giants like Curtis Fuller, J.J. Johnson... Sarah Morrow is rising and may well be rising very high in the near future."


Francis Moulin, Jazz Hot Magazine, June 28, 2000

"...the trombonist distinguished herself by her punchy playing in all delicacy, her beautiful bass register and the nice grain of the instrument."


La Provence Daily Newspaper, January 19, 2000
"Sarah Morrow gave the jazz fans a grand musical experience. Sarah Morrow charmed all the faithful customers of this series of concerts, with her music but also with her unrivalled happiness and smile."


Serge Bourlet, La Montagne Daily Newspaper, October 23, 1999
"After Roy Hargrove, Cassandra Wilson or Neena Freelon in the past years, Jazz en Tete Festival has again testified to their stubborn curiosity for bringing the best upcoming talents. Young trombonist Sarah Morrow displayed a beautiful blend of finesse and assurance in the exploitation of an instrument with a strong "male" identity. She also showed finesse and daringness in conducting her orchestra... with this bouquet of original compositions freshly out, the quintet added some revisited standards with the same smiling energy."

Jazz Hot Magazine, October 1999
"The Sarah Morrow Quintet pleased the audience by the freshness and spontaneity of a jazz digging it's expression in tradition and swing."


Curtis Schieber, Columbus Dispatch Daily Newspaper, July 1999
"...Trombonist Sarah Morrow led a Rolls Royce of a quintet... Morrow's sweet statement of the theme from Miles Davis, All Blues made the hot afternoon suddenly benignly sunny. Her solos were dreamy and bluesy..."

Stephanie Hunter, Ohio State Lantern Weekly Newspaper, 1999
"A surprise of the show was local trombone player Sarah Morrow, back home on break from touring, who joined the Squirrel Nut Zippers on stage for the encores. She almost stole the whole show with her strong, playful trombone solos. Definitely one to watch."

Lee Brown, The Other Paper Weekly Newspaper, 1998
"Morrow, joining the Dirty Dozen Brass Band on stage, brought the crowd to its feet playing a stomping solo!"


Michel Salaun, Sud Ouest Newspaper, France, 1997
"...the show (Foley) started really good with an amazing jazz trombone solo by Sarah Morrow."