“Many people think of original music in a hierarchical sense, looking down on pure improvisation as something that doesn’t require mastery or discipline. One listen to Jacqueline Kerrod’s solo harp debut will serve as an epiphany for those cynics. In fact, I found myself awestruck by Kerrod’s seemingly limitless expressive range.”
“ Anything but a collection of soothing pastoral harp settings, 17 Days in December is the sound of an artist unleashing her inner self boldly, and the feeling of personal liberation is so strong it verges on palpable.”
“Kerrod is a fearless improviser and experimentalist, using extended techniques in a fashion that would sound like mistakes in less sure hands...
Like many improvisations, there is no beginning or end here, Instead, we have a dialog between Braxton and Kerrod that reflects a degree of comfort and trust with one another. Indeed, when one is pushing the boundaries, the other might be doing the same or the exact opposite. But they make all of these journeys work, and together produce an unresolved but compelling tension between beauty and discord”
“Kerrod’s wide range of textural manipulation, particularly the bassy chording, is an effective bridge with Braxton’s ballooning swells of breath and busy, somersaulting motifs. A vivid conversation created by two strong characters who are able to balance empathy and virtuosity.”
“[Kerrod’s] playing is totally in the moment and in tune with the composition and Braxton’s concept of music making, her accompaniment to the saxophonist offers support and at time guidance as she leads the music and when she steps out alone her contributions greatly enhance the music. ”
“[Kerrod] was the protagonist of an evening which was exemplary in focus, progression and delivery of ideas. Kerrod recalled all her references as instrumentalist, and if there were natural nudges to Debussy and further impressionist authors, there were also moments which reminded one of the Japanese Koto or an African Kora, and fragmented melodies with a “folky” inspiration, often with resource to extended techniques and preparations.”
“Bax’s Elegiac Trio, from 1916, featured the exceptionally virtuosic and sensitive harpist Jacqueline Kerrod, who drew many different tonal colors from her instrument. ”
“Uys and Kerrod masters of strings: It is no mean feat to have an audience eating out of your hand when the program consists of very recently composed South African art music, but this is what Marc Uys (violin) and Jacqueline Kerrod (harp) achieved in an innovative performance at the Rhodes Chapel. Many of the works were specially commissioned by this duo and they performed with insight and integrity.”
“The evening’s most beguiling work came from the violinist Miranda Cuckson and the harpist Jacqueline Kerrod, who opened the concert with a rapt account of Mr. Currier’s neo-Impressionistic ‘Night Time’.”
“A damn fine group of performers, with kudos going to cellists Robert Burkhart and Eric Jacobsen, harpist Jacqueline Kerrod and baritone Robert Gardner .”
“Kerrod is an eclectic concert harpist.”
“[Addi & Jacq] transcend genre, unlike anything you’ve heard before .”
“She’s a badass!”
“[Camac President and CEO] Jakez [Francois] and I discovered Addi & Jacq when they played at the Princeton Harp Festival in 2015, and we were completely blown away... Addi & Jacq have this gorgeous, big, pop sound...their mix of covers and original songs, which is quirky, varied, and always attention-grabbing.”