Pianist Andrea Keller - whose contributions to this festival were a highlight - joined Eugene Ball on trumpet and Tamara Murphy on bass for Transients IV, one of Keller’s trios inspired by and in memory of the late Allan Browne. There was so much magnetism and space in the originals they played that I did not want to leave.
— Review of Transients IV at Wangaratta Jazz Festival by Roger Mitchell, Ausjazz Blog, November 1, 2016.
Wonderful compositions by Keller and Anning. Keller’s tribute to the late John Taylor, a pianist and mentor, entitled ‘Grateful, Hopeful, Joyful’, was breathtakingly beautiful.
— Review of Transients I at Wangaratta Jazz Festival by Roger Mitchell, Ausjazz Blog, November 1, 2016.

Still Night:

Totally absorbing… This concert worked on many levels, but I found myself slipping easily between momentary explorations of the ideas conveyed by the words and the pure joy of experiencing voice and other instruments… The vocalists blended and crossed beautifully… It was a journey to places that I needed to explore.
— Review by Roger Mitchell Ausjazz Blog December 9, 2016

The Andrea Keller Quartet:

This is totally original music; by that read no one else composes anything like this.
— Michael Prescott,, March 31, 2014
Andrea Keller should be known throughout the jazz world, one can only hope that this album raises her international profile to where it should be.
— Michael Prescott,, March 31, 2014
Remarkably Australian in its evocations.
— John Hardaker,, November 27, 2013.
Keller’s writing can make silence feel as rich as the sounded notes are.
— John Hardaker,, November 27, 2013.
… The mind and sound-world of Andrea Keller, a place that is one of the most original – if not the most original – in Australian jazz.
— John Hardaker,, November 27, 2013.
It is only when one hears music this brave and fantastically new that one is hit – yes: an intake of breath, a stab of joy and a little shiver of fear – with the realisation that there are still new languages to be heard, new seas to cross. And it just reaffirms one’s faith in jazz, art and human courage that little sweet bit more.
— John Hardaker,, November 27, 2013.
Keller’s Quartet has long (since 1999!) been one of our best. Trumpeter Eugene Ball and saxophonist Ian Whitehurst are remarkable, together with drummer Joe Talia they beautifully blur the line between the composition and improvisation allowed in Keller’s pieces.
— John Hardaker,, November 27, 2013.
The strings here: Erkki Veltheim and Helen Ayres on violins with violist Matt Laing and Zoe Knighton on cello, meld with the Quartet, breathing in and out as the music breathes, entirely integral yet free voices.
— John Hardaker,, November 27, 2013.
The result is stunning – Wave Rider is as monumental as nature yet as fleetingly lovely as nature. It takes the art of jazz to its very edge, not in an anarchic or revolutionary way, but in an organic and evolutionary – and thus more ultimately real and grounded – way. Keep your awards – we should simply thank Andrea Keller for that.
— John Hardaker,, November 27, 2013.
An absolutely gorgeous and thrilling album.
— Bird Is the Worm,, January 23, 2014.
A state of sonic musing, letting sounds disperse with a freedom that is positively arresting.
— Bird Is the Worm,, January 23, 2014.
Keller’s latest album proves…that this ensemble is one of the most interesting and consistent in Australian jazz… Brilliant performances by one of this country’s most consistent and enduring ensembles… An embarrassment of riches, and thoroughly recommended.
— Review of ‘Galumphing Round the Nation’ by Aaron Searle, MCA Music Forum Magazine, Nov 2010-Jan 2011.
A feast of compositional and playing styles…Galumphing ably airs the nation’s talent.
— Review of ‘Galumphing Round the Nation’ by Roger Mitchell Sunday Herald Sun, August 22, 2010
A musical portmanteau; holding in its manifold pockets six Kellaborations, all brillig & frabjous.
— Review of ‘Galumphing Round the Nation’ by Arjun von Caemmerer,, 2010.
Keller has one of Australia’s most consistently interesting musical minds.
— Review of ‘Little Claps’ by Doug Spencer,, August, 2007.
A prayer of thanks seems appropriate. The meeting thirteen years ago of 20 year olds Eugene Ball, Ian Whitehurst and Andrea Keller has grown into a musical congregation of faith that has fulfilled much hope and given us much to love
— Review of ‘Little Claps’ by Roger Mitchell, The Herald Sun, August 19, 2007.
Their music is both friendly and deep. Their colours and textures are brilliantly recorded on this disc, their best I think.
— Review of ‘Little Claps’ by John Clare, The Sydney Morning Herald, November, 2007.
A beautifully conceived work with an awareness of both jazz tradition and aspects of modernist European art music…Keller and her players are consistently outstanding.
— Review of ‘Little Claps’ by Michael Webb,, November, 2007.
Keller’s compositions are innately distinctive and interesting. If jazz conventionally has a soul rooted in the blues, Keller’s version is much more cross-fertilised with contemporary classical music… Keller was a joy throughout with her delicate touch and beautiful ways of building tension.
— Review of the Andrea Keller Quartet Sydney, by John Shand, The Sydney Morning Herald, March 4, 2006.
One of this country’s most daring and fascinating composers, she produces work that bristles with surprises, a powerful blend of European lyricism with space and improvisation.
— Review of 'Angels and Rascals' by Leon Gettler, The AGE, May 5, 2005.
One of the most original thinkers on the Australian scene... she has the priceless ability to think outside the square.
— Review of 'Angels and Rascals' by Adrian Jackson, Rhythms, August, 2005.
Pianist Andrea Keller is a major talent on the thriving Australian scene... Apart from being an outstanding piano player, Keller has the gift for writing totally distinctive and engaging compositions. This recording stands as a marker of just how good Australian jazz is.
— Review of 'Angels and Rascals' by Bev Stapleton,, January, 2006.
— Review of 'Angels and Rascals' by John Clare, The Sydney Morning Herald, June 18-19, 2005.
These musicians (are) such a fine and inspiring lot.
— Review of 'Angels and Rascals' by Jasmine Crittenden, Drum Media, July 5, 2005.
Angels and Rascals is further compelling evidence of Keller’s brilliance.
— Review of 'Angels and rascals' by Kenny Weir, Sunday Herald Sun, July 24, 2005.
Ingenious compositions…Keller is a fine technician and fiery improviser who can also withdraw into a soft-focus world of dreams, impressions and confessions.
— Review of ‘Thirteen Sketches’ by John Shand, The Sydney Morning Herald, February 23-24, 2002.
From the opening notes of the first track, as her energetic piano ostinato sets up a range of themes, it’s clear that Andrea Keller has an impressive recording on her hands … Keller has been justifiably lauded for her virtuosic and sensitive pianistic abilities.
— Review of ‘Thirteen Sketches’ by Ashleigh Wilson, The Weekend Australian, October 6 – 7, 2001.
Keller joins the more creative writers for this instrumentation worldwide.
— Review of ‘Thirteen Sketches’ by John Clare, MCA Music Forum, Oct-Nov, 2001.

Solo piano:

The Australian pianist’s wordless songs are eloquent, intimate, surprising. The music is deeply emotional, but never merely sentimental; truly beautiful, rather than merely pretty. No two Andrea Keller albums are too much alike. All are uncommonly rewarding.
— Review of 'Family Portraits' by Doug Spencer, Radio National: The Weekend Planet, June 2, 2013.
It’s a richly textured album that explores the piano through loops, delay pedals and various preparations. The compositions feature a natural restraint that grounds some wonderful flights of imagination… There’s plenty of soul within Family Portraits and an adventurous, experimental spirit that is engaging and satisfying… There’s a lot of love here, both between Andrea and her family and in the process of creating music to
celebrate their lives.
— Review of 'Family Portraits' by Perry Holt, PBS FM: In the Quiet, June 10, 2013.
Delightful in itself, this will also send you back through favourite Wayne Shorter, Miles Davis and Jazz Messengers albums.
— Review of ‘Footprints’ by John Clare, The Sydney Morning Herald, April 25, 2008.
Imaginatively, she explores the possibilities of her instruments, delighting in her decisions to adjust or retain forms, celebrate harmonies and melodies, and create opportunities for improvisation.
— Review of ‘Footprints’ by Roger Mitchell, Sunday Herald Sun, October 5, 2008.
She gives Shorter’s melodies such freedom and vitality that they sound completely spontaneous. At other times her improvisations are so flawlessly structured as to seem set in stone…. This is Keller’s first album without the support of a band or collaborator and it is a ripper.
— Review of ‘Footprints’ by Aaron Searle, Music Forum, May – July, 2008.

The Komeda Project:

The pianist’s masterful arrangements often moved as swiftly as a film in fast motion, darting from woozily plodding rhythms to graceful dances or majestic horn-led crescendos. … an exhilarating evening of music, played with intense focus by an awe-inspiring group of musicians.
— Review of the Komeda Project performance at the MWIJF, Jessica Nicholas, December 12, 2014
Extraordinary solos by an extraordinary band… Some themes leaned towards vaudeville, while others were wild and dark and others distilled a peculiarly European sweet melancholy.
— Review of the Komeda Project performance at the SIWJF, John Clare, November 11, 2014,
Krzysztof Komeda was dead at the age of 37. In that truncated life this Polish medical doctor had penned the scores for more than 40 films, including most of Roman Polanski’s up to and including Rosemary’s Baby. Simultaneously he was a jazz pianist who did more than anyone since Django Reinhardt to develop a variant of jazz that was overtly European in flavour.

The Komeda Project, jointly led by pianist Andrea Keller and trumpeter Miroslav Bukovsky, preserves and expands that legacy. The pair have concentrated on Komeda’s film music, arranging the material for an octet and often combining pieces into mini-suites.
— Review of the Komeda Project performance for SIMA, John Shand, June 14, 2015 Sydney Morning Herald


(Keller/Murphy/Browne) demonstrated the wonderfully intuitive rapport that makes their music so engaging.
— Review of KMB performance at the MJC 30th Anniversary Concert, Jessica Nicholas, January 27, 2013,
Pianist Andrea Keller, bassist tamara Murphy and drummer Allan Browne are assuredly poets on their instruments. There is no bravado and no music for musi’s sake on this album; just a pure, interactive creativity
— Review of ‘Carried By the Sun’, John Shand, October, 2006, Limelight
Intensely telepathic communication
— Review of ‘Carried By the Sun’, Ken Williams, 2006
The set highlighted the exquisite interplay between Browne and his empathetic trio colleagues, Andrea Keller (Piano)and Tamara Murphy (bass)
— Review of KMB performance at Stonnington Jazz Festival, Jessica Nicholas, May 2006,
Another pianist with impeccable touch, Andrea Keller, made music of diaphanous beauty with Tamara Murphy and Allan Browne.
— Review of KMB performance at Wangaratta Jazz Festival, John Shand, November 8, 2006, Sydney Morning Herlad
Andrea Keller, Tamara Murphy and Allan Browne’s debut CD Carried By The Sun is varied and full of the adventurous rapport of a fine jazz piano trio.
— Review of ‘Carried By The Sun’, Lucky Oceans, Daily Planet, Radio National, July 24, 2006,

Three Lanes:

It’s not surprising that this foray out of Keller’s comfort zone works so well – after all, her work is always lit brightly by the spark of originality… Acoustic, electronic, prepared, improvised and composed elements are interwoven with subtlety, so that there is no feel of artificiality or domination by devices.
— Review of ‘Three Lanes’ by Roger Mitchell, Ausjazz Blog, April 16, 2012.
An avant garde, post modern exploration of jazz music. An incredibly innovative and ambitious project.
— Review of ‘Three Lanes’ Eastside 897fm, April, 2012.

The Bartok Project:

It’s a potent combination of players and Keller’s superb writing and arranging makes the most of their talents – both as interpreters and improvisers.
— Review of ‘Mikrokosmos’ by Jessica Nicholas, The Age, March 6, 2002.
Keller is a very accomplished pianist indeed with a sure touch, deft technique and strong improvisational ideas… This is an extremely important and visionary project in the overall output of Australian new music.
— Review of ‘Mikrokosoms’ by Mark Isaacs, Music Forum.
Keller’s Mikrokosoms project is a winner.
— Review of ‘The Bartok Project’ by Xenia Hanusiak, The Herald Sun, January 28, 2003
Keller has extended the piano works with tact, taste, intelligence and imagination… they are highly pleasing – often quite magical and exciting – adaptations.
— Review of ‘Mikrokosoms’ by John Clare, the Sydney Morning Herald, January 4, 2003..
Keller is becoming one of those musicians whose CD you can buy without a listening test because you are assured of getting something special.
— Review of ‘Mikrokosmos’ by Ashleigh Wilson, The Weekend Australian, January 25-26, 2003.
A superb album.
— Review of ‘Mikrokosoms’ in Café Beat, summer 2002.
Keller oozed a joy in playing, and her outstanding credentials as a composer were witnessed… a major talent.
— John Shand, The Sydney Morning Herald, August 23, 2001.