PHOTO: MICHAEL WEINTROB
2019 Downbeat Critics Poll Winner for Rising Star Trombone!
"Her veteran skills as a trombonist are clear, but what's even more impressive is her vocal performance and talents as a lyricist...If you haven't heard of Natalie Cressman, you definitely will soon." More — Molly Fosco, Huffington Post
"Her trombone is world-class, but her singing voice is another thing entirely, an empathic entity that channels the ages. Cressman’s is a flawless act that can only get better with time and age. Yep, I smell a Grammy — someday." More — Dave Good, San Diego Reader
On “Already There”, a track from Cressman and Faquini’s new album, Auburn Whisper, the duo uses the convivial but intentional sotto voce that lovers do, playing off each other’s sense of calm and closeness. Cressman’s vocal is clarion-clear but there’s a quaver in it that makes it a perfect counterpart to the warm, relaxed breathiness of her trombone. Whether in multitracked harmony or solo, her brass playing is emotive and free, occasionally tough, always tender. " More – A.D. Amorosi, JazzTimes
"Trombonist and guitarist remind of Getz-Gilberto and dive deeper in wistful readings of Brazilian folklore..." More – Brian Payne, Jazz Journal
"The remarkably warm, smooth tone of Natalie's trombone playing she attributes to her father's guidance, and her mother's influence is evident in Natalie's singing. When mixed with Ian's guitar and voice, the result is otherworldly." More – Robin Lloyd, KNKX
Setting Rays of Summer sounds as fresh and revivifying as a clear mountain stream…The expert songcraft on display throughout Setting Rays is more than impressive, but what stands out most is the way that trombone, guitar, and two voices conjure a fully realized realm.” More
– Andrew Gilbert, JazzTimes
“Cressman’s second release presents yet another pop sensibility infused with jazz, this time with loads of instrumentation, all of it clearly interwoven into the singer’s girl-next-door charm. The arrangements flavor everything, with subtle surprises, fresh writing and tuneful material (mostly hers). The San Francisco native’s easy, listenable lyrics are the connective tissue. Cressman also plays some serious trombone, and she has an affinity for involving others in this septet of horns, guitar and acoustic and electric keys.”
– John Ephland, Downbeat Magazine
“Natalie Cressman is, one might say, a chip off the old blocks. Like her father, Santana sideman Jeff Cressman, she plays trombone. Like her mother, jazz vocalist Sandy Cressman, she sings. She does both with aplomb on her debut CD, "Unfolding," and wrote richly textured horn-section charts for herself, a trumpeter and a tenor saxophonist.” More — Lee Hildebrand, San Francisco Chronicle
Cressman’s sylphic, clear soprano sings in harmony or solo, and she switches effortlessly to slide trombone…It may also be the first time, in a long time, that record-buyers and live audiences have heard something Brazilian or otherwise that’s so unaffected and accessible to the heart. More – Jeff Kaliss, SF Classical Voice
“A voice that can conquer pop, jazz, the jam world or whatever she decides to pursue next." More — Shawn Donohue, Glide Magazine
"This is a collection of angular compositions that are as intricate as they are accessible...The mix of Cressman's confident voice, tart trombone and crack songwriting establishes the artist well down the road from an already fully-established sound on Unfolding...Natalie Cressman continues to arrive and is sure to continue her brilliant evolution as a musician.” More — C. Michael Bailey, All about Jazz
“Yes, she does sing, but her voice has an alluring smoky quality that adds to, and not detracts from, the mood. A clever reading of “Honeysuckle Rose,” gets the mood just right, and “Goodbye Pork Pie Hat” is as languid as all get out. Impressive on a plethora of fronts. “ More — George W. Harris, Jazz Weekly
“{Setting Rays Of Sumer is} a gorgeous and sensuous album…Casual, unpretentious and as delicious as dipping your bread into a plate of fresh olive oil.” More
– George W. Harris, Jazz Weekly
“On her sophomore album, Turn the Sea, singer- songwriter and trombonist Natalie Cressman sings much more than she's done in the past, and the results are spectacular. Esperanza Spalding fans and Joni Mitchell lovers will find plenty to smile about.” More — Michael Hamad, Hartford Courant
“Natalie Cressman is, to put it simply, an extraordinarily talented young woman... her voice has the capability to become as great as some of the Jazz singers we all know and love... What is fantastic about Unfolding is though it’s a jazz record, the songs are so beautiful and easily comprehendible that for a moment you don’t even realize that it’s jazz you are listening to.” More — Kerriann Curtis, Indie Music Reviewer Magazine
“Musical barriers are deftly shattered as a more organic indie rock sound is somehow merged with a deceptively subtle modern jazz interpretation...The band is first rate. The tunes are wildly inventive with perhaps another talent creeping into Cressman's arsenal as her production skills seem to capture the genre bending sound that permeates Turn The Sea. Unfolding was incredibly good. Turn The Sea is better!” More — Brent Black, Critical Jazz
Ian Faquini and Natalie Cressman each have lovely voices that sound delightful in solo settings and mesh warmly, like sunshine sparkling on calm seas, when they harmonize… Perhaps it is the simplicity of this production that beckons the listener to come closer, with open hearts, and to soak up the purity of their musical message…It’s a sweet listen.” – Dee Dee McNeil, Musical Memoirs