The Sharón Clark Quartet

http://www.washingtonian.com/articles/artsfun/9926.html - Washingtonian Magazine

http://andrewsullivan.theatlantic.com/the_daily_dish/2008/01/mental-health-4.html - The Atlantic

http://andrewsullivan.theatlantic.com/the_daily_dish/2008/01/mental-health-4.html - The Atlantic

A Washington native with a powerful yet supple contralto, Clark moved with soulful, swinging assurance through her set, often evoking the artistry of Sarah Vaughan along the way. Clark proved wonderfully nimble when the tempo quickened or when some scatting was called for, but for sheer enjoyment, nothing eclipsed her dreamy rendering of "You Go to My Head."

Full review, click here:
http://www.washingtonpost.com/wp-dyn/content/article/2008/10/05/AR2008100502072.html
- Washington Post

Sharon Clark, a singer based in the Baltimore/D.C. area, proved a revelation in the less than commodious confines of Carney's Other Room. If you think you hear shades of Billie Holiday when Madeleine Peyroux sings, how about the spirit of Sarah Vaughan? Clark not only conjures up memories of the Divine Sarah; she does them justice. I never thought I'd hear a singer with the range, musicality and command of tone and timbre that was Sarah at her best, but now I have.

For full review, visit:
http://www.jazztimes.com/articles/17782-cape-may-jazz-festival-2006-spring - JazzTimes

“You can’t underestimate the transformation of what seems like an ordinary song when an interpreter like Sharón Clark, a Washington-based jazz and soul diva, tears it apart and peers inside . . . Ms. Clark’s sound evokes not [Billie] Holiday but rather a less operatic Sarah Vaughan fused with the more animated side of Shirley Horn, a singer who also liked to take her time. Ms. Clark’s voice is rich, her phrasing unfussy, her jazz embellishments minimal.” -- Stephen Holden, New York Times - New York Times

"The brilliant Sharón Clark . . . knows how to personalize the songs of Motown or the Beatles, no less than if they were by Gershwin or Rodgers, and offers an object lesson in how to revitalize someone else's vintage hit in a such a way that the original artist suddenly becomes the furthest thing from the listener's mind. . . . her show at the Metro of songs from her AM radio youth is an absolute triumph." . . .

Like [Sarah Vaughan], her natural sound is almost operatic in its richness, but pure jazz in its improvisational sassiness. But when she brings her remarkable instrument to bear on those pop hits of the post-nuclear age, which she clearly loves, she creates something new and amazing. . . .

All of which begs an additional question: Why has Sharón Clark been so overlooked, particularly in New York, for all this time? That is surely going to change." – Will Friedwald, Wall Street Journal - Wall Street Journal

This lady boasts talent, spunk, confidence and humbleness, and deserves to be well on her way to breaking into this difficult [NYC] market.
- Cabaret Scenes

She somehow turns songs from the 1960s and 1970s into jazz lushness. I heard her in Provincetown this summer and was wowed. - Andrew Sullivan / The Dish

Whatever she’s performing, Clark gives each song a very personal interpretation that nevertheless recalls the very best of female jazz singers... By the time Clark concluded with Dusty Springfield’s ‘Just a Little Lovin’, it seemed many wished the evening had just begun. - Times Square Chronicles