beautifully expressive and nuanced album.
Rubicon Jazz RJZ1008
Chris Coull (trumpet & flugelhorn); Imogen Ryall (voice); John Turville (piano); Simon Thorpe (double bass); Matt Fishwick (drums)
When Gershwin wrote the music for Porgy and Bess in 1935 it is fairly certain that he would have no idea how enduring the compositions would become. From the classic recordings by Miles Davis with Gil Evans and not forgetting the incomparable album by Ella Fitzgerald and Louis Armstrong many of the songs have become jazz standards recorded by artists too numerous to mention.
Trumpeter Chris Coull has had thoughts of creating his own arrangements of this material for a number of years, and his decision to put any doubts or reservations to one side and put his theories into practice has been a sound one; and the results speak loud and clear in this excellent album.
Coull’s interpretation of the music is right on the money and find plenty of interest to say while creating small group music of real distinction. His choice of vocalist in Imogen Ryall is also an inspired move as in recent years Imogen has continued to perfect her craft and is now undoubtably producing exceptional music both here and on her previous releases on the Rubicon Jazz label.
The album gets off to a swinging start with ‘The Buzzard’ song that immediately shows off the quality of the arranging with a wonderful scat solo from Imogen prior to a lyrical solo from Coull. This is followed by the excellent ‘Gone, Gone, Gone’ with a brilliant arrangement that gives the quintet a sound that is greater than the sum of its parts (as do all the arrangements to be fair).
The partnership of Ryall and Coull is a musical match made in heaven, and it is a joy to hear them working seamlessly together through Gershwin’s melodies. They complement each other’s phrases and phrasing effortlessly that work to stunning effect on tender and emotional readings of ‘Porgy, I’m Your Woman Now’ and ‘I Love You, Porgy’ with Coull’s muted trumpet a highlight, as is his open horn on the impassioned ‘Prayer (Oh, Doctor Jesus).
Mention must also be made of the superb rhythm section that propel the music magnificently throughout with an infection swing and who are also able to provide sensitive support on the ballads that lift the music to that next level. No slouches in the solo department either, all get their moment in the spotlight, but it is a quintet that the impact is greatest with not a note or phrase wasted in this beautifully expressive and nuanced album.
