Serving notice of her skills as a vocalist and lyricist, let Imogen Ryall remain a secret no longer, and this excellent recording receive the accolades it so richly deserves.
Rubicon Jazz RJZ1001
Imogen Ryall (voice); Julian Nicholas (tenor & soprano saxophones); Emil Viklický (piano); Petr Dvorský (double bass); Eric Ford (drums)
Recorded 23 & 24 April 2023
With this her second release on the Rubicon Jazz imprint the feeling is that this is very much Imogen Ryall’s time. Despite the fact that she has been an active and highly regarded vocalist and lyricist, Ryall does seem to be a bit of a well-kept secret.
With the release of the outstanding One January Morning by Ånöna Trio in 2019 the secret should have been out, but it was last year’s Imogen Ryall sings the Charles Mingus/Joni Mitchell Songbook that has made the biggest impact.
Both of the above releases found Ryall in the company of long-term musical partner, Julian Nicholas, and it was the saxophonist that first introduced Ryall to pianist Emil Viklický. The association between pianist and saxophonist goes back more than thirty years, and can be heard in the respect and empathy in their playing.
Upon being introduced to the pianist, Ryall has again found the ideal musical partner, and alongside Julian Nicholas, who is often the link that cements the dialogue between voice and piano with his idiosyncratic and sensitive contributions.
Czech born Viklický has been a major presence on the international jazz scene playing with US trumpeter Benny Bailey and in groups with multi-instrumentalist Scott Robinson. Noted for his use of the influence of Moravian folk song in his jazz compositions as well as composing more formal chamber and orchestral works.
Viklický’s writing for small group is brought into sharp relief here with the pianist composing ten of the songs heard with lyrics written by Imogen Ryall. The music covers a wide range of emotions, and sits comfortably with the contemporary jazz quintet brought together for the recording.
The compositions are wide ranging yet swing to their own beat. The way in which Ryall has added her lyrics to the pianist’s music is an uncanny fit, and the relationship between voice, saxophone and piano is a joy to privy to.
Bass and drums find a lovely groove on ‘I Know, You Know’ and after Imogen’s brief wordless vocals there are delightful solos from both Nicholas and Viklický. A tune that has had a previous existence as ‘Halloween’ resurfaces with Ryall’s rather dark lyrics as ‘Conjurology’ yet still manages to swing, and the clever lyrics to ‘Dawn Devayne’ tell the story of sacrifices made to find oneself.
The song choice is a kaleidoscope of colours that change each time the album is played as a different set of lyrics or tempo catch the attention, from the forlorn ‘Touha (Desire)’ to the chilling meaning behind the lyrics to ‘Porthcawl Fair’, and the lilting melody of ‘Kyczera’ and beautiful solo from Viklický.
Two pieces are tastefully recast with the lovely ‘A Short Way From Home’ adapted from ‘Moods, Impressions and Reminicences, Op. 41/139’ written 1891-1894 by Czech composer Zdeněk Fibich (1850 – 1900) with Imogen’s lyrics; and the traditional Czech lyric sung, and translated, by Ryall and set to music by the pianist on Na Osice (Aspen Leaf). These two compositions also feature excellent solos from Julian Nicholas on tenor on ‘A Short Way’ and soprano on ‘Aspen’ along with a fine contribution for Eric Ford.
Throughout Ryall’s vocals command attention. Often gentle, her intonation and diction, and use of dynamics bring real drama to the music, and this is superbly echoed by Viklický and Nicholas in both accompaniment and solos. All is supported by the supple rhythmic support from bassist Petr Dvorský and Eric Ford on drums, and both take their solos with alacrity and sensitivity in equal measures.
Serving notice of her skills as a vocalist and lyricist, let Imogen Ryall remain a secret no longer, and this excellent recording receive the accolades it so richly deserves.
