At last! The wait is over. Here is my round-up of favourite releases from the previous calendar year. 2023 felt richer than ever and there were so many wonderful records to choose from. As usual, I’ve spared myself the agony of ranking the selections: democracy rules and the list is in alphabetical order, by artist…
Category: song
Voice recognition: Carolyn Sampson
As many of you will know, soprano Carolyn Sampson reached her 100th recording as a soloist with the release of ‘but I like to sing…’ in November. She celebrated this achievement online, with a series of short videos explaining some of the background to each recording. Full of relaxed charm – with an extra layer…
Unbound: Mahan Esfahani & Carolyn Sampson on disc and in recital
For any listener, there’s a special kind of excitement reserved for when favourite artists – those you’ve been following separately for some time, collected their records and so forth – suddenly collaborate. Examples that spring to my mind include ‘The Marble Downs’, a masterpiece made by one of the UK’s greatest (and much missed, certainly…
Pretty good together: Barb Jungr and her Trio, ‘My Marquee’
To paraphrase Bob Dylan, one of her heroes and creative touchstones, Barb Jungr contains multitudes. Anyone familiar with her work will know what a versatile talent she is. She personifies what cabaret at its absolute finest can be. She’s a consummate jazz vocalist – commanding, beguiling and arresting whether working within that genre or careering…
Light fantastic: Mary Bevan, ‘Visions Illuminées’
It’s always a delight to come across an album so richly crafted and ingeniously programmed, you get an overwhelming sense that you’re hearing something intensely personal, a snapshot of what the artist wants to say ‘right now’. ‘Visions Illuminées’ feels like one of those records. Soprano Mary Bevan has featured on numerous recordings, but on…
Apart songs: Carolyn Sampson & Kristian Bezuidenhout, ‘Trennung’
Given the musicians involved, it should come as no surprise to learn that ‘Trennung’ is an immaculately crafted and beautifully performed album. But it’s also an unusual record, turning up at the party dressed as a recital disc, but as time goes on, revealing more and more of its unique character. It’s a considerable sonic…
National address: Chorus of English National Opera, St Martin in the Fields
No doubt about it, this was one of those concerts where my batteries felt properly recharged, restored to full strength with the power of these voices, somehow still flowing through me. A real privilege to hear such a fine group of singers at such close quarters, presenting a programme as individual as their own distinctive…
Continental lift: Rebeca Omordia, ‘African Pianism’; the African Concert Series
This marvellous disc contains multitudes. The variety of sounds and styles packed into its generous 77 minutes showcases not only the infinite intrigue of a music too little-heard until now, but the lightly-worn virtuosity of Omordia herself. (Important note: for the facts/background underpinning this post, I’m indebted to Robert Matthew-Walker’s invaluable booklet notes which, in…
Retrospecstive 2021: Adrian Ainsworth’s 25 recordings of the year
As ever, blood, sweat, tears and several industrial-strength mugs of tea have gone into this year’s round-up. Even while the ongoing impact of the pandemic continues to make musicians’ lives uncertain at best and hellish at worst, they have still managed to do us listeners proud. I have already written about some of the below…
Album release: Georgia Train, ‘Needles & Pinches’
Here is a singer-songwriter confessional that blasts new energy into the genre. Violently resistant to any cliché, the entire album walks a tightrope between the accessible and avant-garde: unflinching, uncompromising and ultimately unforgettable. Georgia Train has already built up a rich back catalogue. I first heard her music as one half of duo Bitter Ruin…
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