GRAHAM J. - Cry
MREX 004
Graham J. (vocals); Barry Grace (piano); Richie Buckley (sax); Dick Farrelly, Kevin Murphy (guitar); Tony Malloy (bass); Gearard Farrelly, Dominic Mullan (drums); Dave Redmond (double bass); Paul Murhy (various instruments); Ciaran Wilde (clarinet, soprano sax); Pawel Grudzien (piano, harpsichord, violin); Catherine Humphreys, Denice Doyle (violin); Karen Dervan (viola); Aoife Dennedy (cello); Rob Gararthy (clarinet) & the Ear To Ear Concert Orchestra
Recorded: n.d. given
The first thing that strikes you about this new album from jazz/torch singer, Graham J. is the choice of repertoire, a standards album with a twist if you will. The other thing that is striking, is Graham J. himself. As soon as he starts to sing the effect is quite surreal as when one expects to hear a rich tenor, then we are confronted with a contralto voice of purity and expression that after the initial surprise is warm and engaging.
It is immediately apparent that Graham J. has listened to many of the greats, he lists favourites as Ella Fitzgerald, Sarah Vaughan, Nina Simone, Julie London, and Chet Baker, and he doesn't swing as Ella or Sarah might (let's face it, who can?), then he has a way with of interpreting a lyric that makes it wholly believable. It is perhaps fair to say that it is his interpretation of the lyric that is key in the song choice here, and it is also often the setting in which he finds himself that brings out the best in the singer.
The opening 'Cry me A River' was recorded withing hours of the break up a relationship and is tainted by the bitterness and angst that is hear in his delivery. Far more successful is the joie de vie expressed in 'Bei Mir Bist Du Schon' with some fine clarinet from Ciaran Wilde, and the poignancy of Joni Mitchell's 'Both Sides Now' which benefits greatly from the presence of the string quartet in a performance that is understated yet communicates intensely and directly with the listener. This trick is repeated with a fine 'You'd Be Nice To Come Home Too' with the Ear To Ear Concert Orchestra, staying on the right side of bittersweet and avoiding the saccharine. This larger ensemble obviously suits Graham and it would be interesting to hear what he can do with a big band behind him.
Paradoxically, with the very next track, he strips everything right back to just and double bass and piano accompaniment in a wonderfully tender reading of 'The Folks Who Live On The Hill', suggesting that he can also shine in this most exposed of settings. Indeed, as if to prove the point the singer has also included four 'live' cuts, impromptu performances at a party with pianist, Pawel Grudzien, and recorded without the knowledge of Graham or Pawel. These relaxed pieces are an honest warts and all performances (Graham confesses that he sang a wrong word on'Here's To Life') that are perhaps the quiet highlights of the album. 'You Don't Know What Know What Love Is' has the sadness and loneliness of unrequited love without the angst, and another Joni Mitchell song 'A Case Of You' shows just how Graham J. can hold an audience in the palm of his hand.
Reviewed by Nick Lea
MREX 004
Graham J. (vocals); Barry Grace (piano); Richie Buckley (sax); Dick Farrelly, Kevin Murphy (guitar); Tony Malloy (bass); Gearard Farrelly, Dominic Mullan (drums); Dave Redmond (double bass); Paul Murhy (various instruments); Ciaran Wilde (clarinet, soprano sax); Pawel Grudzien (piano, harpsichord, violin); Catherine Humphreys, Denice Doyle (violin); Karen Dervan (viola); Aoife Dennedy (cello); Rob Gararthy (clarinet) & the Ear To Ear Concert Orchestra
Recorded: n.d. given
The first thing that strikes you about this new album from jazz/torch singer, Graham J. is the choice of repertoire, a standards album with a twist if you will. The other thing that is striking, is Graham J. himself. As soon as he starts to sing the effect is quite surreal as when one expects to hear a rich tenor, then we are confronted with a contralto voice of purity and expression that after the initial surprise is warm and engaging.
It is immediately apparent that Graham J. has listened to many of the greats, he lists favourites as Ella Fitzgerald, Sarah Vaughan, Nina Simone, Julie London, and Chet Baker, and he doesn't swing as Ella or Sarah might (let's face it, who can?), then he has a way with of interpreting a lyric that makes it wholly believable. It is perhaps fair to say that it is his interpretation of the lyric that is key in the song choice here, and it is also often the setting in which he finds himself that brings out the best in the singer.
The opening 'Cry me A River' was recorded withing hours of the break up a relationship and is tainted by the bitterness and angst that is hear in his delivery. Far more successful is the joie de vie expressed in 'Bei Mir Bist Du Schon' with some fine clarinet from Ciaran Wilde, and the poignancy of Joni Mitchell's 'Both Sides Now' which benefits greatly from the presence of the string quartet in a performance that is understated yet communicates intensely and directly with the listener. This trick is repeated with a fine 'You'd Be Nice To Come Home Too' with the Ear To Ear Concert Orchestra, staying on the right side of bittersweet and avoiding the saccharine. This larger ensemble obviously suits Graham and it would be interesting to hear what he can do with a big band behind him.
Paradoxically, with the very next track, he strips everything right back to just and double bass and piano accompaniment in a wonderfully tender reading of 'The Folks Who Live On The Hill', suggesting that he can also shine in this most exposed of settings. Indeed, as if to prove the point the singer has also included four 'live' cuts, impromptu performances at a party with pianist, Pawel Grudzien, and recorded without the knowledge of Graham or Pawel. These relaxed pieces are an honest warts and all performances (Graham confesses that he sang a wrong word on'Here's To Life') that are perhaps the quiet highlights of the album. 'You Don't Know What Know What Love Is' has the sadness and loneliness of unrequited love without the angst, and another Joni Mitchell song 'A Case Of You' shows just how Graham J. can hold an audience in the palm of his hand.
Reviewed by Nick Lea
