Sarah L King: Fire Horse

Starting her musical path with coaching from Mike King, one of the UK's leading contemporary vocal coaches, Sarah L King (no relation), surfaced as a solo jazz vocalist, releasing an EP of standards and several singles. Her passage was helped by a family heritage consisting of an accomplished jazz trumpeter father and an orchestral conductor grandmother. An early career as a writer and director of short films provided the right impetus to be a compelling musical narrator.

King's debut album, Fire Horse, has the multi-talented Claire Martin producing. Martin and King have assembled a supporting band of top-level British musicians. They include Jim Watson on piano and keyboards. Watson brings extensive experience gained with artists of the calibre of Kurt Elling and Sting. Likewise, electric bassist Laurence Cottle has played with notable names such as Jason Rebello and Eric Clapton. He also leads his own big band. Double bassist Jeremy Brown has been a member of Stacey Kent's group and is a professor of jazz double bass at the Royal Academy of Music. Drummer Ian Thomas has recorded with Robbie Robertson and BB King. Add the talents of James McMillan on flugelhorn, Chris Traves on trombone and Ian Shaw, as well as Martin, on backing vocals and you have a cracking line-up.

King covers some classic tunes with considerable finesse. There is a sparkling, lightly-swinging version of "Devil May Care." King's vocal flies along with great clarity against the brisk tempo, with Watson's piano solo and Thomas's drums bringing added zest to the track. King's phrasing on one of Billy Strayhorn's signature compositions, "Lush Life," is perfectly judged. She brings out the dissolution and weariness of the lyrics and immerses the listener in the song. King uses Gail Fisher's lyrics on the Oliver Nelson tune, "Stolen Moments." An entertaining track brings swing from McMillan and Traves, commanding vocals from King and a bass solo from Brown.

King contributes eight of her own compositions of love and regret. All the arrangements are well-constructed hybrids of smooth soul and gentle jazz. Her lyrics are refreshingly open and direct, especially on the heartfelt "Skyscapes" which concerns the death of her father.

The bittersweet "Born Yesterday" features bluesy piano; King's warm narrative style is ideal to shape the confessional lyrics. The light soulful funk of "Black Dog" builds over Cottle's muscular bass, neat backing vocals and keyboard solo. "Snow Blind" is a late album highlight with King's vocals reaching their elegant prime and Watson's tasteful piano providing her only accompaniment. "Your Biggest Fan" is another smooth success with Cottle providing fine support.

This is a highly assured and engaging debut which provides a neat blend of smooth soul and jazz. The first-rate arrangements allow King to showcase her clear and elegant vocals, wrapped up with soulful overtones. Her songwriting is open and emotional, with an occasional lyrical twist. A tasteful and sophisticated album which should have broad appeal.

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