Chris Coull Quartet With Imogen Ryall: Songs From Porgy And Bess

The opera Porgy and Bess, composed by George Gershwin with lyrics by DuBose Heyward and Ira Gershwin, features many iconic songs that have crossed over into other genres, with many becoming jazz standards, while others have been covered by pop and rock artists.

Gershwin, who also composed Rhapsody in Blue and An American in Paris, poured jazz, blues, gospel and inventive orchestration into his score, creating a work that was groundbreaking for its time.

This landmark of American music has provoked controversy since its premiere with themes of domestic violence, addiction, racial representation and temptation that continue to resonate today. UK trumpeter Chris Coull sets these complexities aside, shifting the focus to bringing a vibrant selection of the opera's songs to life for contemporary audiences.

Coull draws on the original 1935 score alongside the celebrated Miles Davis and Gil Evans recording (Sony Music Entertainment, 1959), revitalizing some of the opera's most memorable moments. His quintet pays due respect to the past while keeping the focus on contemporary jazz. He is joined in this project by award-winning vocalist Imogen Ryall and an excellent rhythm section of pianist John Turville, bassist Simon Thorpe.

The album gets off to a winning start with a swinging rendition of "The Buzzard Song," Ryall's range and diction suiting the narrative style of the material perfectly. Coull's edgy trumpet interjections lead to a fine solo before he hands off to Turville. The band navigates the moody spiritual style of "Gone, Gone, Gone" before moving into a haunting version of "My Man's Gone Now," with Ryall's emotional delivery and Coull's thoughtful solo in assured balance.

All the opera's instantly recognizable songs are present. Coull's soaring trumpet punctuates the verses of the bustling drive of "It Ain't Necessarily So," while the rhythmic and light-hearted "I've Got Plenty Of Nothing" has considered phrasing that aligns with the sassy trumpet lines, complemented by Turville, Thorpe and Fishwick's impeccable support. The band stretches out on a sparkling version of "There's A Boat That's Leaving Soon For New York," which Ryall sings with a smile in her voice. Coull's perceptive solo work unfolds beautifully on "I Love You Porgy," and there is an irrepressible groove as the band has fun on "Oh Lord, I'm On My Way."

Alongside his perfectly tailored rhythm section, Coull turns in a masterful performance, as his classic bebop lines move between sensitivity and intensity. Ryall's nimble vocals continue to shine brightly across the broad range of material, delivering melancholy and joy in equal measure. Of course, one song from the opera has been covered more than most; "Summertime" is frequently the subject of impressive big band arrangements or major vocal performances. In a strikingly original short take, Ryall sings it unaccompanied, apart from gurgling baby sounds, reminding listeners that the song is a lullaby. It makes a fitting conclusion to Coull's thoroughly impressive project.