Sarah L King: The Light Ahead

Sarah L. King follows up her assured debut album, Fire Horse (ECN Music, 2024), with The Light Ahead. She maintains the format of the first album, mixing cover versions with eight of her own compositions. There is a clear shift in the tone of this release, with the focus being far more optimistic and celebratory. "I wanted to write something uplifting," says King. "All that matters is today -let's focus on that. Stop longing, stop wondering. Just be, and enjoy."

To help her shape her vision, she assembles a cracking core trio consisting of pianist Jim Watson, bassist Laurence Cottle and drummer Jamie Murray. Further sparkle is added by guests trumpeter James McMillan, electric guitarist tommy emmerton and trombonist Chris Traves. The album is produced by Claire Martin OBE, who also adds additional vocals alongside Marley J Wills.

A former award-winning filmmaker and scriptwriter, King brings a natural storytelling instinct to her compositions. This is immediately apparent from the opening track. "The Heron," which builds a smooth groove anchored by Cottle's full-bodied bass lines, while King's voice, a model of clarity, conveys a sense of yearning before McMillan's trumpet weaves its way elegantly into the mix.

King's compositions deftly fuse jazz sophistication with the warmth of neo-soul. "April," full of romance and seasonal promise, sees intuitive interplay from the core band and more exemplary work from McMillan. Traves and McMillan weave soulful horn phrases through the classy "Get My Fingers Burnt," while Watson proves a sensitive and assured accompanist to King's polished vocals on "Inner Child."

King proves equally commanding on the lively funk of "Ain't Gonna Rain," her crisp diction cutting cleanly through the song's busier textures. Emmerton delivers a concise but fiery solo, elevating a track that feels tailor-made for a live setting. The soulful "Let Me Be The One You Love" also benefits from Emmerton's guitar work with the style of solo that would sit comfortably on a Steely Dan album.

Of the four cover versions, Clifton Davis 's "Never Can Say Goodbye" stands out as the clear highlight. The core trio injects drive and swing while King's skillful rephrasing steers the song away from the shadow of Gloria Gaynor's well-known interpretation. A breezy version of Stevie Wonder's "Overjoyed" also fits naturally with the album's message.

Across the recording, King and her collaborators craft a smooth and engaging tapestry of sound founded on elegantly arranged, rhythmic jazz and soul. She continues to demonstrate her ability to blend control with vulnerability, both in her vocal delivery and songwriting, achieving a poised balance of delicacy and sophistication.