British singer Fini Bearman’s new album features eight songs from Gershwin’s opera. She eschews any operatic style or story, but remakes each song in the individual folk-edged style she revealed on her 2011 debut CD, Step Up. The opera’s narrative thread is replaced by a powerful dramatic sense: each song has its own distinct emotions and fresh interpretation.
Two songs of loss open the album: Gone, Gone, Gone, a wake for a dead man. Funereal marching drums move into jazz-rock 6/8 with oceans of 60s-style reverb. The intensity of the pure, high voice and Ross Stanley’s gospelly Hammond brings to mind Julie Driscoll and Brian Auger. My Man’s Gone Now is slow and melancholy: ‘Ain’t no use a listenin’/ For his tired footsteps/ Climbin’ up the stairs.’ The voice moves from breathiness to powerful keening as it melts into Matt Calvert’s rock-edged, angular guitar solo- his playing here, and the arrangement, recall some of guitarist John McLean’s work with Kurt Elling. A rollicking blues-rock It Ain’t Necessarily So shows Calvert in fine Clapton-esque mode over a big Chicago blues back beat from the excellent John Blease’s on drums. Bearman phrases the words like a guitar, with a supple lightness and pinpoint accuracy.
There are love songs: Porgy I’m Your Woman and I Loves You Porgy and Bearman sings them with a heartfelt naturalness and directness. The first opens with strong double bass from Jon Cox and bell-like arpeggiated guitar harmonics from Calvert. The textures build (echoes of Radiohead?) as the voice swoops in unselfconscious improvisations. I Loves You Porgy is gorgeous, with delicate opening cymbal work and Durutti Column-like shimmering chords. There’s an exquisite moment as Blease’s percussion sparkles with the guitar and Stanley’s Hammond solo breaks loose in euphoric patterns. Bearman has an affecting catch in her voice, not unlike Norwegian singer Sidsel Endresen.
There are songs of happiness and hopefulness. Bearman has been influenced by Alison Krauss’ work with Robert Plant, and I Got Plenty of Nuttin’ has a country swing that brings out the song’s happy-go-lucky theme perfectly. It also brings out an insouciant folk quality in Bearman’s voice- she admires jazz-folk singer Becca Stevens. There’s a Boat That’s Leaving Soon has a languorous swing and a sense of yearning where New York is a promised land full of ‘nothing but smiles…that’s where we belong’- Bearman sings with subtle bluesiness, and you can hear the smile in her voice. Prayer (Summertime) is ecstatic, from the opening swooning long looped guitar notes and percussion like rain. Summertime’s melody drifts wordlessly and subliminally by, amidst the trancelike sounds. A thunderous backbeat grows with the powerful vocal improvisation and rock guitar. While studying with Kurt Rosenwinkel in Berlin, Bearman learned the importance of trying to ‘express the inexpressible’- and the band certainly does that in this track.
There’s a variety of moods: love, loss, ecstasy and fun. There’s a range of styles: jazz, swing, folk, progressive rock and blues. Drawing it all together is Bearman’s lovely voice, pure, delicate, and passionate.
Porgy & Bess was launched on October 28th at the Forge in Delancey Street, London NW1.
