Beverley Beirne is a well-respected jazz singer who has enjoyed success both in live performances, and with her album releases. They include the fun-filled Jazz Just Wants to Have Fun, released in 2018, and The Ilkley Suite, a beautiful homage to the countryside composed by Jamil Sheriff that was commissioned by the Ilkley Jazz Festival to mark its fifth year. This was very different in approach and feel with more improvised and free playing, showing Beirne’s aptitude for different styles of music.
On Dream Dancer, Beirne has enlisted top-notch musicians including Rob Hughes (Heather Small, ABC, Rob Hughes Trio) on saxophone and flutes, Sam Watts (Curima Trio, Cosmo Sound Collective, Rob Luft Quintet) on piano, Flo Moore (a Jazz Just Wants to Have Fun alum who’s also collaborated with Pete King, Jason Rebello, Gene Calderazzo, Zoe Rahman, Henry Lowther, Anita Wrdell, Tom Barford quintet and more) on bass, and Ben Brown (Jean Toussaint, Liam Noble, Rebecca Ferguson and more) on drums. Their presence adds quality and depth in support of Beirne’s sumptuous, alto voice.
“Let’s Face the Music and Dance” is given the Beverley Beirne treatment, with a creative change in rhythm pattern, a pulling back on the syncopation and Rob Hughes’ absolutely stonking saxophone solo, all over a constant and driving rhythm pattern. Meanwhile, “Weaver of Dreams” is sensuous, swinging and a rocking lullaby of a dream song, multi-layered, with the bass supporting before it swells out of the background to deliver a strong solo. There is a lovely hold back around the 4.15 mark which re-engages the ears and is placed perfectly.
“Now We’re Just Friends” is beautiful and tells the story of the aftermath of a romantic break up. It features a deft and emotive solo from the late Duncan Lamont himself, who was 88 at the time of these 2018 sessions. Knowing that he has since passed away adds even more poignancy to the number. David Bowie’s “Let’s Dance” is given a soulful samba treatment, and knowing the original track and the Nile Rodgers production, it is initially tempting to balk and think neither would have worked it this way. But listen again (and again) and take in Hughes’ sax solo, the rhythm plays Bowie often delved into and it makes sense. Plus, “Let’s Dance” is a great track and translates to the samba pattern well, particularly with the tenor bottom notes in the phrasing. Beirne’s tribute to Bowie was recorded two weeks before he died. It works.
“Daydream” is brought up to date from 1939 when it was written by Billy Strayhorn, and given a waltz theme which is inspired. The piano solo from Sam Watts is lovely, and Beirne’s vocals rise and fall, changing from chest to breathy or solid higher register with ease. The vocal improvisation in the final few phrases is lovely. “Temptation” is treated with respect and the dramatic vocals, dipping down to Beverley Beirne’s limits, coupled with reflective piano lines and extended flute solo serve to create an enjoyable listen.
“Fascinating Rhythm” is an uplifting, racing number, opening with the lovely patter of a fretted bass line with vocals alone before the ensemble join to deliver support and create a fun-filled, richly arranged number. The music is tight, the rhythmic patterns changed deftly, the scat and sax interaction crazy and the listening experience is a delight. Don’t worry if you find yourself thinking this sounds like Rodgers and Hart’s 1927 number “Thou Swell,” either: Part of the song makes an appearance in the middle section, deftly stitched into the arrangement.
“Bill,” from the musical Showboat (and sometimes called “Along Came Bill”), is about a guy with no particular gifts, but someone who inspires love from the girl singing. It features a gorgeous and joyful flute solo, steadfast piano support underneath and Beirne’s voice is well suited to the number. “Old Brazil” is the theme from the UK children’s show Mr. Benn, given lyrics as a gift to Beirne from Lamont the night before recording. The track also features the great percussionist Cyro Baptista (Derek Bailey, Gato Barbieri and many more) and world-leading Brazilian guitarist Romero Lubambo (Diana Krall, Wynton Marsalis, Pat Metheny and many more), which partly explains why it is such a stylish and classically delivered number. But there is also Beirne’s delivery and her musicians too – including Duncan Lamont himself.
“Winter Moon” is given an open arrangement which perhaps removes some of the original’s texture and depth, and also leaves the vocals open but the standardized first third of the track is deceptive. After this, it builds into an atmospheric piece. Rob Hughes’ sax roll-in is subtle and as it rises, soars and the vocals respond, it lifts the piece and the listener skyward. This is a standout on Dream Dancer.
The title is given a swing, and the storyline is well told. “Dream Dancer” has the instrumental introduction of the original, but the orchestra is replaced by piano here. Beverley Beirne’s vocals soar in this number, as does Hughes’ saxophone once again. Interesting too is the bass line, held steady and true by Flo Moore and the piano solo which is intricate and delivered with finesse. The closing track is her update of “Pieces of Dreams,” which is presented as a duet between voice and piano. The piano reflects the lyrical lines at times, while offering interesting and delicate support at others.
Dream Dancer is a delight to listen to, not only for Beirne’s voice but the musical arrangements and the exceptional soloists’ support and underpinning to the voice lines. There is, at times, also great interaction between voice and instrument whether sax, bass or piano, and that is always good to hear as it creates a cohesiveness to the sound. Out on the ever-strong 33Jazz label, Beverley Beirne’s new album can’t top Jazz Just Wants to Have Fun, but rather shows a completely different side and strength to her performance.
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