CD: Genesis

Genesis
Grant Jameson: euphonium
The Flowers Band
Cynthia Adcock and Chris Williams: Piano
Diogo Gomes: Marimba and vibraphone
Max Ireland: Marimba and Latin percussion

Since his arrival in the UK in 2012, Grant Jameson has set about making his mark on the brass scene. In his debut CD, the 2015 BBC Radio 2 Young Brass Award winner presents his technical and musical talents in a pleasing variety of musical styles.

Those new to the euphonium as a solo instrument will find the technically superb renditions of Carnival of Venice, Napoli and Czardas pleasing to the ear, ably accompanied by Flowers Band. More experienced listeners will, perhaps, be somewhat too familiar with these well-worn classics and will welcome the diversity provided by two works from Astor Piazzolla. Jameson engages effectively with marimba and percussion in the famous Oblivion, perfectly capturing the stimulating Latin style. Similarly, the use of vibraphone and marimba in Ave Maria effectively draws the listener into an unfamiliar, yet absorbing sound world.

The title track, Genesis, represents the single première recording on the CD, written for Jameson by his brother, Joshua. A work of two parts, a mysterious picture is formed in the opening, before the upbeat Finale erupts into a rousing display of technical brilliance. Whilst impressively executed by the soloist and pianist, it is a pity that we do not hear the tonal and dynamic variety that full band accompaniment would provide.

The same could, perhaps, be said of the piano versions of Picchi’s Fantasie Originale and Wilby’s Zeibekikos, the enormously demanding solo lines being delivered with the utmost conviction. The stylistic changes of Fantasie Originale are navigated with ease, whilst the frenzied Greek dance-style of Zeibekikos constitutes an exhilarating rendition.

The true highlights of the CD, however, are the transcriptions of Rimsky-Korsakov’s The Nymph, Debussy’s Beau Soir and Ravel’s Etude en Forme de Habanera. Each of these delicate vocal works are given careful consideration by the soloist, who artistically captures shades of tension and release amid the intimate setting of the piano accompaniment, which is at its best here.

The quality of the audio is generally well-balanced throughout the CD and, whilst the presentation may be a touch on the bland side (with not a euphonium in sight!), it is complemented by informative programme notes. In all, Grant Jameson offers the listener an impressive introduction to his performing credentials, demonstrating notable technical and musical maturity across a range of styles, which mark him out as a soloist to look out for in the years to come.

THOMAS DUNNE

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