This is the début recording by singer Becky Brine who is based in Totnes, Devon. She studied for a Diploma in Performing Arts in Bristol and got into singing in a serious way in 2002 after taking part in stage musicals at the Bristol New Vic.

She moved on to Dartington College of Arts and ended up settling in Devon. Brine performs as a solo cabaret artist (with backing tracks) and in jazz duos and trios. Most of her work is in the South West but she has also acquired something of a following in The Midlands after Jim Simpson invited her to perform at the Birmingham Jazz Festival. Oh yes, and she still enjoys busking from time to time.

“Almost” was recorded in Plymouth and features Brine on a collection of jazz standards, many of them with a blues flavour which suits her powerful voice and bubbly,outgoing personality. Most of the tunes are very well known, arguably some of them are over familiar, but there is one big surprise, a version of Janis Joplin’s “Kozmic Blues” which closes the album.

Joining Brine are guitarist Vince Lee and bassist Al Swainger with the drum chair alternating between Sebastian Boleslawski and Coach York. Ian Pettit supplies the horn parts but the star instrumentalist is the nationally known pianist Craig Milverton who also helps out with some of the arrangements.

Duke Ellington’s “I Ain’t Got Nothing But The Blues” gets the album off to an invigorating, good natured start driven by Lee’s guitars and Pettit’s authentically 1920’s blues flavoured trumpet. It’s the kind of song that’s best suited to Brine’s throaty, bluesy voice.

Cole Porter’s “Easy To Love” is more obviously jazzy with Milverton’s piano and arranging skills sharing the limelight with the singer. The concise piano solo is a treat. 

A playful vocalese version of Horace Silver’s “Doodlin’” follows with Brine clearly enjoying herself. The standard “Deed I Do” is in much the same spirit but benefits greatly from the presence of Milverton and a swinging rhythm section.

“Why Don’t You Do Right” has the same bluesy feel as the opener despite being taken at a lower tempo with guitar and trumpet prominent in the arrangement.

Milverton returns for the second of four Cole Porter songs “You’d Be So Nice To Come Home To”. Brine seems to have a particular affinity for Porter’s songs, not surprising really, they’re enduring, lyrically very clever and must be great fun to perform.

“Loverman” features Brine at her most sultry in a pared down setting with only Stainger’s resonant double bass for company. It’s an unusual and highly effective arrangement and aside from Milverton’s contributions is probably the highlight of the album.

A swinging, sophisticated Milverton arrangement of Porter’s “Love For Sale” is also hugely impressive, Milverton’s piano combining well with York’s crisply energetic drumming. Brine at her most obviously jazzy rides the rhythms well with some quality jazz phrasing.

“Sugar Blues” is a return to the blues repertoire with Lee and Pettit again prominent. The following “Goody Goody” strays a little too far into novelty territory for my tastes, a by product of Brine’s cabaret leanings at a guess.

Milverton gives Porter’s “Just One Of Those Things” a shuffling, latin tinged, odd meter arrangement that casts fresh light on a very familiar tune. Brine rises to the challenge and the pianist signs off with an effervescent solo.

The album closes with a stark, dramatic arrangement of Janis Joplin’s “Kozmic Blues” which is highly effective and demonstrates Brine’s ability as a blues shouter.

Another song associated with Joplin is the album’s secret track, an acca pella version of “Mercedes Benz” which is more than good enough to appear on the album proper. There then follows a clip of Brine laughing uncontrollably and filthily. Maybe it’s her “Brian Johnston”  moment.

There’s nothing particularly original about “Almost” but it is a very enjoyable album with a set of well chosen, good quality songs that are well suited to Brine’s voice. She’s adept at both blues and jazz with a slight bias to the former, and on the evidence of this recording her live performances must be huge fun. This album would make a good souvenir of a gig but the polish and sophistication Milverton brings to the proceedings makes it something more than that. Apparently she does write her own material but at this point in time the standards repertoire is proving more lucrative.

Becky Brine should be well worth seeking out on the live circuit if you happen to live within her West Country/West Midlands catchment area. Details of forthcoming events can be found at http://www.myspace.com/beckybrine

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