Nobody Knows de Trouble I See (How Sweet the Sound)

How Sweet the Sound

A Charm of Spirituals

Darryl Taylor, ct; Brent McGunn, p

Albany 1244—69 minutes

This wonderful collection of what the notes call “African-American art songs” presents arrangements of well-known works by Hall Johnson, Hale Smith, Margaret Bonds, and others. Harry T Burleigh’s enduring setting of ‘Deep River’, an affectingly slow setting of ‘Guide My Feet’ by Jacqueline Hairston, and Deon Nielsen Price’s arrangement of ‘Nobody Knows de Trouble I See’ with its dramatic accompaniment are very moving.

When I reviewed Taylor’s recording of songs by Robert Lee Owens (M/J 2007) I noted his “light and ethereally clear voice”. Since then he has made a comfortable transition from tenor to countertenor, but this is a countertenor sound strikingly unlike the English cathedral countertenor voice. As I was listening to this, my wife and a friend walked in and remarked, “Wow! Is that Mahalia Jackson?” His sound isn’t really of that quality, but it does have a feminine timbre. He is not an extended range tenor like the uniquely voiced Russell Oberlin; he produces a highly cultured falsetto of attractive tone that he uses with elegant legato phrasing. On a few occasions a momentary raspy tone intrudes, and sometimes he takes breaths where sustaining the phrase would better serve the text, but otherwise this is consistently fine singing.

The longest work (6:07) is a superb setting of ‘He Never Said a Mumbalin Word’ by Moses Hogan that Taylor sings with great sensitivity, and here his lovely soft singing is heard to good effect. Toward the end of the final verse, his voice must break awkwardly into a chest register, but it’s the only uncomfortable moment in the program.

Brent McMunn offers excellent collaboration. The sound quality is excellent. Instructive notes by Jared Sexton discuss the history and development of this genre. Texts are not included, but Taylor’s diction is perfectly transparent.

R Moore

American Record Guide