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And a recent review of the same gig in the Guardian at London’s 606 club:



Christine Tobin has proved herself as a jazz <>  musician, a songwriter and as a Leonard Cohen interpreter of distinction. She is also a generous collaborator, lending her warm vocals to projects as different as Don Paterson's Lammas, Harvey Brough's Requiem in Blue and Crass Agenda.

Tapestry Unravelled is possibly her most personal album to date – a duo with pianist Liam Noble. Yet it may also be her most accessible, comprising songs from Carole King's Tapestry. This archetypal singer-songwriter LP is packed with hits, many of them recognisable to people whose parents weren't even teenagers when King wrote Will You Love Me Tomorrow.

Each of Tapestry's songs seems to encapsulate a specific feeling: first love, homesickness, optimism, regret, friendship. King's original recordings were played and sung simply. Working with the blueprints created by King and her collaborators, Tobin and Noble make fresh new shapes: a barnstorming Beautiful; the gospelly You Make Me Feel Like a Natural Woman; a moving, almost classical reading of So Far Away.

King's songs have rarely been treated as jazz material. Noble's arrangements avoid the cliched "ching-ching" of 70s singer-songwriter piano, finding space for reharmonisations and delicious passing notes in King's moody chords. Live in the intimate 606 Club, both musicians resisted the temptation to make Tapestry Unravelled overly cerebral. The hard-won musicality packed into songs such as I Feel The Earth Move was more emotionally direct than any number of long improvisations.

The duo performed a handful of non-King songs, including Milton Nascimento's Ponta de Areia, Steve Swallow's setting of Robert Creeley's She Was Young, and a gorgeous reading of the Gershwins' Embraceable You. But the main event was the way Tobin found something fresh, affecting and deeply human in King's timeless pop music.