REVIEWS

"I listened to Kyle Lawson’s album Introduction straight through—and then immediately played it again. It’s that good. The playing is world-class, as we’ve come to expect from Kyle, but what truly stops you in your tracks is the maturity of his artistry. His technique is flawless, his sound golden, and his range, colour, and stylistic sensitivity are extraordinary. This is an album that everyone should hear, and as a Kiwi brass musician, I couldn’t be prouder of the dedication and craft Lawson has poured into sharing this gift with us.

 

From the opening notes of Bertrand Moren’s Southern Stars, Lawson sets the tone with breathtaking ease. Moren’s brilliant writing shines through, and Lawson’s performance feels both effortless and captivating. Pianist Julia Cassels is the perfect partner, providing a wonderfully responsive and supportive accompaniment. Together they create the kind of musical synergy that makes chamber music so rewarding.

 

Rachmaninoff’s How Fair This Spot is another highlight, delivered with tenderness and lyrical beauty. Lawson shapes each phrase with elegance, making the music sound deceptively simple, when in reality it demands the utmost control and finesse.

 

Piazzolla’s Oblivion is intoxicating in Lawson’s hands—a sultry, expressive performance that reaffirms why brass players so often turn to Piazzolla for inspiration. For me, it’s one of the standout moments of the album.

 

Perhaps the boldest choice is Mendelssohn’s Violin Concerto in D minor. Few cornet players would dare attempt such a work, given its formidable technical and musical challenges. Yet Lawson approaches it with assurance and artistry. While one might miss the raw bite of the violin, his cornet offers a different kind of brilliance—nimble, fluid, and refined. In the finale especially, Lawson’s familiarity with the piece is clear; he dances across its hurdles with dazzling ease and infectious joy.

 

John Golland’s Ballade and Goff Richards’ Dark Haired Marie are two brass band staples, the latter an obvious tribute to Kevin Jarrett, who was such an important influence in Lawson’s musical journey. Both are played with warmth, fluidity, and heartfelt sincerity.

 

The penultimate track is Rafael Méndez’s stylish and debonair Chiapanecas, before Lawson signs off with Sam Powell’s Milford. Milford is a touching and fitting conclusion, beautifully captured and recorded.

 

Introduction is more than a debut—it’s a statement. Lawson demonstrates not only technical mastery but also a rare ability to communicate deeply and meaningfully through music. This is an album that rewards repeated listening and firmly establishes him as one of the most exciting cornetists of his generation."