This is tenor John Potter's second recording built around the musical milieu of 17th century composer John Dowland (the first,In Darkness let me Dwell, had similar personnel). Dowland wrote mournful songs and pieces which feature the lute, meant to be performed in intimate chamber settings. This time, instead of interpreting Dowland, Potter and company record music by several relatively contemporaneous composers: Monteverdi, Purcell, de Rore, Ferrari, Wilbye and Johnson.

The small ensemble gathered here is not what one would consider to be an entirely authentic period ensemble. Early music performers Potter, violinist Maya Homburger, and chiaronnist/guitarist Stephen Stubbs are joined by modern performers saxophonist/bass clarinetist John Surman and bassist Barry Guy. Even if the instruments weren't all invented in the 17th century, these musicians certainly capture the spirit of early Baroque music, with its combination of notated compositions and improvisational ornamentation. Even Surman manages to fashion saxophone solos that fit into the proceedings -- witness his work on Johnson's "Care-charming sleep". I never thought that I would find chiaronne and saxophone on the same recording, let alone actually like the results!

Potter has a truly lovely voice, which he has employed both in solo and ensemble contexts (the latter most memorably with the Hilliard Ensemble). It is an excellent instrument for this repertoire: sweet-toned, supple, and with a minimum of vibrato. Particularly affecting are his interpretations of Purcell's "She Loves and she confesses" and Wilbye's "Weep, weep, mine eyes". If you think that plaintive songs about unrequited love are reserved solely for the pop charts, you need to hear the Dowland Project.