The second volume of Rebeca Omordia’s ‘African Pianism’ proves as much of a revelation as the first (5/22). The opening selection, Elilta – Cry of Joy by the composer/pianist Girma Yifrashewa, opens in the manner of a prelude that might be heard underneath a sermon at a gospel church service. The gathering momentum of Omordia’s pearly runs and flourishes eventually finds its footing supported by a swinging bass-line ostinato. Salim Dada’s five Miniatures algériennes are wonderfully terse and varied; after hearing Omordia’s perfectly inflected way with ‘Danse Zaydan’, I’d hire the pianist to play in my klezmer ensemble at any price.

Of the four works by Nabil Benabdeljalil, I’m most attracted to the sparseness and subtle harmonic sophistication distinguishing the Two Preludes. Frisson de la nuit is evocative and inventive, if perhaps a tad too long for what it has to say. Still, Omordia’s shapely and nuanced interpretation makes a compelling case for the music. By contrast, Mokale Koapeng’s modestly titled Prelude in D flat is an étude in disguise that veers in delightfully unpredictable directions. Grant McLachlan’s sensitive arrangement of the traditional ‘Senzeni Na?’ and ‘K’A Mura’, the first of Fela Sowande’s Two Preludes on Yoruba Sacred Folk Melodies, offer welcome lyrical respite.

Omordia’s virtuosity fully kicks in throughout Florence Price’s large-scale Fantasie nègre in E minor. Her rich sonority and expansive phrasing unquestionably suit Price’s Romantic idiom, although I slightly prefer the fervent edge of Lara Downes’s faster tempos in her recording (Sono Luminus, 1/17^US). However, Omordia articulates the angular rhythms in three selections from Akin Euba’s Studies in African Pianism with impressive ambidextrous aplomb. Robert Matthew-Walker’s superb annotations and Somm’s ideal sound enhance my enthusiastic recommendation. On to Vol 3 and beyond!