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"Rob Koral must be our most prolific writer of quality jazz songs, in collaboration with singers Zoe Schwarz and Sue Hawker.." Rob Simpson-Jazz Rag - Auturm 2008.

CHRIS PARKER GRACE NOTES 33JAZZ 170 'Vortex patrons will be familiar with guitarist Rob Koral from his appearances at the club with singer Zoë Schwarz, during which they purvey their own brand of largely blues and classic-jazz-based music, played with energetic flair tempered with grace; this album, on which Schwarz appears for three numbers (two standards and an original), focuses on Koral's flawless guitar skills, but occupies similar musical territory to that explored by their stage act. Accordingly, an affecting solo visit to 'Nature Boy' is followed by 'The Days of Wine and Roses', two jazz classics ('Don't Get Around Much Anymore' and 'Polka Dots and Moonbeams') with fruitily soulful tenorman Ian Ellis, a trim but gutsy trio (bassist Malcolm Creese and drummer Quinny Lawrence) workout on 'Like Someone in Love' and a tender Schwarz rendition of 'Until the Real Thing Comes Along'. There are also bluesy contributions from harmonica player Nick Gomer, which lend textural variety to the mix, and with the whole structured like a club set (even down to the short encore-like closer, '24 More Please') and nothing outstaying its welcome (the album contains seventeen tracks and lasts about an hour), the recording neatly showcases Koral's strengths: a fluid, unfussily elegant guitar technique on both electric and acoustic instruments, and a neat but surprisingly powerful soloing approach that is carefully tailored to the various requirements of material ranging from straightforward blues to James Bracken's tastefully funky 'Stepping Out' or Ornette Coleman's 'Turnaround'.'

When I first started playing guitar at school, the challenge between us guitar-playing rebels was to see who had the sweetest vibrato. Who could bend the string up a whole tone, and hold it with the most control. At the time, Eric was God! Playing the Blues must be the most natural way to start playing guitar. It gives you an understanding of the relationship between the string, the wood, and the amp. The amp is not just to make the guitar louder, but is a necessary tool to help you achieve your stylistic goals, and is an integral part of the instrument.

By the time I started gigging on the local pub scene in Bournmouth my ears were full of the sound of Jan Akkerman, quite a step from Eric and the Blues players. Next I found myself on the London jazz circuit playing some great venues with great players trying to find a bridge between Allan Holdsworth and Joe Pass. Now I was playing with people I had only known through their recordings. My interest in chord melody was stimulated by Joe Pass virtuoso album. It meant I was now able to tackle accompanying just one other person, singer Sue Hawker. From here it was just one step to playing solo guitar. This meant putting the pick away and playing finger-style so as to separate melody from the harmony and bass parts. I have always wanted to create a fluid sound without physical tension in the execution; this in conjunction with striving for a sweet touch and the intricacies of jazz harmonies is how my style has evolved.

Rob Koral, whether filling, adding rhythmic support, or soloing, is superb, his is a talent of world class proportions. Bruce Crowther - Jazz Journal International

One of the most individual jazz talents. Guitarist Magazine

A guitarist of great sensitivity whose elegant playing is always a delight. Jazz Magazine International

Its rare nowadays that an individual emerges in a guitar field Jazz Magazine International

He is a guitarist of unusual sensitivity, a fine melodist in his improvisations as well as his songwriting. All of these are in evidence on his solo album, Sleeping With Angels, even to Sue and Zoë singing and original each, both memorable. Mostly it consists of delicate and poised ballad performances of such great songs as Like Someone in Love and Body and Soul all excellent.Ron Simpson The Jazz Rag May 04Relaxed and unpretentious, yet always subtly demonstrating his technical skills, the CD is a fine example of Korals growing stature as a performer on the UK jazz scene. Bruce Crowther Jazz Journal Jan 05

CD of the week in Londons Evening Standard - Jack Massarik April 2004