Tenor saxophonist and composer Noah Preminger is in the midst of a very busy time. Since the beginning of 2018, the Connecticut native has released three albums. What connects them all is the probing mind, warm sound, and intelligence that the saxophonist has displayed since his debut "Dry Bridge Road" was issued almost 10 years ago.
"Genuinity" is Preminger's debut release for Criss Cross Jazz. The recording features his "working band" mates of the past several years, trumpeter Jason Palmer and bassist Kim Cass. The newest member is drummer Dan Weiss and his presence gives the band and music ever more possibilities. This album moves away (but not all the way) from the political commentary of 2017's "Meditations on Freedom" or the blues influenced sounds of 2015's "Pivot: Live at the 55 Bar" and 2016's "Dark Was The Night, Cold Was the Ground."
From the opening flurry of notes from the tenor sax on "Halfway To Hartford" to the jauntiness of the final track "Acknowledgement" (not the John Coltrane song from "A Love Supreme"), the nine original pieces are free from clutter and filled with ideas. Palmer continues to be an excellent musical companion, his crisp tone, his ability to turn on the fire and then move easily back to softer counterpoint stands out on pieces such as "Nashua" and the barn-burning "Ah". One of the standout tracks is "Mad Town" where the tenor and trumpet weave lines in and out of each other, sometimes playing together and other times in a call-and-response. Cass is the foundation on that piece as Weiss interacts with the soloists throughout.
Photo: Jimmy Katz
It's a treat to soak in the Weiss's funky drums on "Ts and Her Spirit"; he keeps up the dancing beat all the way through, especially as Preminger and Cass trade lines back-and-forth in the second half of the song (yet pay attention to the delightful interactions between sax and trumpet before that. In juxtaposition to the funkiness is the only ballad on the recording, "My Blues For You." A song this slow can often be overplayed but Preminger and company never rush, basking in the deep bass notes and quiet drums-and-cymbals. Palmer's solo cuts against that grain, his combination of long tones, bluesy smears, and fast-paced phrases standing out. Preminger, too, mixes up the intensity, "crying" at times, throwing out quick riffs at other times, and "getting down" as well.
There's much to enjoy delving into "Genuinity" and the music sounds great flowing out of the speakers. Such a clean recording (kudos to engineer Michael Marciano): you can hear everyone making it seem as if this was a "live" recording. Definitely alive!
Dig into the opening track:
Mr. Preminger has joined forces with drummer Rob Garcia to create the Dead Composers Club, an ensemble dedicated to paying music by the "great" composers. Their debut recording is "Chopin Project" (Connection Works) and features the saxophonist and drummer joining forces with Preminger's bassist Kim Cass and guitarist Nate Radley on a 10-song program of "Preludes", "Nocturnes", and one "Etude" from the pen of Polish composer Frédéric Chopin (1810-1849). While the name of the quartet might be a touch snarky, the music combines impressive melodies with powerful rhythms and intelligent improvisations. It's true that you can hear may different influences (from progressive rock to John Coltrane and beyond), you cannot miss those Chopin themes.
No matter whether you know the original music or not, it's quite impressive to hear what the quartet does. Listen to how Cass introduces "Prelude Opus 28 No 2 in A-minor", his "bouncing bass" line underneath Preminger's reading of the lovely melody. Garcia's cymbals and floor tom work colors the piece as do the quiet chords from Radley. The guitarist rises out of the saxophone solo to create a fascinating that rolls atop the bass and drums. Preminger plays through the melody on "Nocturne Opus 62, No 2 in E-major" and then Radley takes over with a handsome solo over the fine brush work and melodic bass. The guitar sound lends the song as "Americana" feel: there's also a hint of blues in the sax solo.
Theres a playful nod towards "prog-rock" in the guitar chords and hard-hitting drums at the onset of "Prelude Opus 28 No 6 in B-major" - Preminger digs into the formal sounding melody before Radley steps out for a solo that builds off the melody. Pay attention to the great work of the rhythm section during the solos, to the counterpoint from the bass and subtly driving drums. Listen to how Cass supports and shadows the saxophone melody on "Nocturne Opus 32 No 2 in Aflat-major", his intelligent counterpoint supported by guitar chords that echo the melody and Garcia's sweet brush work.
Instead of taking about every track, my suggestion is you sit down and really listen to "Chopin Project." What Noah Preminger and Rob Garcia, along with Nate Radley and the sublime Kim Cass, have done is make one listen to Chopin's music with new ears. The musicians show respect to the original intent of the music but also illustrate how to make the pieces sound fresh and relevant to new audiences.
Here's one of the quartet's delightful takes:
"Whispers and Cries" (Red Piano Music) pairs Noah Preminger with pianist Frank Carlberg for a program of standards and one traditional from the American Civil War, "Aura Lee." As to be expected, the duo does not play it safe. The impressionist opening to Billy Strayhorn's "Take The A Train" leads to a playful, stop-and-go interpretation of the melody. It's fascinating to hear how they decide to deal with the song. And, it's that way through all 10 songs. Thelonious Monk's "Reflections" does have a reflective quality at the beginning yet the duo has its way while working through the solos (nice bit of stride behind the tenor as well as a piano solo that dances through the changes). Even if you have heard "Tea For Two" more times that you can remember, here the opening tenor solo slowly steadily, brings the familiar melody to the forefront. When Carlberg steps out alone, his playful solo does not stray far from the melody yet sets the pace for Preminger's take on the melody and changes. The same goes for the delightful chestnut, "These Foolish Things", which has a delightful bluesy solo from the pianist (a touch of James P Johnson can be detected in the playful piano stylings) along with fine lyrical work from the saxophonist
For some of us, our introduction to "Try a Little Tenderness" was Otis Redding's demonstrably over-the-top live performances in the mid-1960s. No such histrionics here, just an impressive tenor saxophone introduction that takes up half the piece. When the piano enters, Preminger moves into the melody as Carlberg sets an easy pace. The pianist steps out for a short but sweet solo that moves in and around the melody.
Since he first came to critical notice a decade ago, Noah Preminger has always had a knack playing ballads. From the get-go, his work on slower pieces displayed emotional depth along with lyricism. On "Embraceable You", he imbues the Gershwin melody with a blues sensibility, carrying all the way through. The pianist responds to the emotion of the music with a quiet solo that hews closely to the melody ands sets the tone for the return of the saxophonist and the gentle finish.
Photo: JImmy & Deanna Katz
"Whispers and Cries" may take its name from the 1972 film by Ingmar Bergman (the duo turns the name around) but this is no chilly, metaphysical, paean to the dread and death that often occupied the Swedish director. What Noah Preminger and Frank Carlberg did on the two days in July of 2017 in Boston's Jordan Hall is explore ten songs, listening to each other, reacting, prodding, pushing, interacting, giving each other space, caressing melodies, playing with rhythms, making music that touches the soul as it involves the mind.
It's been 4 years since the debut CD by the Rob Garcia 4 and 2 since the band's 2nd effort. "The Passion of Color" (Brooklyn Jazz Underground Records) is the 3rd release featuring Garcia (drums), Dan Tepfer (piano) and Noah Preminger (tenor saxophone) with bassist Joe Martin joining the band (Chris Lightcap was on the 1st and John Hebert on the 2nd).
What has always impressed about Garcia's music is how equally important melody and rhythm are (not one above the other.) There's nothing radically changed on this date but, if anything, the ensemble is tighter. Garcia pushes his soloists on the up-tempo pieces; the title cut drives with such intensity especially during the very tenor solo. Preminger has often accentuated his "softer" side but here he delivers quite a forceful solo. Tepfer takes a more impressionistic approach which allows the leader's sparkling cymbal work to stand out. Dig how the 4-some transforms Max Roach's hard-edged "It's Time" into a medium-tempo ballad, imbuing the piece with more of a blues feel. Garcia's short drum solo is notable for his melodic sensibility and staying "in the mood." As a composer, Garcia writes to the strengths of his band. Preminger's tenor on "Purple Blush" explores the melody in the style of Archie Shepp, short shards of melody in sync with the rhythm section. Meanwhile, Tepfer is both melodic and abstract, downright bluesy too. The playful rhythms of "The Caterpillar Vs. The Butterfly" gives the quartet plenty of room to maneuver in and around the propulsive bass lines (Martin "runs" not "walks") and the skitter, jittery, drums. The pianist channels Bud Powell as he slides around the bass and drums. Garcia's splendid brush work sets the proper mood on "The Garden's Poet", a short tune that shows that everyone in the group can play melodies in support of each others.
The disk comes to a close on 2 fascinating tracks. Speaking of melody, Garcia gives himself the spotlight, going it alone on "The Painter", delivering a drum solo that both swings and sings. Then, Martin's full-tone bass lines lead the band in on a first-rate reading of Jimi Hendrix's "Little Wing." No one holds back, each member of the group digs deep into the modern blues that the composer created nearly 5 decades ago and, although the piece is fairly quiet, there is an intensity of emotion that is palpable throughout.
The Rob Garcia 4 uses an impressive musical palette to create "The Passion of Color." The trust that the members of the group have with each other and the material provides the listener with an aural experience that satisfies on many levels, continuing to do so on subsequent listens. And, as good as the recording is, the RG4 are a great band to see in person. For more information, go to www.robgarcia.com. CT residents, be aware - the Rob Garcia 4 plays The Side Door Jazz Club in Old Lyme on Thursday July 10. Go to thesidedoorjazz.com for ticket information.
Pianist/composer John Chin, a native of Korea who was raised in Los Angeles, has just issued his 2nd CD as a leader (his debut, "Blackout Conception", was released in 2008 on Fresh Sound New Talent). "Undercover" is a self-produced disk from sessions held in May of 2010 and finds the pianist in the company of drummer Dan Rieser and bassist Orlando Le Fleming. At the time of the taping, the trio had been playing together for some time and Chin wanted to document its progress. The 3 musicians worked in one room with no preconceived arrangements; the results are quite impressive. Juan Tizol and Duke Ellington's "Caravan" is given quite a funky backbeat, a cross between Ramsey Lewis and The Bad Plus. The pianist's polyphonic improvisations (basically, the right and left hands playing several line at the same time) give the trio a full sound. 3 of the other "covers" on the recording were penned by saxophonists including 2 by Wayne Shorter ("Edda" and "Fall") plus John Coltrane's "Countdown." Shorter's "Fall", recorded by Miles Davis on the "Nefertiti" Lp, has great drive, rightfully capturing the mood that composer intended but giving more of a pronounced backbeat. Rieser and Le Fleming lock in nicely, giving Chin the foundation he needs to explore the harmonic possibilities. The counterpoint created by the interaction of the piano and bass on Charlie Chaplin's exquisite "Smile" as well as the drummer's playful exploration of the rhythm makes for excellent listening.
Chin supplies 3 original pieces including the sweetly melodic title track that, at times, has the sound and feel of a Bruce Hornsby composition. Chiming piano chords introduce "If For No One", a tune that blends a Brazilian feel with a classically inspired melody. After the introduction and theme, Chin's solo rises out of the lower end of the keyboard, building in intensity before the pianist steps aside for the bass solo. "Seemingly" is a imposing ballad and a piece where Le Fleming's strong feel for melody meshes well with that of the pianist.
Again, it's no secret that there are, seemingly, thousands of piano trio recordings released each year. Don't miss hearing "Undercover", especially for the intense group interactions and the impressive choice of material. John Chin may have waited 4 years to release this CD; his patience and belief in his musical vision makes this project stand out. For more information, go to www.johnchin.com. Give the music a listen by clicking on the Bandcamp link below.
Tenor saxophonist/composer Gianni Gagliardi, born in Barcelona, Spain and now living in Brooklyn, opens his debut CD "Nomadic Nature" with the sound of rain and thunder. The song, "Paris", rises out of those sounds with a haunting circular melody that is pushed forward by the drive of Mark Ferber's drums, the throbbing bass lines of Alexis Cuadrado, the 2-handed chords of pianist Luke Marantz and hypnotic guitar work of Gilad Hekselman. The youthful leader (25 at the time of these sessions) pushes forward with a solo that stays in the middle of his range, displaying the influence of Mark Turner. He takes a more playful approach on "L'ironie D'une Jolie Prisse De Tete" (roughly translated as "the irony of a pretty headache") with the melody have a smattering of Iberian colors resting atop the electric piano chords. "Macanudo Man" opens in a style reminiscent of Weather Report in its "Mysterious Traveler" phase, the major difference being Hekselman's probing guitar lines. The "grungy" guitar and distorted electric piano sounds give "Varicela Patagonia" a harder edge and the leader takes advantage of the "heaviness" of the chords to heft to his solo.
Perhaps, the most impressive piece is the handsome ballad "Margolinda" that opens with an impressionistic unaccompanied piano solo that leads to the finely constructed saxophone melody. Marantz takes a solo that moves away from that melody line while Gagliardi sticks fairly closely to the chord structure. The strength of the piece lies both in the strong melody but also in the propulsive work of Ferber and Cuadrado (the guitarist sits out for this performance).
"Nomadic Nature" speaks to the fact that young Gianni Gagliardi has already traveled far and wide. He's well on his way to discovering his "sound", aided greatly on this project by an excellent ensemble. As he continues to mature, one hopes he does not lose that inquisitive side of his song creation and lyrical nature to his saxophone playing. For more information, go to giannigagliardi.com.
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