Noah Preminger: Dark Days
Dark Days might indeed be the title of Preminger’s new album – his fourth for Criss Cross – but despite its December recording date, it refers not to the diminishing daylight of the winter solstice but to the saxophonist’s state of mind: “I was deep in hell” he says, reflecting a year of chronic health issues (since resolved) and a divorce. “It was a dark time.”
But out of that low period comes not a dark album, more a contemplative – and mature – outing from a musician who seemed to arrive fully formed on the scene back in the early 2000s with his own distinctive, personal sound. Joining him here are newcomers guitarist Ely Perlman and drummer Terreon Gully, alongside an old-timer, bassist Kim Cass, now on his 14th recorded encounter with Preminger. Guitarist Perlman stands out for his rock-inflected lines and easy sense of swing – his delicate, ethereal introduction to Hymn #1, followed by a lilting solo, are particular highlights – but it is Preminger to whom one listens most carefully.
The leader is always thoughtful, often elliptical, and consistently interesting. Don Cherry’s jaunty Mopti brings out his playful side, well supported by Gully’s clattering drums, and he is slowly impressive on a cool glide through Casa Pueblo, where he is matched by a finely delineated bass solo from Cass. His gracious treatment of the ballad Nash’s World, where he plays a duo with Perlman on acoustic guitar, is just perfect. The slow title track sums up the set well, its mood melancholic and thoughtful. This is a strong set from a great musician, whose dark days, I hope, are now behind him.
Discography
Hummus; Hymn #1 (For Moving On); Mopti; Casa Pueblo; FTSC; Nash’s World; Sarajevo With Neira; Dark Days; Barca (63.56)
Preminger (ts); Kim Cass (b); Ely Perlman (g, elg); Terreon Gully (d). Astoria, NY, 14 December 2024.
Criss Cross Jazz 1427
Espen Berg: The Kempen Concert
Norwegian pianist Espen Berg is obviously concerned with the right acoustic, with many of his six solo, improvised recordings taking place in historic churches. His latest outing was recorded in the historic Paterskirche in the western German city of Kempen, built in the 1630s. As an official Steinway artist, he also appreciates his piano, noting that with the “spacious and reverberant hall and beautiful Steinway D grand piano, I could easily fill the room with just a few notes and let myself immerse in the sound. It was the perfect set-up for a colourful, lyrical, playful and magnificent performance.”
And fill the room he does, at some length, the five-part concert, encore and concluding standard coming in at more than 84 minutes. As ever, his playing is intoxicating, his melodic control and precise intonation always lyrical and emotive. He takes his time to get going, his initial performance sparse and often minimal as he allows each note to echo and breathe. Here, the overtones, decays and silences speak as effectively as the music, but as the set develops, the music gains in intensity and momentum, the tender lyricism offset with angular lines and rushes of notes that impress with their urgency.
Part 3 starts with an unexpectedly percussive vamp, Part 4 is unsettlingly romantic and occasionally jovial in contrast, but whatever the tempo or accumulation of notes, Berg is always thoughtful and considered, even meditative. The final part concludes in both light and shade, while the encore reflects back on the set as motifs are reshaped and themes recalled. In great contrast, the evergreen What A Wonderful World is gracefully subdued and restrained, a reimagined personal gem.
Inevitably, comparisons will be made between Berg and a now-retired ECM pianist, even to the similarity of their concert formats with the inevitable concluding standard, but Berg is his own man, with his own distinct voice. He is a serious composer and a fine improvisor. This strong set will merely enhance his status.
Discography
LP1: The Kempen Concert: Part 1 (21.39) – Parts 2, 3 (22.36)
LP2: Parts 4, 5a (18.61) – Part 5b; Encore; What A Wonderful World (20.55)
Espen (p). Live, Paterskirche, Kempen, Germany. 8 November 2024.
Kite Records K00001
Out Of/Into: Motion II
Out Of/Into began life as the all-star Blue Note Quintet, set up to celebrate Blue Note Records’ 85th anniversary in 2024. Now renamed, and reunited, the quintet follows up its debut with a strong successor, featuring six originals that both embody the label’s ethos and also honour its rich legacy. As the group’s vibraphonist, Joel Ross, puts it, “The way the collective keeps the Blue Note legacy going is by unapologetically being true to ourselves.” Even the group’s name speaks to this concept of moving ever forward while revering the masters who’ve come before.
Of course, Out Of/Into are not the first all-star tribute band assembled by Blue Note: Out Of The Blue, the Blue Note All-Stars and New Directions, among others, have preceded them. What links them is that they all encapsulated a specific Blue Note period while proving that the label’s history is a continuum of excellence that is forever pushing forwards. And so it is with Out Of/Into, who fit easily into the post-bop world of personable if occasionally overworked melodies and detailed performances while still taking care of basic jazz duties.
The opening Brothers In Arms is distinguished by Joel Ross’s well-mannered vibes and a driving alto solo from Immanuel Wilkins before Matt Brewer takes the group into quieter, less frenzied territory with a fine bass solo. Finding Ways edgily navigates its way through its intricate if pedantic theme, Juno a beautiful ballad that brings out the best in everyone. The Blue Note legacy is evident on the Herbie Hancock-style vamp that is Familiar Route while more than a stealthy nod is given to Wayne Shorter on The Catalyst. The concluding Nacho Supreme ends proceedings in a slightly inconsequential way, although Joel Ross saves the track with an inspired solo. All in all, a highly listenable album.
Discography
Brothers In Arms; Finding Ways; Juno; Familiar Route; The Catalyst; Nacho Supreme (39.37)
Immanuel Wilkins (as); Gerald Clayton (p); Joel Ross (vib); Matt Brewer (b); Kendrick Scott (d). 2025?
Blue Note