Before The Rain (Palmetto Records)
Noah Preminger
Released January 18, 2011
Top 10 NPR Music Jazz Critics Poll 2011
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About:
On ‘Before The Rain’, tenor saxophonist-composer Noah Preminger makes it clear that his widely praised debut album, Dry Bridge Road, was no fluke. This debut for Palmetto Records, is marked by the same sense of adventure and exploration, but even greater lyricism, compositional depth, and group interplay. Working with familiar associates, pianist Frank Kimbrough, bassist John Hebert, and drummer Matt Wilson, Preminger opts for an album of mostly ballad-tempo performances that give everyone in the band the opportunity to delve into some highly nuanced solo and ensemble playing.
An album of ballads is not what one usually expects from a young player on his second release. But by defying expectations, Preminger has created one of the most powerfully beautiful discs of the year.
Preminger’s recording debut, ‘Dry Bridge Road’ (Nowt Records) was one of the most widely hailed albums of 2008, earning a Best Debut of the Year nod from by Village Voice Jazz Critics’ Poll, and Top 10 album of the year honors in more than a dozen other publications, including JazzTimes, The Nation, and Stereophile.
Track Listing:
1. Where or When 02:19
2. Quickening 07:00
3. Before the Rain 08:27
4. Abreaction 06:43
5. Until the Real Thing Comes Along 06:06
6. K 02:33
7. Toy Dance 05:02
8. November 08:29
9. Jamie 03:50
Personnel:
Noah Preminger: tenor saxophone
Frank Kimbrough: piano
John Herbert: upright bass
Matt Wilson: drums
Engineer, Producer: Matt Balitsaris
Mastered by Gene Paul
Photography by Fran Kaufman
Review:
Adventurous tenor saxophonist-composer Noah Preminger assembles an empathetic crew of pianist Frank Kimbrough, bassist John Hébert and drummer Matt Wilson. They strike a relaxed yet powerful accord on the standards “Where or When” and “Until the Real Thing Comes Along” and the gentle title track before exploring Ornette Coleman’s “Toys.” Their spirited romp through Kimbrough’s Dewey Redman invocation, “Quickening,” is underscored by Wilson’s elastic-melodic drumming and features brilliant solos from Preminger and Hébert. Wilson whips up a polyrhythmic whirlwind on “Abreaction,” which gradually builds to a free-boppish crescendo, and he reveals an exquisite touch with brushes on the hymnlike “Jamie.” But Preminger’s beautiful tone and fertile ideas dominate on this superb sophomore outing.
Bill Milkowski (JazzTimes)
