Tenor Saxophonist Noah Preminger’s New Live Album Revisits the Fresh, Radical Original Spirit of Bebop
In a lot of ways, the Noah Preminger Quartet’s new live album Pivot is retro to the extreme. It captures the spirit of bebop from back when that music was new and fresh and radical, rather than just a McGuffin to justify a whole lot of pointless soloing. And while some people might say that the Ellington band would never have played half-hour versions of Bukka White songs like Preminger’s regular group does here, that’s wrong. In fact, when they played the blues, the early bop crowd often went back to the same source material that White referenced. The two songs on this album are Parchman Farm Blues and Fixin’ to Die Blues, each captured live in the roughhewn confines of 55 Bar in the West Village, where the tenor saxophonist and his band – Jason Palmer on trumpet, Kim Cass on bass and Ian Froman on drums – are reprising them with an album release show on October 7 at 10 PM. Cover is $10.
The album title refers to the device where a band swings the music without a set meter – again, an old early bop trope. From the first seconds of the carefree, shuffling bass-and-drum interlude that kicks off Parchman Farm Blues, it’s an instant immersion: it sounds like an edit, picking up from where the band just starts to simmer. Calmly and matter-of-factly, Preminger and Palmer expand on the song’s brooding minor-key hook as the rhythm section bubbles along: you could dance to this if you wanted to. Cass keeps things very close to the ground as Froman rides the cymbals and the snare, steady but loose-limbed. There’s a lot of space in the soloing: everyone seems in agreement that there’s plenty of time to get the job done and no need to rush.
Preminger’s smoky blues riffage eventually picks up toward glissando territory, but it’s getting to that point that’s just as much fun as the methodically spiraling crescendos, and even there he plays it closer to the vest than is typical in extended excursions like this. Palmer seems to be charged with the job of Secretary of Entertainment and gets that out of the way; otherwise, he mirrors Preminger’s approach, with a tinge of New Orleans rusticity. And even when Cass gets to take the spotlight as the horns drop out, the swing never stops.
He opens Fixin’ to Die Blues tantalizingly and allusively as Froman almost imperceptibly builds a ghostly swirl, the band following the much of the same trajectory as the first number from there but with a generally more hard-hitting drive. Eventually they reach the point where there’s an exchange between Preminger and Palmer mirroring an old field holller, and a handoff that seems to completely catch Palmer by surprise, so he channels a cool Miles vibe in resistance to the fray underneath. If this album can be summed up in a sentence, it’s that the group never loses sight of the simple fact that this is blues, and as long as they go, they never stray far from that underlying poignancy. The album’s not officially up at Preminger’s site yet, but you can get a good sense of his general purposefulness at his music page.