Label: Outside in Music, 2022
Personnel - Dayna Stephens: tenor and soprano saxophone; Carmen Staaf: piano; Noah Garabedian: bass; Jimmy Macbride: drums; Samuel Adams: electronics.
The American bassist of Armenian descent Noah Garabedian gathered remarkably inventive musicians for this new album, Consider the Stars Beneath Us, which celebrates the life and spirit of his father, who passed away in the early days of the Covid-19 pandemic. The program is replete with holistically driven moments, achieving a pleasurable equilibrium via sensitive playing and empathic reflection.
Apparently loose in its initial course, “RR” is a double homage to saxophonist Ravi Coltrane and trumpeter Ralph Alessi, two mentors of extremely importance in the bassist’s musical path. In addition to composed passages, there's a candid bass monologue with a lot to be absorbed. The following number, “Expectation. Regret” doesn’t really convey the despondency suggested in the title. Even plunging into a superficial state of melancholy, the elliptical lines of saxophonist Dayna Stephens writes a vivid narrative that is continued by pianist Carmen Staaf. Elasticity is a must, being extended to the bottom layers.
Two of the most gripping pieces on the album are “Salt Point”, which provides an intense Eastern experience based on the Moroccan gnawa tradition, and “Petty Thieves”, inspired by Monteverdi’s polyphonic madrigals of the Renaissance and Baroque eras. Whereas the former is anchored by a bass figure that repeats at every 14-beat cycle, the latter, possessing such strong rhythmic smarts, infuses a delicious bittersweetness via the angular counterpoint of the piano. Ahead of its fantastic conclusion, there’s another expressive solo by the bandleader.
Harmonically inspired, “Petrichor” lets us feel the snare-fired ruffles and agitated toms of drummer Jimmy Macbride, particularly during Stephens’ tenor statement. In turn, the beautiful “Alice” - a tribute to Alice Coltrane - shines like neon reflected in the sky. It’s a serene jazz piece that makes for a spotless conclusion, with Staaf projecting McCoy Tyner’s modal moods in her playing, and composer Samuel Adams emulating a harp electronically. The latter contributes the sole non-original piece, “Pendulum for NG”, an elusive polyrhythmic effort that inspires Stephens for a stunning final improv that makes us beg for more.
Garabedian’s music is gracious and strong, and his album captivates more with the frequency you play it.
Favorite Tracks:
03 - Pendulum for NG ► 04 - Salt Point ► 06 - Petty Thieves