Pianist Liam Noble has attracted fulsome critical praise for this album, most notably a five star review from John Fordham in The Guardian. Listening to the music it’s easy to see why “Brubeck” has garnered such universal approval. This is far more than just a “tribute” album, the way in which Noble and his colleagues unearth new possibilities in these compositions surprised even Brubeck himself. Indeed the veteran pianist/composer has expressed his admiration for Noble’s work and his endorsement of this project is reproduced on the CD cover. It’s a timely release too, coming fifty years after the initial release of Brubeck’s classic and extremely popular “Time Out” album. With attention again focused on the original album the moment is just right for Noble’s radical but affectionate re-imaginations of the Brubeck canon. 

Noble has steadily acquired a reputation as one of Britain’s most versatile and inventive pianists simultaneously combining a full knowledge of the tradition with a willingness to experiment. His abilities have seen him work as a side man with musicians as diverse as Bobby Wellins and John Stevens and all points in between, from accompanying singers to electronica and free improv.

As a leader he has released the solo piano album “Close Your Eyes” ( FMR 1995) plus two group recordings. “In The Meantime” (Basho 2001) featured an unusual quintet with reed players Stan Sulzmann and Chris Biscoe. “Romance Among The Fishes” (Basho 2005) was an exciting Anglo American collaboration with Phil Robson (guitars), Drew Gress (bass), and Tom Rainey (drums).

More recently he has worked in a duo with saxophonist Ingrid Laubrock releasing “Let’s Call This” on Babel in 2007. The duo were subsequently joined by drummer Tom Rainey to form the free improv group Sleepthief with an eponymous album appearing on Babel in 2008. The prolific Noble has also recorded as a duo with drummer/percussionist Paul Clarvis releasing the album “Starry, Starry Night”, an album of interpretations of jazz standards and more contemporary pop/rock material on Clarvis’ Village Life label earlier this year. 

Surprisingly “Brubeck” is the first time Noble has recorded in the traditional piano trio format. His collaborators here are long standing colleagues Dave Whitford (bass) and Dave Wickins (drums). These two play a vital role in the creative process and both are crucial to the record’s success. Significantly Noble has chosen not to recruit a saxophonist to reprise the role played by Paul Desmond in the original Brubeck group. In this way Noble gives notice that he is going to interpret Brubeck’s compositions HIS way and that this is no mere copycat exercise. Noble does not shy away from the big hits in the Brubeck repertoire. “Take Five”, “Blue Rondo A La Turk” and “Three To Get Ready” from the classic “Time Out” album are all here but are given a uniquely personal twist by Noble. 

Noble’s informative liner notes explain the inspiration behind the new recording. A fascination with Brubeck’s sound, his classical influences and his position as a “central pivot” within the jazz piano tradition all combined to convince Noble that he should offer his own interpretation of the Brubeck canon and that he should approach it in the same pioneering spirit as Brubeck himself. Brubeck may not be as fashionable a name to drop these days as Miles or Coltrane but this album plus the recent re-screenings on BBC 4 of the Brubeck quartet’s classic Jazz 625 performances are a salutary reminder of his abilities and the importance of his position in the history of the music.

The Noble trio begin their explorations of the Brubeck oeuvre with “Give A Little Whistle” which originally appeared on the album “Dave Digs Disney”. With it’s mix of playfulness and artful dissonance it makes for an attention grabbing opener. Here as elsewhere Whitford and Wickins perform crucial roles- handling the tricky rhythm parts with aplomb, soloing imaginatively and colourfully and offering sympathetic support to pianist Noble. Wickins’ delightful percussive details are a particular highlight.

The charming melody of “It’s A Raggy Waltz” is initially delivered more or less straight by Noble at the piano. With the introduction of the rhythm section a greater sense of abstraction kicks in but without losing the essential simplicity of the piece. For all his rhythmic experimentation Brubeck has a knack of writing memorable tunes which helps to explain his enduring popularity.

The solo piano version of “In Your Own Sweet Way” is the first of two interpretations on the album.

This is followed by the trio’s version of “Sixth Sense” from the Brubeck album “Jazz Impressions Of New York”. This exploration of one of Brubeck’s lesser known tunes is the lengthiest track on the record. Noble’s interpretation offers a feeling of blues ridden urban nostalgia plus great playing from all members of the trio with bassist Whitford soloing eloquently. Brubeck’s writing is characteristically strong and this masterly version suggests that this is a tune that should be more widely known.

“Cassandra” from “Time In” is a vehicle for drummer Dave Wickins to update the Joe Morello role.

His lengthy solo excursion explores the full range of the kit plus occasional other percussive devices in a colourful and playful display. Noble’s fleet fingered pianistics are a delight as he later engages in a dialogue with the drummer. Highly effective in a live setting I suspect.

“Autumn In Washington Square” is also taken from the “New York” album. Whitford’s solo bass introduces the piece, a Brubeck tune I admit to being totally unfamiliar with but one that Noble imbues with a wholly contemporary identity. Although honouring Brubeck Noble here offers something of the spirit of Brad Mehldau in the way he deconstructs a tune and makes it his own.

Next comes the biggie"Take Five”, actually written by alto saxophonist Paul Desmond. It’s an iconic tune, the sort even non jazzers recognise. Perhaps with this in mind Noble keeps it heavily disguised for as long as possible before the familiar theme comes striding over the hill. Even then Noble stamps his own authority on the tune pushing it to the limits and investigating the unique architecture of the tune even more fully than than Brubeck himself.

The traditional Mexican folk tune “La Paloma Azul” is the only other non Brubeck composition on the album. It’s simple, charming melody is initially taken straight before being subtly embellished by the trio. Noble’s tender treatment of the tune receives sympathetic support from Whitford and Wickins,  both a model of exquisitely tailored subtlety. 

“Three To Get Ready” is intriguingly transformed as the trio add complex rhythmic layers to Brubeck’s essentially simple structure giving the piece an air of abstraction. It all sounds thoroughly contemporary and once again invites comparisons with Brad Mehldau’s working methods.

“Rising Sun” from the Brubeck album “Jazz Impressions Of Japan” maintains the atmosphere with Wickins’ atmospheric percussive shadings combining beautifully with Noble’s crystalline piano.  Noble suggests that this piece is the one that strays furthest from the Brubeck original but it is a glorious piece of jazz impressionism in it’s own right.

Two of the leading figures of the American avant garde Cecil Taylor and Anthony Braxton have expressed their admiration for Brubeck’s music and the styles of these two musicians inform the Noble trio’s “open” interpretation of “Blue Rondo A La Turk”. As on “Take Five” the well known theme is kept under wraps until the latter stages of the piece.

A second solo piano version of “In Your Own Sweet Way” closes the album in serenely beautiful fashion.

“Brubeck” is far more substantial than the normal tribute album fodder which often features musicians taking the easy option. Noble’s radical re-workings made with a scholar’s appreciation of his source material and a true improviser’s imagination are an important artistic statement in themselves. The sympathetic and colourful support of Whitford and Wickins are also a big plus. 

This is an album that should appeal not only to curious Brubeck fans intrigued to hear just how imaginatively Noble’s re-interprets their hero but also to those of us with an admiration for Noble as a musician in his own right.

blog comments powered by Disqus