In BALLADS, Preminger explores the profound emotional depths of these timeless song forms, showing how a melody, when fully embraced, can move us as powerfully as any explosive improvisation.
Chill Tone Records
Noah Preminger – Tenor Saxophone; Julian Shore – Piano; Kim Cass – Bass; Allan Mednard – Drums
John Coltrane’s BALLADS from 1963 showed that even jazz’s most adventurous players could embrace lyricism without losing their edge. Tenor saxophonist Noah Preminger takes a similar approach on his own BALLADS, a great mix of originals, well-chosen standards, and a left-field pick from beyond jazz. Backed by pianist Julian Shore, bassist Kim Cass, and drummer Allan Mednard, Preminger delivers some truly stunning music.
Preminger’s straightforward title doubles as a mission statement, marking another shift in his ever-evolving discography. The Brooklyn-based saxophonist, a two-time DownBeat “Rising Star” honoree, has recorded nearly two dozen acclaimed albums. His path has often leaned toward the gritty, whether in his fiery duo work with Cass (THUNDA and THE DANK) or his deep dive into the Delta blues as a vehicle for free improvisation (DARK WAS THE NIGHT, COLD WAS THE GROUND).
Preminger has worked with an outstanding lineup of musicians, including Jason Moran, Dave Holland, John Patitucci, Fred Hersch, Dave Douglas, Billy Hart, Rob Garcia, and Joe Lovano, among others. He is on the faculty at the Longy School of Music of Bard College, a conservatory known for its strong focus on social change through music.
Chill Tone, launched in 2023, is a production company dedicated to making pristine recordings with some of the finest contemporary jazz musicians. “The quality of the sound for a record like this is hugely important to me,” says Preminger. “The guys at Chill Tone are serious about capturing that, and I think they did an amazing job bringing out the lush qualities of this music.”
‘Stan’s Mood’ opens the album with a 1949 Stan Getz recording, its reflective melody unfolding slowly. Preminger’s saxophone is lyrical and pretty, yet there’s an underlying restlessness, like a caged animal eyeing the open door. The harmony with Shore’s piano is wistful, but there’s an uneasy melancholy, while the bass cushions the mood with a beautifully resonant walking line.
The Gershwin classic ‘Someone to Watch Over Me’ opens as a duo with Preminger and bassist Kim Cass, their unadorned phrasing and spacious feel letting the melody breathe. The quartet joins in, adding depth, enhancing the mood. The piano delicately caresses the melody, while Preminger plays with it, pulling back on it just enough to create a subtle, compelling tension.
‘Carry Me Ohio’ is the album’s most unexpected piece, a Sun Kil Moon cover that sounds just right in Preminger’s hands. The bass and piano’s hypnotic pattern echoes minimalist composers like Terry Riley and Philip Glass. Preminger’s tenor rides the persistent motif with a breathy, expressive tone that captures the song’s essence. Mednard’s drumming is a study in restraint, his cymbal work and stick patterns adding just the right touch.
‘Unfair World,’ one of Preminger’s original compositions, captures a mood that feels all too familiar in today’s headlines. The bass provides an unwavering pulse, while the piano moves from weighted, troubled phrases toward moments of unexpected brightness, perhaps a musical reminder that light can pierce even the darkest of times.
“I’ve always loved ballad playing,” Preminger says. “Some of my favorites on record include John Coltrane on ‘Lush Life, ’Joe Lovano on ‘I Can’t Get Started, ’and Michael Brecker on ‘The Meaning of the Blues. ’The playing is serious and meaningful, and their sound sings as if it’s their last day on earth. That’s what I wanted to emulate with this record.”
In BALLADS, Preminger explores the profound emotional depths of these timeless song forms, showing how a melody, when fully embraced, can move us as powerfully as any explosive improvisation.
