Stoneman plays a lovely see-saw-like riff and displays a lightness of touch. A highly satisfying debut album from a jazz talent who is going to make his mark over the coming years. The future of jazz is literally in good hands.
Fresh Sounds Records FS649
Noah Stoneman (piano); Will Sach (double bass); Luca Caruso (drums)
Recorded Livingstone Studios, London 7-8 October 2021
This is an exciting time for jazz, as a new generation of keyboardists in their early to mid-twenties make their presence known on the scene. The likes of Joey Alexander, Simon Oslender and Deschanel Gordon give this writer optimism about the future of jazz as a musical genre.
On the evidence of this album, another name needs to be added to the list: British pianist Noah Stoneman. This is the debut album of the 22 year-old musician, who has been making waves and mentored by keyboardist Kit Downes, who produced this album.
Anyone’s Quiet: Let it Rain to You (an interesting title, as they say) features a standard jazz trio line-up, with Stoneman joined by 26 year-old Will Sach on bass and 24 year-old Luca Caruso on drums. All three have played together before, and despite their youth, have some considerable experience behind them.
Caruso (who like Gary Husband, also plays keyboards) played at Ronnie Scott’s several years ago with a quartet that covered the music of Wayne Shorter and Cedar Walton. Sach, originally from the New York City area and now living in London, has played with artists such as Kit Downes, Stan Sulzmann and Jamie Cullen. He’s also recorded with cellist Sheku Kanneh Mason.
Stoneman has composed all nine tunes, most of which run for around 5-6 minutes – two numbers are less than three minutes long. Plenty of musicians have terrific technique, but playing is also about the heart and soul, and the opening number, ‘Tomas and Tereza’ shows that Stoneman has a lot of feeling in his playing.
A midtempo number, it starts with a Waltz-like feel, as Stoneman plays a pretty motif. Stoneman doesn’t overplay, leaving plenty of space for the music to breathe.
The rhythm section provides sensitive support (as they do throughout the album), and at the three-and-a-half minute point, the music opens up with Caruso breaking out with a series of blistering fills.
The compositions are not only well-played, but interesting: Stoneman likes creating shifting moods and contrasting colours. Take the number, ‘Calm,’ which starts out as a ballad then moves into avant-garde territory, before the last two minutes are taken up by Caruso’s extended and energetic drum solo.
The piece also segues smoothly into the next tune, ‘Mourndoom’ a dark, edgy number that starts off with more furious drumming. ‘Postlude’ combines calmness with turmoil; Stoneman’s playing is slow, spare and spacious, and at times, seemingly hesitant – it’s almost as if he’s a piano student learning a new part. By contrast, Caruso’s drumming is positively volcanic, and it’s a combination that works remarkably well.
The liveliest number, ‘Strands’ features some fast, furious playing by all three musicians – it’s like riding a roller coaster on a downward trajectory. My only complaint is that it’s over far too soon (it lasts for less than three minutes). I bet it would be good to see this number played live. ‘Borders’ is another uptempo number that swings.
The ballad ‘Evanesce’ (a nod to Bill Evans?) has Caruso playing with brushes, and includes a short, delicate solo by Sach. The album wraps up on an uplifting note with ‘Major.’
Stoneman plays a lovely see-saw-like riff and displays a lightness of touch. A highly satisfying debut album from a jazz talent who is going to make his mark over the coming years. The future of jazz is literally in good hands.
