PAPATAMUS REDUX

TPR RECORDS (RELEASED OCTOBER 24)

Although There’s Beauty Enough in Being Here is pianist Noam Lemish’s eighth album, it
is his first recording within the context of a traditional jazz quartet of sax, piano, drums and bass. Toronto-based Lemish, who has credentials as a jazz artist, classical composer and accompanist, chose some of his city’s most accomplished artists to join him for this release — saxophonist Sundar Viswanathan, bassist Andrew Downing and drummer Nick Fraser. Except for Fraser, the other musicians featured on There’s Beauty Enough in Being Here are new to me (and perhaps new to you as well). However, the music is very familiar to Keith Jarrett’s 1974 and 1977 quartet sessions — My Song and Belonging. Like many of the tunes on those classic albums, the nine originals written by Lemish are rich in lyricism and classicism. You can hear it in the prayer-like sound of “Kadrin Gatshor” as Viswanathan’s soprano chants over the classically influenced accompaniment of Lemish. You can hear it in the tight-knit interaction between Lemish, Downing and Fraser on “It Was There All Along,” the album’s only trio performance. You can hear it in the angularity and quirky time signature changes of “San Francisco Is My Copenhagen” which opens with Lemish and Viswanathan playing the intricate melody line in unison. Like Jan Garbarek in the Jarrett quartet dates, the sound of Viswanathan’s sinewy soprano and alto allows Lemish’s melodies to shine on everything from waltzes such as “Song for Milly” to upbeat tunes such as “Song for Rona” to the romanticism of the title track. Lemish’s classical background is most evident on the light and airy “Aviv” and “The Poignancy of Now,” which is based on a theme by Robert Schumann. Downing’s deep and sonorous bass solos add elegance to “Aviv” and “It Was There All Along” while Fraser always keeps things moving and interesting with his shifting rhythms. Fans of Keith Jarrett’s seminal quartet releases from the mid 1970s will want to check out There’s Beauty Enough in Being Here for its lyrical and refreshing approach to post modern jazz.

BOTTOM LINE:  In the past, pianist Noah Lemish has explored everything from Himalayan folk music, Middle Eastern melodies and contemporary classical music. There’s Beauty Enough in Being Here has him exploring the intricacies and intimacies of working with a tight-knit quartet of like-minded musicians on a release full of lyricism, chromatism and eclecticism.