Noah Garabedian: Quartets and Solos

If ever an album were in need of liner notes—or at least some further clarification—it is this one, Quartets and Solos, by New York-based bassist Noah Garabedian's quartet; or quintet, if one includes album producer Samuel Adams' special effects and programming.

The playlist consists of 13 songs. According to a press release, they alternate "between eight conceptually stand-alone quartet compositions...and sharply focused solo features written specifically for each musician (including Adams)." There are two such showcases for every member of the ensemble (except for Garabedian). That is good to know, as the album itself says nothing about that. In fact, there are no liner notes at all. Prospective listeners, unless they were aware of the blueprint, would basically be flying blind.

What matters most, of course, is exactly what they would be flying into, and it is here that the waters become a tad murky. While there are moments of inspiration and pleasure, others are too often prosaic and wearying. Adams, as producer, is given the first shot, and his hardware-laden opener, "Welcome Home," is more confusing than cordial. Pianist Carmen Staaf goes it alone on the ballad "The Most Beautiful One," returns later with the group on "The Hawk," and is splendid on both numbers.

Drummer Jimmy Macbride is in the driver's seat (with Adams riding shotgun) on the playful "Snap Pop" and backed by the ensemble on the charming "Casual Friday," while tenor saxophonist Dayna Stephens unleashes his expressive horn on the brief and breathy "To Swim Below" and the leisurely finale, "Dogwood." Adams' second theme is "To Speak or Sing Softly," which is somewhat more palatable than "Welcome Home," thanks in large measure to Staaf's stylish keyboard work and some restraint from Adams.

The songs written for the ensemble as a whole are "Fast Slow," "Late Stage Epiphany," "The Mayor of Malibu," "To Remain Alive" and "To Dance Underground," the last featuring Garabedian's arco bass. All were written by the leader, as was every other number save for Adams' "To Speak or Sing Softly." While they are by and large burnished and ambitious, none carries enough melodic or harmonic weight to warrant more than passing interest, with the possible exceptions of "Fast Slow" (on which Stephens and Staaf craft respectable solos) and Macbride's second showpiece, "Casual Friday."

The musicianship is impressive, and everyone deserves at least an "E" for effort. On the other hand, that effort is too often compromised by music that is more academic than engaging. It is sometimes clear and pleasing but rarely more than that.