Noah Haidu: Standards III

Noah Haidu's Standards III is a study in jazz fluency—an exploration of melody, form, and interplay that reanimates familiar repertoire with both reverence and daring. Following the strong creative thread laid in the first two installments of the standards theme (Standards, 2023 and Standards II, 2024; both on Sunnyside), Haidu again enlists legendary bassist Buster Williams and veteran drummer Billy Hart, whose intuitive communication with the pianist borders on telepathic. Joining this outing is a younger trio, featuring bassist Gervis Myles and drummer Charles Goold, two rising stars from New York's vibrant jazz scene. Also making an appearance is the alto saxophonist Steve Wilson, along with bassist Peter Washington and drummer Lewis Nash, who provide their usual rhythmic elegance on a standout track.

The album opens with the Jerome Kern gem "Yesterdays," not to be confused with Lennon-McCartney's popular song "Yesterday." In this up-tempo romp, Haidu's path is contemplative, with an angular and dramatic flair. Myles' bass lines move with lived experience, and Goold's contributions are always nudging but never intruding. On "Lover," Haidu takes a rhythmically reimagined approach, threading contemporary harmonies through the standard's serpentine melody. Goold's drumming is crisp and unpredictable while Myles supplies a lithe, elastic pulse. "Things Ain't What They Used to Be" is a jazz standard written in 1942 by Mercer Ellington and Ted Parsons. Haidu offers an infectious take on this bluesy anthem of irony and groove. As Haidu dances through the chorus with refreshing single-note lines, Hart and Williams lay down a knowing swing, never intrusive, always enhancing.

The longest track in this outing is the Thad Jones original "A Child Is Born," coming in at just under 10 minutes. This ballad, already a melodic beauty, is given as a reverent and deeply lyrical interpretation. Haidu's touch is delicate and crystalline as he distills the composition to its essence, offering measured chords and subtly phrased lines that seem to float just above the pulse. Williams' support is delivered through playing that is warm, dignified and resonant. In turn, Hart, ever the alchemist, contributes texture more than rhythm. Perhaps the boldest piece in this performance is a Haidu original, "Slipstream," featuring guest appearances by Wilson, Washington and Nash. In addition to fiery solos from Wilson and Haidu, the number pulses with a contemporary groove and intricate ensemble work, further affirming Haidu's reach beyond the canon, without ever straying from its spirit.

The closer is the Sammy Cahn-Gene de Paul composition "Teach Me Tonight," which was made popular by Dinah Washington reaching number 4 on the Billboard R&B chart in 1954. Haidu's approach to this torch ballad evokes Dinah Washington's classic phrasing, yet he reframes it with harmonic intrigue and rhythmic elasticity.

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