Debut record from fiery piano trio; beautiful compositions.

Details

Contents

#		Title	Length	Sample
1		Lassitude	6:07
2		Endgame	5:58
3		Stone's Throw	6:41
4		The Bad & The Beautiful	4:33
5		Gigantic (XL)	7:37
6		Shocked	5:50
7		Doubling Cube	4:39
8		Recognition	5:30
9		Like Kings	5:01

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Description

"Stone's Throw is an impressive debut recording from a pianist and composer of considerable talent. Noriega's tunes crackle with individuality, making it clear that his ambitions reside in innovation not imitation.

Introspective at times, energetic and boundary-stretching at others, these tunes seamlessly blend jazz and modern classical influences, expertly rendered by Noriega and his trio. Ranks with the best jazz CDs of the year so far. Victor Noriega is a player to watch."

--Gordon Todd
Jazz Music Director
KBCS 91.3 FM/Seattle

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CD REVIEW: Victor Noriega's Stone's Throw
Article by Todd Matthews

One of my favorite jazz combinations is the piano-bass-drum trio. True, there is nothing quite like a good trumpet player or saxophonist to really make a song soar. But this particular small-group ensemble always seems to outdo and impress -- despite what appear to be limited resources. When a gifted jazz pianist has a talent for composition combined with the ability to layer chords and sounds in an elegant and rhythmic manner, he or she can create depth and layering in music that truly entertains and, more importantly, transcends.

Less is more: that is the overriding quality of this classic jazz-trio arrangement.

Jazz pianist Victor Noriega proves this point well -- particularly on his new album Stone's Throw. In the summer of 2002, the Seattle-based pianist and composer entered the studio with bassist Willie Blair, drummer Eric Eagle, and producer Charlie Smith to produce a fine example of just how much punch a small-group ensemble can deliver. In early-March 2004, Noriega celebrated the release of Stone's Throw with a performance at Tula's -- a treat for enthusiasts of the jazz piano variety.

This album works well on so many levels. Noriega is a gifted composer who seems to approach the music from a classically-trained perspective. This isn't your basic head-solo-solo-solo-head (again) jazz format so common among jazz trios. Rather, Noriego's tunes are layered, complex, interesting and rhythmic. The songs are not formulaic or pre-determined. Noriega has so much up his sleeve, the end result is a richness that is exciting to hear from young composers such as Noriega. Simply put, this is very original songwriting that leaves a listener feeling that he or she has gone on an uncharted musical journey of sorts.

The album's opening track "Lassitude" has a waltz-like introduction -- almost classical in its tone and structure. Blair's bass notes pulse throughout the song, keeping the group's rhythm and timing in check while Noriega and Eagle spar with one another during some very beautiful piano-drum exchanges. The album's title track follows a similar pattern of structure, before exploding three-quarters of the way through the tune with an exchange among the musicians that is explosive and impressive. "Shocked" is another standout on the album -- with Eagle's power-drumming and Noriega's gift for improvisation leaving the listener breathless. The album's last track -- "Like Kings" -- is a haunting ballad that employs that classical approach that makes Noriega's songwriting stand out from other jazz composers.

Noriega's ability to share the songs with his band mates is another strength on this album. It's easy to listen to this CD and forget that a pianist heads up the band and wrote eight of the nine tunes. Noriega is more interested in conversing musically with the others than overzealously soloing and stealing the thunder on this album. And thank goodness for that! Bassist Blair is one of my favorite area musicians right now, and Eagle has a sound on the drums that is all his own.

Noriega is a gifted musician and composer, and Stone's Throw reminds listeners of the power and clarity of the piano-bass-drum jazz trio.

This article originally appeared in Earshot Jazz magazine.