LEMEL MUSIC PRODUCTIONS

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Soul Force

The music is neither elegiac nor funereal; instead, this is soul music of the first degree. From the opening notes of the traditional African American spiritual "This Little Light of Mine" to the celebratory bounce of Stevie Wonder's "Happy Birthday," the music is filled with infectious energy and joy. Many of the tracks feature a large ensemble comprising some of the finest musicians on the scene. . . . "Washington 1963" is a bluesy tribute to King's "I Have A Dream" speech that pulses with promise and features a tenor sax solo from Greene and Escoffery's soulful soprano sax lines. Baerman's wife, Kate Ten Eyck, co-authored two of the disk's 11 songs, including the blazing "Memphis, 1968." This music not only celebrates King's life but also his message of non-violent confrontation and burns with the fire of love.

I'm pleased to report that the final product is as exciting to listen to as the recording session was fun to watch.... What It Is is a pleasing document of what Noah Baerman has absorbed and created in his musical career. It's fun to hear the interplay of the trio, exciting to hear Baerman playing so well and good to know he's documenting his music.

Pianist Noah Baerman suffers from Ehlers-Danlos Syndrome, which affects the body's connective tissue. The only reason this is relative to Baerman's art is that he is consciously using Patch Kit (Lemel) to draw attention to the underrecognized disease, and all proceeds from the album's sales will go to the Ehlers-Danlos National Foundation.

Maybe the highest compliment that could be paid to this vibrant stylist is that his playing reveals not an iota of physical discomfort. Backed by the golden rhythm team of bassist Ron Carter and drummer Ben Riley, Baerman exhibits considerable technical ease and melodic aplomb in both his spirited improvisations and his original compositions. Broadminded in his tastes, Baerman takes full advantage of his supporting players, leading them through the charging bop of the "Ko Ko"-inspired "Carob Powder" and dueting with Carter on the free improv "Where's Norm?" The album's high point may be a nine-minute arrangement of "We Shall Overcome," which kicks off with a remarkable Carter solo leading into a drama-filled Baerman statement that builds to a suitably stirring climax.

Fortunately, Baerman has the chops to more than hold his own with this estimable company. Much more than just a commendable exercise in education and humanitarianism, this is a wonderful and inspiring musical journey that's a testament to the power of jazz, humor and positive energy to turn a challenging situation into one of joy and hope.

"EDS primarily affects the 30-year-old Baerman in his joints, which are more prone to injury . . . but his trio partners on Patch Kit proved inspiring."

This one is quite good, . . . a disc of solid, imaginative, genially direct piano-trio jazz with plenty of heart. Pianist Noah Baerman has a most interesting style: the heavy touch of Brubeck (it’s easy to see in yr mind’s eye a close-up of the piano key going ‘down’ into the keyboard), some of the angularity of Monk, the humane earthiness of Horace Silver and the stylishness and technique of Kenny Barron ( whom Noah B studied under), and he plays in a very relaxed manner that is nonetheless active, engaging and harmonious. At times, his acoustic piano shimmers/decays with a tone that sounds like its emerging an electric piano. NB has got the big C - conciseness; there’s 10 tunes here, mostly originals, with no noodle, no doodle, no waxy yellow buildup.

Baerman, backed by legendary bassist Ron Carter and the understated yet brilliant drummer Ben Riley, has crafted a recording that accomplishes many goals including two very important ones. First of all, the money raised from the sale of the recording goes to help fund research into Ehlers-Danlos Syndrome, an as-of-yet incurable illness that causes a defect in the connective tissues of the body. Second, Patch Kit illustrates how a musician can make a positive and uplifting work of art out of events in his life.

With his trio, Kenny Barron protégé Noah Baerman plays jazz that is as soulful and funky as it is thoughtful and lush, as heard on U-Turn (Lemel), a collection of original compositions by Baerman and trio members Tyler Goodwin (bass) and George Mastrogiannis (drums). But Baerman's trio isn't yet another jam-band disguised as jazz trio jumping on the Medeski, Martin and Wood-inspired organ-jazz craze. Baerman, of Middletown, Conn., is active as a jazz bandleader and educator, teaching at Wesleyan and Central Connecticut State universities and writing several instructional books on jazz keyboard. Baerman's jazzy melodicism, his penchant for unusual chord changes, and the fact that his chosen instrument is a Fender Rhodes electric piano, give much of the material on "U-Turn" a hint of sophisticated, Steely Dan-like jazz-rock - territory that is woefully overlooked by many on today's scene.

The Boogie Band does what any good soul band should - they groove their socks off. A band such as this can only achieve success with commitment from all its members to find the pocket and stay there. The Boogie Band does just that.

This Connecticut-based group specializes in '70s-style, keyboard and horn drenched soul, finding the common ground at the core of disco ("Disco Inferno"), soul balladry (Aretha Franklin's "Natural Woman"), and organ jazz. Producer/composer/keyboardist Noah Baerman is a witty, inventive arranger, and Lea Osborne a versatile vocalist. The album includes a slinky, half-tempo cover of the Nick Lowe/Elvis Costello gem "(What's So Funny 'Bout) Peace Love and Understanding," revealing the Stax-flavored soul song hidden inside the angry punk tune.

Lea Osborne has a strong voice that easily moves up into higher registers without becoming strident. "(You Make Me Feel Like) A Natural Woman," a song long associated with Aretha Franklin, is a great place to check out her fine work. She doesn't force the pace nor does she attempt to imitate Franklin. There are no tricks; she just sings the heck out of the song. The catchiest track is a blistering remake of the Trampp's "Disco Inferno." Overall, their sound is reminiscent of Sly and the Family Stone. In this day of strict programming on radio stations, Mr. B's Boogie Band may be a bit too eclectic. For those of us raised on free-form radio (that often matched Jimi Hendrix with John Coltrane, Ravi Shankar with ZZ Top, or the Beatles with Marvin Gaye), it truly is a pleasure to hear such a variety of music on one recording.