From What I Recall

In Downbeat we read the following lines about the quartet: "Italian pianist Simona Premazzi and saxophonist Kyle Nasser from Boston, met in New York and found themselves on gigs together over the last decade. Formalizing their musical partnership as a collaborative entity in 2021, they teamed with bassist Noah Garabedian and drummer Jay Sawyer to explore their own take on highly melodic modernist jazz blended with harmonies & techniques from classical music. ... the Premazzi/NasserQuartet further defined their sound, built on lustrous melodies, vivid compositions and a dynamic group aesthetic."

Not obtrusive and demanding, but rather deliberate and sensitive, Kyle Nasser lets his woodwind player determine the timbres in "Iacchus". The pianist can be heard with verve in the following. Expressive lines is what she contributes to the piece. Trickles of sound become streams of sound, which in turn unite to form streams. However, the sonorous-purring vocals of the saxophone from the first track of the album remain in the memory. It continues with "Back Seat" from the pen of the pianist: With strong bass notes, this piece convinces at the beginning. We experience the pianist in staccato, as it were. The saxophonist then refers to these and takes up the existing style. Little by little, the melody lines liquefy. When listening, one wonders whether one is listening to an alto or a soprano saxophone, which is very lively and playful. Tonal arabesques are presented before the pianist is then given the musical scepter. Bubbling sounds reach our ears. Sometimes you even think that sonic rapids are created that have to be circumnavigated. "Raoul Blues" promises what the title suggests: blues, but not only that, but also a little ragtime reference. In this piece, the bass player comes up with quiet tones in a solo, which is "commented" on by the pianist. Finally, the drummer is also given space for a solo intermezzo, even if the "omnipotence of the saxophone" cannot be overlooked and overheard.

"Stalking" is another track on the present album. The saxophone acts excitedly and in a constant torrent. There is a constant up and down, a here and there. Both the musical lines of the saxophone and subsequently of the piano make you think of cascading water features, of water light organ games, right? How a "Requiem for K.O." is musically sketched, one wonders in view of the title performed. When we listen, we learn more: what is worn can be perceived. Sonor is the saxophonist's tongue. The bassist provides the low-tone and thoughtful in his solo. He seems to be singing a swan song. What a contrast this is to the bright voice of the saxophonist, who, it seems, is singing an obituary. And after the Requiem, the ultimate precipitation in the ring follows, at least musically: "Knock Out" is the motto in the aftermath. The saxophonist has undivided attention. The bass player can be heard in the background. And the pianist also keeps a low profile and "subordinates" herself to the "singing of the woodwinds". The crowning finale of the album is the piece "Scamander".

Translated from German