Hilary Noble

“The Voice” 88.7FM/Dick Crockett

"Listening to Enclave Diaspora will enhance your conception of an evolving Universe. It's a dance, a dawning of conglomerate energy, a fusion of pop, Latin and progressive patterns, and this quartet may be the only one to elevate this message. " --July, 2009 - Dick Crockett

Review of Enclave's performance at the Heineken JazzFest in San Juan, PR:
"The group delivered an excellent 75-minute show...The remarkable numbers [were] outstanding for their arrangements and cohesion, as well as for the quality and depth of the solos performed by the members of the band...The [evening] was...the best bill of fare offered up during all four days [of the festival]."

--Jorge Meléndez/El Vocero, June 1, 2009 - El Vocero

Fusing sax, percussion is a Noble profession (Bob Young, Boston Herald, 10/11/02)

Hilary Noble’s route to modern Afro-Cuban jazz passion is about as circuitous as it gets.

When he was 8 and growing up in Geneva, Switzerland, his parents turned him on to John Coltrane. “I remember Coltrane’s Atlantic (Records) compilation really knocking me out,” said Noble.

But instead of taking up a reed instrument, “I became obsessed with hand drumming,” he recalled. “I just started banging thing anywhere around the house. Then I saw these Moroccan doumbek drums in the music store and I was able to pick them up. It was Switzerland, you know? You go with what’s there.”

And then he made another discovery in Geneva: Ray Barretto’s Latin jazz albums.

Eventually, Noble made his way to Berklee College of Music, where the scene was especially vibrant during the late ‘70s—reedmen Branford Marsalis, Ralph Moore and Greg Osby were classmates. By that time Noble had decided to become both a saxophonist and a percussionist.

Now, he’s releasing his debut album as leader, on which he declares his love for both Afro-Cuban sounds and modern jazz. On “Noble Savage”(Whaling City Sound), the Boston resident makes a worthy contribution to the foundation laid down by pioneers Mario Bauza and Dizzy Gillespie, who presided over the marriage of Afro-Cuban rhythms and jazz harmonies during the 1950s.

While Noble’s music is closer in spirit and approach to such contemporary Latin jazzers as Jerry Gonzalez and his Fort Apache Band, there’s a definite nod to the tradition. But the leader’s penchant for the adventurous edges of jazz, and his choice of sidemen, make the CD anything but a throwback. A stint spent studying in Cuba in 1998 only added to Noble’s immersion in that island’s sounds, which show up heavily on the new album.

Joining Noble is drummer and percussionist Bobby Sanabria, with whom Noble worked years ago in Sanabria’s first Ascencion band. Also on board is Sanabria’s rhythm section, pianist John DiMartino and bassist Boris Kozlov, and guest saxophonist Charles Neville, of Neville Brothers fame.

All except Kozlov will perform with Noble on Tuesday at Scullers as the ensemble Conclave. They’ll appear together again at “Steppin’ Out” in the World Trade Center on Nov. 9 and at Ryles on Nov. 21.

Noble is no stranger to either the local or national scene, having worked with Bob Moses, Entrain, Max Creek, Soulive and others.

“It’s fairly simple,” he said. “I’m both a saxophonist and a percussionist and I’ve been hired for both as a sideman. I’ve done straight-ahead gigs, pop gigs, Afro-Cuban gigs and I was thinking, ‘How do I bring them together?’”

The result is Conclave and “Noble Savage”, only the start of something very, very good. - Bob Young

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LIVE: The Jazz/Latino All Stars @ the Unitarian Society Whisperdome, 4/16/10

The Jazz Latino All Stars

Chris Washburne, Ray Vega and Hilary Noble

The First Unitarian Society’s Whisperdome started jumping as soon as the Jazz/Latino All Stars took the stage for the first of two generous sets last Friday night. The very special, one-night-only gathering of some of the finest Latin jazz musicians on the contemporary scene was the kick-off concert for the Ahora, Latin/Jazz! 2010 season. And what a way to get things started!

Headed by trumpet master Ray Vega (a veteran of the great Latin-jazz bands lead by Tito Puente, Ray Barretto, Mongo Santamaria and others), the ensemble included the explosive trombonist Chris Washburne and killer saxophonist Hilary Noble in the front line. The lovely Nikki Denner added magnificent piano accompaniment, as bassist Jennifer Vincent intertwined her rhythmic, bottom-end notes with explosive drummer Willie Martinez and conga maestro Wilson “Chembo” Corniel.

The outfit’s creative sparks ignited impassioned solos and tight ensemble playing in each tune they tackled. Washburne traded sweat-covered solos with Vega. Vega’s soaring trumpet passed the baton to Noble. And Noble turned up the heat before shifting the spotlight over to Denner, whose keyboard bite was as melodic as it was percussive.

However, it was the dynamic interplay between Corniel’s burning percussion and Martinez’s ever-shifting beats that nearly stole the show. If the front line had been manned by lesser musicians, instead of some of the best of the best, the beat masters would have simply run away with the melody, rhythm, spotlight and even the kitchen sink.

But when Vega opened up on his horn (or Noble or Washburn, for that matter), they reeled in the tune and reclaimed the limelight. Although jazz sax master Joshua Redman in tandem with piano phenomenon Brad Mehldau played a sold out Zankel Music Center’s stage at Skidmore College the same night, anyone who was at the Whisperdome was treated to a show of equal stature and magnificence.

Up next on the schedule for the Ahora, Latin/Jazz! series will be Andrea Brachfeld on “The Role of the Flute in Afro Cuban Music,” at UAlbany’s Humanities Building Room 354 at 7:30pm on Friday. Admission is $15; students $5.

Review and photographs by Andrzej Pilarczyk

SECOND OPINIONS:
Read David Malachowski’s review in The Times Union.

The Jazz/Latino All Stars

Nikki Denner, Willie Martinez and Jennifer Vincent

Jazz Latino All Stars

Wilson “Chembo” Corniel and Jennifer Vincent

Jazz Latino All Stars

Ray Vega and Hilary Noble

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Tags: Andrzej Pilarczyk, Jazz/Latino All Stars, Schenectady, Unitarian Society, Whisperdome

This entry was posted on Thursday, April 22nd, 2010 at 4:45 pm and is filed under LIVE. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.

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GRATUITOUS TRACK OF THE DAY
HILARY NOBLE from the CD NOBLE SAVAGE Whaling City Sound
c. 2002 produced by Hilary Noble and Bobby Sanabria
Hard to believe that this was recorded way back in 2002 because it still sounds like it was recorded today. Hilary not only plays tenor and soprano sax, but is also the conguero! A talent deserving wider recognition, his playing is intense, creative, sublime, nuanced, as are his compositions which provide great vehicles for the soloist and nice twists and turns for the rhythm section as in this piece which alternates between Cuban songo/conga de comparsa/mozambique and Brasilian samba. This one slipped through the radar of everyone on the jazz and Latin jazz scene when it was released and it shouldn't have. With yours truly drums and percussion, Boris Kozlov - electric and acoustic bass, John Dimartino - piano, Charles Neville - alto sax
TRACK: The Fire Next Time
COMPOSER, ARRANGER: - Hilary Noble
SOLOS: Hilary Noble - tenor sax, John Dimartino - piano, Bobby Sanabria - drums - Naxos

Review: By David Lewis, Cadence
WCS 016 - Noble Savage
Hilary Noble

In his debut as a leader, this multi-reed man sounds like a Cuban master as he shows such compelling technique on conga drums during "The Fire Next Time," "Rumb'azul," "Ilé-Olorun," "Sandunga Mofongo," and the brief duo features "Guiro Moderno" and "(N)eurotrash." Yet although educated in the States, Noble was born in Switzerland. While his playing in "Ilé-Olorun" (Yoruba for "House of God") emulates John Coltrane's technical ambitions to incorporate Yeruba (sic) chants into his saxophone style, the tempo shifts during di Martino's piano solo recall the Miles Davis quintet of the '60's rather than Coltrane's quartet. While Coltrane and Davis are all too familiar as musical influences, the playing on this project sustains the highest level and the engaging solos by Noble and di Martino in "The Fire Next Time" establish the standard for what is to come. Noble's band demonstrates excellent rapport during their sensitive interplay in the modal ballad "Relapse". Bass player Kozlov's solo is a high point as is his arco work during the ballad "Dream Dance," while the upbeat style of his playing is showcased in the infectious Nawleans (sic) march in "Jelly Roll." Reedman Charles Neville guests on a few tunes and his most engaging interplay with Noble occurs during the rousing finale of "Terra Australis." Yet it was the hyper fragment "(N)eurotrash" that took my ears by surprise, and if the title conveys some mocking insinuations, this is an area where Noble's music could definitely grow in unique ways. It will be interesting to hear what it does.
- David Lewis

Boston-based saxophonist-percussionist-composer Hilary Noble has served as sideman with a number of well-know groups, including that of Latin-jazz drummer Bobby Sanbaria. For his first album of his own, Noble recruited Sanabria's services--along with Sanabria's pianist, John di Marino (sic), and bassist, Boris Kozlov--and focused on his own fusing of Afro-Caribbean forms and rhythms with post-bop jazz. He also brought in electric pianist Andy McWain for couple (sic) of tracks and New Orleans sopranoist Charles Neville to assist on three.

Although not all the charts are Latin--Noble's affecting ballad "Relapse" being one of several examples of the performers' straight jazz skills--the program features such Cuban forms or rhythms as mozambique, bembe, rumba, guaracha as well as Dominican merengue, Brazilian samba and Venezuelan joropo. The rhythmic texture of these pieces is consistently thick and rich and can produce an irresistibly propulsive momentum. Sanabria and his rhythm section are experts at this, but Noble fits in with them easily. He contributes on various percussion instruments, most often congas, as well as on his several saxophones, even overdubbing soprano, alto and tenor parts on one track. He also composed most of the pieces.

While the excitement of the Latin rhythmic ambience is the recording's most striking feature, several very fine improvised solos also contribute to its appeal.

Jazz Times/Bill Milkowski

"Noble wails intensely on the opener 'Crossroads,' then switches to flute and djembe on the intricate, chopsbusting 'Rue de Buci.' Cline's Fender Rhodes adds funk to 'A-Frayed' while 'Iyá Modupué' is an excursion into modal improvisation. They travel to Brazil on the sprightly 'Chorinho Pra Lemanja,' to Cuba on the entrancing 'Moab' and further out on the time-shifting 'Mars Bars.'" --April, 2009
- David Franklin/Bill Milkowski

Review: By David Lewis, Cadence
WCS 016 - Noble Savage
Hilary Noble

In his debut as a leader, this multi-reed man sounds like a Cuban master as he shows such compelling technique on conga drums during "The Fire Next Time," "Rumb'azul," "Ilé-Olorun," "Sandunga Mofongo," and the brief duo features "Guiro Moderno" and "(N)eurotrash." Yet although educated in the States, Noble was born in Switzerland. While his playing in "Ilé-Olorun" (Yoruba for "House of God") emulates John Coltrane's technical ambitions to incorporate Yeruba (sic) chants into his saxophone style, the tempo shifts during di Martino's piano solo recall the Miles Davis quintet of the '60's rather than Coltrane's quartet. While Coltrane and Davis are all too familiar as musical influences, the playing on this project sustains the highest level and the engaging solos by Noble and di Martino in "The Fire Next Time" establish the standard for what is to come. Noble's band demonstrates excellent rapport during their sensitive interplay in the modal ballad "Relapse". Bass player Kozlov's solo is a high point as is his arco work during the ballad "Dream Dance," while the upbeat style of his playing is showcased in the infectious Nawleans (sic) march in "Jelly Roll." Reedman Charles Neville guests on a few tunes and his most engaging interplay with Noble occurs during the rousing finale of "Terra Australis." Yet it was the hyper fragment "(N)eurotrash" that took my ears by surprise, and if the title conveys some mocking insinuations, this is an area where Noble's music could definitely grow in unique ways. It will be interesting to hear what it does.
- David Lewis

Anishana: Corners Of The Sky
Jack BowersBy JACK BOWERS
May 27, 2020
866 Views
Anishana: Corners of the SkyWhat a pleasant surprise. When a group named Anishana records an album built around Native American themes and concepts, the inclination is to withhold judgment while preparing for the worst. Yes, Anishana is an Algonquin-derived term meaning "where do you come from?" And yes, Anishana loosely bases the music in Corners of the Sky on Native American customs and beliefs. The good news is that those indigenous Americans evidently had jazz chops no one suspected and swung like plumage in a windstorm.

In other words, even while giving tribal music its due, Anishana never loses sight of its purpose as a contemporary jazz ensemble, which is to blend whatever music is at hand into the over-arching sphere of sophisticated harmonies and rhythms as they relate to present-day audiences. There are, to be sure, moments wherein the music that inspired Anishana's perspective is very much alive, but they serve for the most part as a springboard for patterns that may rest more easily in the ears of listeners who are more attuned to contemporary sounds. The album's ten tracks include three brief "interludes" in which flautist Hawk Henries is featured. Co-leader Hilary Noble recast a trio of Native American songs in the jazz idiom while his counterpart, Greg Snedeker, adapted another and added a pair of his original compositions. The closing "Sun Circle" is uncredited.

The bright-eyed opener, "Bear Raven Dance," is an unabashed swinger with muscular solos by Noble on tenor saxophone and Snedeker on piano amplifying impressive rhythmic support from bassist Will Slater and drummer Steve Langone. After the first brief "Interlude," Native American chants introduce Snedeker's "Blackfoot Blueprint," a medium-tempo charmer on which Snedeker moves to Fender Rhodes for another crisp solo before Noble checks in with one of his own. Noble arranged the pensive "Peyote Blues," Snedeker the buoyant "Choh-Kon," each of which leans more heavily on the jazz canon than Native American tradition. After Henries' second interlude, the folkloric heritage claims center stage on "Arapaho Ghost Dance" (featuring Henries' admirable flute work) and "Shizhone Meditations," a showcase for Snedeker's meditative piano, as is the brief "Sun Circle" for Henries' flute.

Speaking of brief, the album's playing time is thirty-six minutes, a detail that may cause no concern but should at least be noted. Setting that aside, what we have is a session of bright and eloquent contemporary jazz handsomely built around a Native American framework. Mission accomplished.
Track Listing
Bear Raven Dance, Fluttering, Blackfoot Blueprint, Peyote Blues, Name of Band, Choh-Kon, Living Instruments, Arapaho Ghost Dance, Shizhane Meditation, Sun Circle

Personnel
Hilary Noble: saxophone, tenor; Greg Snedeker: piano; Will Slater: bass; Steve Langone: drums; Hawk Henries: woodwinds.

Album Information
Title: Corners of the Sky | Year Released: 2019 | Record Label: Riverview Productions

Hilary Noble
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ANISHANA ALBUM REVIEWS JACK BOWERS ANISHANA: CORNERS OF THE SKY RIVERVIEW PRODUCTIONS HILARY NOBLE HAWK HENRIES GREG SNEDEKER WILL SLATER STEVE LANGONE - allaboutjazz.com