Liam Noble - piano
Chris Biscoe - alto and soprano sax; alto clarinet
Stan Sultzman - tenor and soprano sax; flute
Mick Hutton - double bass
Paul Clarvis - drums
Chris Biscoe - alto and soprano sax; alto clarinet
Stan Sultzman - tenor and soprano sax; flute
Mick Hutton - double bass
Paul Clarvis - drums
Formed in 1998, the band has toured twice for Jazz Services. Liam`s compositions, highly individual, quirky, sometimes humorous, sometimes intensely lyrical, exploit the band's tonal range fully.
Liam Noble - piano
As well as the quintet, Liam is also leading a trio, playing in a duo with Paul Clarvis and has released a solo CD (Close my Eyes on FMR - now sold out). He is also working with Bobby Wellins, Steve Waterman and Harry Beckett.
As well as the quintet, Liam is also leading a trio, playing in a duo with Paul Clarvis and has released a solo CD (Close my Eyes on FMR - now sold out). He is also working with Bobby Wellins, Steve Waterman and Harry Beckett.
Chris Biscoe - alto and soprano sax; alto clarinet
Stan Sultzman - tenor and soprano sax, flute
One of the UK`s most respected sax players, Stan is particularly known for his long associations with Kenny Wheeler and John Taylor. Recently he has led his big band, featuring the cream of Britain's jazz scene in his original compositions.
One of the UK`s most respected sax players, Stan is particularly known for his long associations with Kenny Wheeler and John Taylor. Recently he has led his big band, featuring the cream of Britain's jazz scene in his original compositions.
Mick Hutton - double bass
Mick's playing is distinguished by superb intonation, great time and a highly original approach. He has toured with Lee Konitz, Joe Henderson, and just about every major British modern jazz player.
Mick's playing is distinguished by superb intonation, great time and a highly original approach. He has toured with Lee Konitz, Joe Henderson, and just about every major British modern jazz player.
Paul Clarvis - drums
Another musician whose influence is beginning to be heard amongst younger players, Paul is one of the UK's busiest musicians, equally at home in the classical and world music fields as in jazz. Amazingly, he still finds time to co-direct the record label Village Life.
Another musician whose influence is beginning to be heard amongst younger players, Paul is one of the UK's busiest musicians, equally at home in the classical and world music fields as in jazz. Amazingly, he still finds time to co-direct the record label Village Life.
Liam Noble Group
In The Meantime
Basho Records SRCD 4-2
more information about "In The Meantime"
In The Meantime
Basho Records SRCD 4-2
more information about "In The Meantime"
CD available at www.jazzcds.co.uk
and all good record stores
and all good record stores
Album Review
Noble is one of the younger UK pianists most likely to turn surprising corners. A highly inventive and thoughtful musician, Noble graces any band he joins, while his own music combines characterful composing with fresh, risk-embracing improvisation.
Noble is one of the younger UK pianists most likely to turn surprising corners. A highly inventive and thoughtful musician, Noble graces any band he joins, while his own music combines characterful composing with fresh, risk-embracing improvisation.
In the Meantime is an attractive splicing of flouncy, rather jittery uptempo themes with the quick, stuttering, thematic monotones of Greg Osby or Steve Coleman, plus Monk-like chording and a subtle, contemporary reeds sound provided by Stan Sulzmann and Chris Biscoe.
The tunes are all Noble's apart from Lionel Bart's Who Will Buy (from Oliver!); this is a completely unexpected intervention that develops as a delicate counterpoint between Sulzmann and Biscoe, the leader buoying up the pair with an understated ripple of piano commentary.
Some wonderful, hooting, almost country-blues music balances the busyness, and Sulzmann - superb on tenor sax throughout - has rarely played better.
John Fordham - Friday February 7, 2003 - The Guardian
John Fordham - Friday February 7, 2003 - The Guardian
Review
LIAM NOBLE BAND AT BIRMINGHAM CONSERVATOIRE ARENA FOYER.
On Saturday, Hackney-based pianist Liam Noble launched the Contemporary Jazz Series. Although nowhere as well-known as the other members of his quintet, the superior quality of of Noble's compositions made it easy to see why players like Chris Biscoe, Stan Sultzmann, Paul Clarvis and Mick Hutton are keen participants. Apart from a lone Lionel Bart arrangement, all of the pieces were penned by Noble, self-effacing when it comes to giving titles, but fiercely individualistic in the melody realm. Every tune had its own life, the themes not being immediately derivative, the solos woven into their fabric, avoiding any structural cliches. There's no aimless filling from Noble; he prefers dense, angular finger-butts, distant salsa chord structures hazily definable at times, Monkish ringing apparent at others, with even some moments of Stan Tracey jabbing or Howard Riley bebop transmogrification. Reedsman Biscoe attained a particularly urgent state, delivering several magisterial solos, visibly wired by the lust for winkling out fresh alto saxophone sounds, bending, popping and filtering notes in an unpredictable chase. Drummer Clarvis also continued to impress with his sheer love of skin-tone, brushes and brittle sticks luxuriating in the Foyer's warm acoustic properties.
(Martin Longley, Birmingham Post)
LIAM NOBLE BAND AT BIRMINGHAM CONSERVATOIRE ARENA FOYER.
On Saturday, Hackney-based pianist Liam Noble launched the Contemporary Jazz Series. Although nowhere as well-known as the other members of his quintet, the superior quality of of Noble's compositions made it easy to see why players like Chris Biscoe, Stan Sultzmann, Paul Clarvis and Mick Hutton are keen participants. Apart from a lone Lionel Bart arrangement, all of the pieces were penned by Noble, self-effacing when it comes to giving titles, but fiercely individualistic in the melody realm. Every tune had its own life, the themes not being immediately derivative, the solos woven into their fabric, avoiding any structural cliches. There's no aimless filling from Noble; he prefers dense, angular finger-butts, distant salsa chord structures hazily definable at times, Monkish ringing apparent at others, with even some moments of Stan Tracey jabbing or Howard Riley bebop transmogrification. Reedsman Biscoe attained a particularly urgent state, delivering several magisterial solos, visibly wired by the lust for winkling out fresh alto saxophone sounds, bending, popping and filtering notes in an unpredictable chase. Drummer Clarvis also continued to impress with his sheer love of skin-tone, brushes and brittle sticks luxuriating in the Foyer's warm acoustic properties.
(Martin Longley, Birmingham Post)
Contact Liam Noble: tel/fax 020 8539 8349
Liam Noble's Website
Liam Noble's Website
Chris Biscoe
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