Seulah Noh Jazz Orchestra, NOhMAD Review

In NOhMAD, Seulah Noh creates a tapestry of sounds that explore the metaphysical junctions between narrative and melody, tradition and innovation, and jazz and classical. The album serves as a portal into the essence of her musical psyche, charting a course from her classical roots through the explorative terrains of jazz fusion and rock. Each composition reflects her geographical and emotional journeys, encapsulating her experiences as a cultural sojourner transformed into aural narratives.

NOhMAD is a nine-track album of artistic identity, in which Noh’s jazz compositions infuse their sounds and emotions with personal narratives and broad cultural textures. Comparatively, her work echoes the emotional depth of Charles Mingus and the compositional complexity of Gil Evans, yet her voice remains distinct, marked by an ability to synthesize diverse musical elements into a coherent and emotionally compelling whole.

The Seulah Noh Jazz Orchestra, featuring a blend of musicians from Boston and New York, delivers a technically impressive and emotionally resonant performance. The production, recorded over three intensive days at Firehouse12 Studio, captures the ensemble’s vibrant energy and intimate synergy, allowing each musician’s unique talents to shine while serving the greater narrative of Noh’s compositions.

The album opens with “L’illusionniste,” a track that sets a high bar with its sophisticated orchestration and emotive vocalizations by Song Yi Jeon. The introduction’s rubato and pedal tone transition into a rhythmically compelling straight-eight feel, laying a foundation for Nathan See’s alto saxophone, whose solo soars atop a meticulously crafted orchestral pad. This track is a brilliant display of Noh’s ability to blend the intricate textures reminiscent of Pat Metheny with the lush orchestrations of Maria Schneider, yet with a unique storytelling twist.

“Hear the Light” is brought to life by the ensemble’s balance and textural diversity. Starting with a simple shaker and bass drum rhythm, the piece quickly evolves as Dabin Ryu and Kevin Scollins layer in complex piano and guitar figures, setting the stage for Astghik Martirosyan’s poignant vocal performance. The transition into a funkier groove showcases Ian Buss’s tenor saxophone, engaging deeply with the ensemble’s dynamic shifts and Noh’s vibrant compositional voice.

“Sail at Dawn,” the third movement of the “Traveler’s Suite,” incorporates a string quartet, enriching the sonic palette. In this setting, the sonorities of classical music and the rhythmically intricate movement of jazz are crafted through the composition’s form. The ensemble’s interaction, solos, and Noh’s skill in thematic development and dynamic control culminate into a powerful climax, showing that these two worlds can beautifully coexist.

NOhMAD invites listeners to embark on a sonic journey that spans continents and cultures, offering a glimpse into the heart of its creator. Through her debut album, Noh has documented her evolution as a musician and composer, crafting a musical odyssey that resonates with the wanderlust of the soul. It is an invitation to explore the depth of sound colors through the lens of jazz.