I do believe that Dave Liebman was one of the fortunate visiting stars that worked with the Voice of the North Orchestra back in the day. What a fine orchestra that was, it would probably be called a collective these days.
Whilst that was probably a career highlight for Mr Liebman, as it would be for any American lucky enough to visit Darlington, he is probably still best known for his membership of Miles Davis’ group back in the days of On The Corner which came out in 1972. Leo Genovese has also been up this way, performing in a group at a Sage jazz festival one year with Joe Lovano, Esperanza Spalding and Jack DeJohnette. Both Tyshawn Sorey and Peter Evans have extensive discographies as both leaders and sidemen so there is quality, here, throughout the ranks.
Last January found Dave Liebman at Smalls in New York
recording this collection of free jazz pieces with, it must be said, a very
fine band. Liebman had undergone a hip operation six weeks earlier (what other
kind of operation would there be for a jazzman?) and this was his return to the
stage.
This is Dave Liebman in free mode across three long pieces, The Beginning, The Middle and The
End which clock in at 15, 33 and 25
minutes, respectively. It is intense stuff which gives time and opportunity for
each player to contribute. Although it’s billed as free jazz and the sleeve
notes expound at length on the liberation offered by this freedom there are
moments when it anchors onto something, a groove or a familiar pattern of
notes, that will feel more secure to many listeners, before such secure
handholds fall away, back into something more overwhelming. Conversely, there
are moments that require close concentration, which is rewarded, when it
becomes clearer how the musicians are relating to each other’s contribution.
At times the music is delicate, almost furtive, with only
spare interjections behind a single lead instrument, as delicate as lacework. At
others it’s full-on, a high speed train rush, in take-no-prisoners mode. This
music is, however, a marvellous blend of competition and co-operation. Whilst
there are rapid changes of direction, what you notice most is the flow. It
keeps moving forward with whoever has the lead at any time pulling the others
onward like a marathon relay whilst the lead goes where the spirit takes them. Even
when most fall back and one instrument steps forward, such as during John
Hebert’s bass solo at the end of The
Beginning, there are still prompts from drums and piano to maintain the
momentum and the idea of the group.
It’s impossible to single anyone out for specific praise as
the baton passes back and forth so frequently each relishes their moments in
the spotlight and there is imagination and energy in abundance. That sentence
should be followed by a ‘But’ and references to Sorey’s powerhouse drumming,
ride cymbal work and cymbal splashes, or Genovese’s dazzling piano runs, or
Evans’ burning trumpet solos, but (again), it’s the ensemble working together
that comes through. And it all comes back to the flow.
Live At Smalls, which
is listed on some websites as Lost In
Time, is available now from the usual outlets. Anyone with a further
interest in Liebman’s work should head over to davidliebman.com. Dave Sayer
1 comment :
Back in the day (2011) Leo Genovese was in Michael Janisch's band at Newcastle's Lit & Phil and three years later he appeared at the Gateshead International Jazz Festival.
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