Album review: Dave Liebman – Live At Smalls (Cellar Music Group)

Dave Liebman (saxophones); Peter Evans (trumpet); Leo Genovese (piano); John Hebert (bass); Tìyshawn Sorey (drums).

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