The 14 Jazz Orchestra - Islands

Styles: Jazz, Big Band
Year: 2023
File: MP3@320K/s
Time: 66:30
Size: 157,1 MB
Art: Front

(6:04) 1. Man from Tanganyika
(6:39) 2. Islands
(6:46) 3. Bud Powell
(4:59) 4. Part of Me
(5:47) 5. Carmencita
(5:52) 6. Missouri Uncompromised
(6:10) 7. Jitterbug Waltz
(6:20) 8. Jaco
(6:27) 9. Some Other Time
(6:19) 10. Loft Dance
(5:04) 11. When She Loved Me

"Islands" from Dan Bonsanti is a tour de force consisting of eleven unique selections, colorful textured arrangements, and outstanding ensemble and solo playing. The fare includes straight-ahead bop, to calypso, film and fusion, all presented by a highly-energized ensemble of Miami-affiliated greats and guest greats.

The opener, McCoy Tyner's "Man from Tanganyika" is an ultra-rhythmic grabber, offering fine solos and polyrhythmic burn. "Islands," from Mike Mainieri's pen, is a catchy, upbeat calypso with an extravagant middle section. "Bud Powell," is a certified bebop stroller from Chick Corea, featuring solos from Ed Maina, Jason Carder and Mike Levine. Levine's composed "Part of Me" is a slick "All of Me" clone contemporized with the ensemble contrapuntally stating.

The arrangements from Bonsanti, Mike Levine, and the late Tom Boras are colorful without being overly complicated. They are such that the group sounds larger than it really is. The writers have a wizard's touch in terms of pairings, orchestrated textures, and combinations. Woodwinds mingle and marry with other sections in colors galore.

The ensemble, while recorded remotely, is tight and buys into the session with obvious delight. Miami sax legend Ed Calle gets featured solo billing and, as expected of this master, delivers the goods. There are other great solo standouts here, including trumpeter Jason Carder, Mike Manieri, and Mark Levine. The various rhythm sections sparkle, with guests Peter Erskine and Will Lee chiming in.

Levine's "Carmencita" is a darker, faster Latin groove with blue fire and a fine piano solo. Pat Metheny's "Missouri Uncompromised" flitters speedily with vibes and flute handling melodic honors. "Jitterbug Waltz," from the Fats Waller canon, is a reed doublers' playground. Bass revolutionary Jaco Pastorius is saluted here eponymously with a ¾ blue-ish statement on "Jaco." The ballad "Some Other Time" is a trumpet feature tastefully played by Jason Carder. "Loft Dance" is a wild Afro-Cuban head-shaker from Dave Liebman who guests. Randy Newman's folksy "When She Loved Me" with Lindsay Blair's guitar spotlit, closes the session in elegant style.

"Islands" is a most satisfying album of highly diverse grooves and textures from leader Bonsanti and his cadre of superb musicians and arrangers.By Nicholas F. Mondello
https://www.allaboutjazz.com/islands-featuring-ed-calle-dan-bonsanti-and-the-14-jazz-orchestra-self-produced

Personnel: Dan Bonsanti: composer / conductor; Ed Calle: saxophone; Ed Maina: woodwinds; Peter Brewer: saxophone, tenor; Mike Brignola: saxophone, baritone; Brett Murphey: trumpet; Jason Carder: trumpet; John Lovell: trumpet; Dana Teboe: trombone; Major Bailey: trombone; Mike Levine: piano; Lindsey Blair: guitar.

Additional Instrumentation: Ed Calle: Soprano sax, flute; Peter Brewer: flute, clarinet; Mike Brignola: flutes, bass clarinet; Dave Liebman: soprano sax (10) Ed Maina: flute; Peter Erskine: drums (1,2,6); Lee Levin: drums (4,5,8,10,11); Mike Harvey: drums (3,7,9); Richard Bravo: percussion (2,4,5,10); Joe Davidian: piano (10); Randy Bernsen: acoustic guitar (8); Mark Egan: electric bass ((6,11); Will Lee: electric bass (8); Nicky Orta: e;ectric bass (5,10); Tim Smith: electric bass (2); Jamie Ousley: acoustic bass (3,4,7,9); Dennis Marks: acoustic bass (1); Mike Manieri: vibes (2,6);

Islands

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Dave Liebman - The Elements: Water

Styles: Saxophone And Flute Jazz
Year: 1997/2022
File: MP3@320K/s
Time: 58:01
Size: 133,6 MB
Art: Front

(6:32) 1. Water: Giver Of Life
(7:10) 2. White Caps
(4:27) 3. Heaven's Gift
(2:09) 4. Bass Interlude
(7:06) 5. Reflecting Pool
(8:56) 6. Storm Surge
(1:19) 7. Guitar Interlude
(4:13) 8. Baptismal Font
(5:58) 9. Ebb And Flow
(1:14) 10. Water Theme (Reprise)
(8:53) 11. Dave Liebman's Reflections On "Water"

Soprano sax icon and modern jazz pioneer Dave Liebman teams up with the equally talented and famous jazz guitarist Pat Metheny for their first ever recording. Liebman’s “”The Elements: Water” represents the first in a projected series of recordings dedicated to the elements. Liebman states in the liners: ...The music “all derives from the opening solo guitar theme” and continues with: “Every composition is based on a different harmonic aspect of this melody”. The first piece “Water: Giver Of Life” is where Pat Metheny subtly imposes the melody through pensive acoustic guitar passages which is a precursor for this albums recurring thematic statements. Throughout the entire project, the themes become reworked or harmonically restructured.

On “White Caps”, Liebman picks up the tenor sax as his phrasing is furious and stinging while displaying a richly textured luminous sound atop a somewhat laid back funk beat. Liebman and Metheny trade a few choruses that suggest turbulence or rapid movement. “Heaven’s Gift” is a straight four swing as Liebman, on soprano spars with Metheny while the class rhythm section of Cecil McBee (b) and Billy Hart (d) provide a rock-bottom foundation yet remain loose and flexible when called upon. “Reflecting Pool” is one of the best tracks on the album. Here, Liebman’s utilization of the wood flute projects ambiance that seems solemn or spiritual. Pat Metheny’s use of the 48 string Pikasso-Guitar enhances the already vivid imagery, which at times becomes lifelike. The stillness of a reflecting pool is captured in artistic fashion.

The albums recurring theme is generally linear, brief and simple in scope which affords Liebman and Metheny some breathing room or some extra space to implement harmonic and thematic reconstruction. Perhaps Liebman’s personalized approach was to convey “water” as an element, which represents the core substance or element of all living creatures and the earth we inhabit. This notion may correspond to the intentional similarities given to these compositions although; no two tracks sound identical yet the common bond or denominator adheres to the one theme concept.

“Storm Surge” is a fast paced burner while “Baptismal” features Liebman on Tenor Sax as his lush sound is optimized by a dash of reverb on top of Metheny’s endearing steel string acoustic guitar work. Everyone let’s loose on the free jazz romp “Ebb & Flow”. Here, Cecil McBee stirs the pot with super quick walking bass lines, which catapults this piece into forward motion. One minor gripe lies with Pat Metheny’s “Synclavier” or Synth-Guitar. This reviewer feels that Metheny needs to find a new toy or digital guitar. Metheny has worn out his welcome with this contraption that sounds jaded and predictable. On the other hand Metheny’s acoustic and straight-ahead electric guitar work is fabulous throughout this recording.

The last track is an interview with Liebman conducted by Bob Karcy of Arkadia Records. Here, Liebman provides insight about the mindset, music and musicians regarding this particular project as “The Elements: Water” is all about lucid imagery rendered through composition and fine ensemble work. *** 1/2 By Glenn Astarita
https://www.allaboutjazz.com/the-elements-water-dave-liebman-arkadia-jazz-review- glenn-astarita

Personnel: Dave Liebman, soprano, tenor saxophones, wood flute; Cecil McBee, bass; Billy Hart, drums; Pat Metheny, guitars.

The Elements: Water

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Michael Feinberg - From Where We Came

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 56:38
Size: 130,1 MB
Art: Front

(7:15) 1. Louisville
(5:27) 2. Cairo
(3:39) 3. Tryon
(9:39) 4. Pontiac
(8:34) 5. Hamlet
(9:00) 6. East St. Louis
(4:37) 7. Tokyo
(8:23) 8. Nogales

At the dinner table or in the studio, there are many subtle methods to interject a staunch conversation starter. Or you can always burst into the room with your hair on fire. Veteran soprano saxophonist Dave Liebman, he of many rich and complex lines past, here opted for the latter approach. After bassist and leader Michael Feinberg opened the record with a mood leveling bass intro, Liebman grabbed the attention of his younger generation bandmates in the Feinberg composition "Louisville," named after the birthplace of the great Muhammed Ali. Said bandmates, in addition to Feinberg, tenor saxophonist Noah Preminger, pianist Gary Versace and drummer Ian Froman responded with intelligence and verve.

In all, eight songs, all composed by Feinberg, are consummate vehicles for expressive interplay and open-ended conversation. Feinberg named all the tunes after the hometown of his musical and athletic heroes. He also wrote all these pieces with his personnel in mind. He gets the best out of all of them by creating passages that employ responsive windows. Compositional depth is very much at the core of From Where We Came.

That said, the quintet takes it over the top by continually firing on all cylinders. Feinberg is no doubt the glue. However, we need not get stuck on that point, as his fluency enriches the interaction. Froman is, as well, much more than pocket perfect. He deftly moves the conversation through transitions and is impactful in facilitating his mates. Often heard as a third member broadening the rhythm section, Versace also adds timely and intuitive remarks to the ever-growing conversations. Liebman and Preminger take this session to a whole other level. Preminger's exuberance, coupled with his learned chops, bring both excitement and insightfulness to the party. Fueled in the moment by Liebman's blaze and intensity, Preminger joyfully rises to the occasion. Liebman lit the spark at the outset and pushed his improvisational bliss forward throughout. He brought his full and expansive arsenal with him...and didn't leave any on the table.

As for the song titles, "Cairo" (Geogia) is the birthplace of legendary Jackie Robinson. "Tryon" (North Carolina) honors Nina Simone. On "Pontiac" (Michigan) you hear Froman taking a run at the peppered swing of Elvin Jones. Every member of the band has a connection to the incomparable drummer. Feinberg once fronted a band called the Elvin Jones Project and Liebman played with Jones in the early 1970s. John Coltrane is dually honored with "Hamlet" (North Carolina). Miles Davis grew up in "East St. Louis" (Missouri), but championed here are trumpeter Russell Gunn and drummer Terreon Gully who also grew up there. Feinberg had the opportunity to see them both on a weekly basis in Atlanta while in high school. "Tokyo" was written for film scorer Ryuichi Sakamoto and with "Nogales" (Arizona) Feinberg pens and plays in memory of Charles Mingus. A well paired and well-prepared quintet present a dense forest of musical interaction and conversational integrity. They covered a lot of ground, geographically, historically, and musically. A substantial listening and thought provoking experience.~ Jim Worsley https://www.allaboutjazz.com/from-where-we-came-michael-feinberg-steeplechase-productions

Personnel: Michael Feinberg: bass; Dave Liebman: saxophone, soprano; Noah Preminger: saxophone, tenor; Gary Versace: piano; Ian Froman: drums.

From Where We Came

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Michael Feinberg - Blues Variant

Styles: Contemporary Jazz
Year: 2023
File: MP3@320K/s
Time: 49:51
Size: 114,7 MB
Art: Front

(4:11) 1. Blues Variant
(6:03) 2. Saqqara
(3:58) 3. High Or Booze
(4:35) 4. The Healing Power Of Grits
(4:57) 5. Eye Of The Hurricane
(5:51) 6. The Water Brouht Us, The Water Spirit Will Take Us Home
(5:27) 7. Gather Power
(4:26) 8. Improvisation (For Leslie)
(4:43) 9. Cycle Song
(5:36) 10. Year Of Ox

An intriguing element of Michael Feinberg’s superb Criss Cross debut is that the leader could easily have titled it “Bassist In The Background” (Fans of Duke Ellington’s wonderful 1960 LP "Pianist In The Background" will know what I mean). Throughout Blues Variant which includes six tunefully percolating originals by Feinberg, one by tenor saxophonist Noah Preminger, and one by pianist Leo Genovese the 35-year-old bass maestro hews to the mantra, “If you want to hear me solo, come to a gig, where I often play a solo on every tune”.

“I’m serving the music,” Feinberg continues. “What I appreciate about a bass player is how they make the other people in the band sound. I love hearing the soloistic abilities of Christian McBride, John Patitucci, Dave Holland and the people I idolize, but they’re amazing because, when they play, it feels incredible and they push their bandmates to be the best versions of themselves or go beyond what they think they can do.” As another example, Feinberg mentions Jimmy Garrison, who triangulated between McCoy Tyner and Elvin Jones with the “spiritually transcendent” John Coltrane Quartet between 1961 and 1965. “He rarely plays a solo, but you don’t get the Coltrane quartet with anyone else. So I don’t care about the solos, or being on top of the mix to indicate ‘this is a bass player’s record.’ I play a ton of notes. I’m playing the whole time. Can’t miss it.”

Feinberg’s remarks on the Garrison effect carry a certain gravitas; since the early 2010s, when he did The Elvin Jones Project, he’s delved into Coltrane’s repertoire on its own terms of engagement on numerous gigs, most of them featuring Preminger playing tenor saxophone and Ian Froman on drums. On the pan-stylistic Blues Variant, he connects with the spirit of the great drum griot via the presence on three intense selections of Elvin alumnus Dave Liebman, Preminger’s teacher during student years. who has often employed Froman. Feinberg’s introduction to Liebman’s singular sound was Earth Jones, a 1982 Elvin-led release with Liebman, trumpeter Terumaso Hino, pianist Kenny Kirkland and bassist George Mraz. “I know every note of it,” Feinberg says. “I’ve been a fan of Dave’s playing for a long time.”
https://www.crisscrossjazz.com/album/1413.html

Personnel: Bass – Michael Feinberg; Drums – Nasheet Waits; Piano, Keyboards – Leo Genovese; Soprano Saxophone, Flute – Dave Liebman; Tenor Saxophone, Flute – Noah Preminger

Blues Variant

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Dave Liebman - Trust and Honesty

Styles: Saxophone and Flute Jazz
Year: 2022
File: MP3@320K/s
Time: 46:10
Size: 106,2 MB
Art: Front

(4:38) 1. Designs
(5:08) 2. Lover Man
(4:24) 3. Time Remembered (Bonus Track)
(5:32) 4. Come Rain Or Come Shine
(4:43) 5. Stella By Starlight
(1:07) 6. Blind Pig (Bonus Track)
(6:04) 7. Moon And Sand
(2:32) 8. Blue In Green
(5:16) 9. Bye Bye Blackbird
(6:40) 10. Zingaro

Dave Liebman's Trust And Honesty is the third release in Newvelle Records' limited edition audiophile-vinyl autumn 2022 Renewal Collection. It follows Elan Mehler's There Is A Dance and Michael Blake's Combobulate, both previously reviewed on these pages.

Liebman's album is an unassuming little gem. It takes a master musician to take a selection of familiar ballads, give them simple, straightforward readings with an average duration of around four minutes, and come up with something so lovely and compelling. Liebman, more than ably assisted by Ben Monder on guitar and John Hébert on bass, does all of that.

Liebman has essayed a similar venture before, on Classic Ballads (Candid, 1991), in a trio completed by guitarist Vic Juris and bassist Steve Gilmore. On that album, he played soprano saxophone throughout. On Trust And Honesty, he plays soprano on the first seven tracks and flute on the eighth, the closer, Antonio Carlos Jobim's "Zingaro." Monder, heard on electric guitar on the earlier tracks, also switches instruments here, to 12-string acoustic, bringing an understated bossa nova-ish vibe.

Some of the material inevitably brings to mind Liebman's early and mid 1970s employer Miles Davis: Davis and Bill Evans' "Blue In Green," Victor Young's "Stella By Starlight" and Ray Henderson's "Bye Bye Blackbird." Other tunes evoke different, multiple associations: Jimmy Davis, Ram Ramirez and James Sherman's "Lover Man," Harold Arlen's "Come Rain Or Come Shine" and Alec Wilder's "Moon And Sand."

Monder and Hébert drop out for "Blue And Green" but Liebman does not monopolise the album. It is an ensemble affair, all three musicians solo, and on "Stella By Starlight" (also covered on the aforementioned Classic Ballads) he does not enter until over three minutes into the track.By Chris May
https://www.allaboutjazz.com/truth-and-honesty-dave-liebman-newvelle-records

Personnel: Dave Liebman: saxophone,soprano,flute; Ben Monder: guitar; John Hébert: bass.

Trust and Honesty

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Arkadia Jazz All-Stars - It's About Love

Styles: Jazz Contemporary
File: MP3@320K/s
Time: 69:43
Size: 160,8 MB
Art: Front

(6:44) 1. Mood Indigo
(5:48) 2. A Summer Affair
(4:38) 3. My Cherie Amour
(8:37) 4. My Funny Valentine
(5:06) 5. Round Midnight
(4:27) 6. It's Really All About Love
(5:18) 7. The More I See You
(6:02) 8. Interlude
(5:53) 9. Passionata
(6:28) 10. Ask Me Now
(4:51) 11. I Want to Talk About You
(5:46) 12. A Perfect Couple

It could be said that jazz is really the musical language of Love. Like any quest, you have to seek jazz out, it never comes to you, and it may take a long time to truly understand its message but as soon as you hear it, you know you’ve found love. Jazz, like all personal relationships, has so many moods that it may confound you at first, but once you get to know it, there’s no turning back. Much of the repertoire of jazz has been dedicated to love and Arkadia Jazz All-Stars have recorded an album that celebrates the romantic, intimate side of jazz, and musically explores the unanswerable question: What is Love?

Starting off with Benny Golson’s sublime reading of Duke Ellington’s Mood Indigo, the stage is set for romance. The nylon strings of Nigel Clark are featured next in the breezy A Summer Affair, capturing the smoldering flame of passion. Joanne Brackeen performs Stevie Wonder’s pop standard My Cherie Amour in her own dynamic and totally individual way, and Randy Brecker’s Grammy Nominated performance on My Funny Valentine is a moment of real beauty. Both artists bring new depth to several of the all time great love songs. Paul Tobey’s sensitive and insightful rendition of Monk’s Round Midnight is rhapsodic, using subtle dissonances to create tension, released by his flowing lines.

T.K. Blue’s original composition, It’s Really All About Love features the flute, an instrument often tied with romanticism. The More I See You by Mary Pearson expresses the sentiment of undying love that we all long to have, as does the masterful ballad Interlude by the Billy Taylor Trio. Passionata was an unfinished composition by Kenny Drew Sr. that was completed and recorded by his son, Kenny Drew Jr., and is a testament to familial love. Eric Reed’s rendition of Monk’s Ask Me Now is a sparse, yet tender and eloquent doctrine on the state of love. David Liebman and Vic Juris show their gentle sides on the sparkling I Want To Talk About You, while pianist Uli Lenz’s mesmerizing A Perfect Couple brings this recording to a romantic close and is the perfect denouement for this CD, “It’s About Love.”

What happens to us when we fall in love, and when we hear or see something that kindles our passions? Our outlook on life becomes filled with possibilities. Jazz mirrors our life experiences, and we should try to remember that in our collective consciousness. As in our personal relationships, jazz is about the joy and creation of beauty and human emotion in real time. Share this music with someone; it has something to do with discovery and hope. It has something to do with love.

Whether looking surround yourself with beautiful ballads, or to set the mood for a romantic evening, or simply looking for a special Valentines Day gift all year round, “It’s About Love” is a wonderful collection that provides both the romantic atmosphere and world class music from some of the most influential sounds in Jazz.
https://arkadiajazzallstars.com/product/arkadia-jazz-all-stars-its-about-love/

Personnel: Carl Allen: Drums; James Weidman: Piano; Santi Debriano: Bass; Kenny Drew Jr.: Piano; Eric Reed: Piano; Peter Washington: Bass; Lewis Nash: Drums; Rodney Whitaker: Bass; Dave Liebman: Soprano sax; Vic Juris: Guitar; Dean Johnson: Bass; Ron Vincent: Drums;

It's About Love

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Dave Liebman - Selflessness

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 56:34
Size: 130,5 MB
Art: Front

(7:46) 1. Mr. Day
(5:37) 2. Compassion
(8:39) 3. My Favorite Things
(7:52) 4. Ole
(5:50) 5. Lazy Bird
(4:10) 6. Peace on Earth
(4:38) 7. One Up One Down
(7:22) 8. Selflessness
(4:36) 9. Dear Lord

Finding one's inspiration in an iconic figure like John Coltrane presents a huge challenge for any musician. The sheer scope of the master's vision and the uniqueness of his instrumental voice can become overwhelming particularly if the ultimate aim is to forge one's own path. But over a long and highly accomplished career, Dave Liebman has managed to do just that, even if it meant that for a time he had to break free of Coltrane's shadow by setting aside his tenor sax in favor of the soprano, allowing him to cultivate his individuality more decisively. On Selflessness, his latest offering from his regular working group, Expansions, he sticks with the straight horn on this fine tribute to Coltrane, helped by some crafty arrangements of nine well-selected tunes.

The repertoire runs the gamut of Coltrane's output. "Lazy Bird" comes from the Blue Train (Blue Note, 1957) session, while "My Favorite Things," "Olé" and "Mr. Day" are all from the late 1950s/early 1960s Atlantic years. Finally, the later Impulse! work is also represented, with "Dear Lord," "Compassion" and the title track drawn from some of Coltrane's most searching, spiritually focused music. Liebman is in top form throughout, from the charging opener, "Mr. Day" on which his biting solo pulses with energy, to "Dear Lord," the gorgeous closer, when bassist Tony Marino's evocative arco solo leads Liebman to some of his most reflective moments on the record.

Liebman's associates are consistently superb, as drummer Alex Ritz transitions smoothly from the hard swinging "Lazy Bird" to skilled use of the frame drum on the expansively atmospheric "Olé." Pianist/keyboardist Bobby Avey is as effective on the solo rubato piano opening of "My Favorite Things" as he is working the synths on the otherworldly "Compassion." And Matt Vashlishan serves as the perfect second horn for Liebman: he's outstanding on alto sax on "My Favorite Things" but just as compelling in a more meditative vein when playing flute on "Dear Lord" and "Peace on Earth."

Most importantly, Liebman's arrangements manage the trick of capturing Coltrane's spirit while avoiding sounding beholden to the pieces' original formulations. There's a lot to discover here, and Liebman has successfully revealed yet more layers to the vital Coltrane legacy.
By Troy Dostert https://www.allaboutjazz.com/selflessness-the-music-of-john-coltrane-dave-liebmans-expansions-dot-time-records

Personnel: Dave Liebman: Saxophone, Soprano; Matt Vashlishan: Saxophone, Alto; Bobby Avey: Piano; Tony Marino: Bass; Alex Ritz: Drums.

Additional Instrumentation: Dave Liebman: Wooden Flute (4); Matt Vashlishan: Flute (6, 9), Clarinet (4), Wind Synth (2); Bobby Avey: Synthesizers (4, 2, 8, 9); Alex Ritz: Frame Drum (4).

Selflessness

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Dave Liebman, John Stowell - Petite Fleur: The Music of Sidney Bechet

Styles: Saxophone, Flute And Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 59:40
Size: 138,4 MB
Art: Front

(2:35)  1. Petite Fleur
(5:10)  2. Daniel
(5:25)  3. When the Sun Sets Down South
(5:48)  4. Premier Bal
(4:11)  5. What a Dream
(3:55)  6. Petite Fleur (John Solo)
(5:58)  7. Passport
(5:51)  8. Creole Blues
(5:20)  9. Nous Deux
(6:00) 10. Si Tu Vois Ma Mere
(6:47) 11. Summertime
(2:35) 12. Petite Fleur (Dave Solo)

Saxophonist Dave Liebman leans "outside" for the most part. He came to a measure of fame in the bands of Miles Davis, during one of the influential trumpeter's decidedly outside periods the 1970s, when Liebman participated in Davis' On The Corner (Columbia Records, 1972), Dark Magus (CBS-Sony, 1975), and Get Up With It (Columbia, 1977). Post-Davis, the always prolific and adventurous Liebman offered up scores of recordings under his own name. Moving to the new millennium, these include Turnaround: The Music of Ornette Coleman (Jazzwerkstatt, 2009), Lieb Plays The Blues a La Trane (Daybreak, 2010), and Lineage: Rock and Pop Classics Revisited (Whaling City sounds, 2013). Petite Fleur: The Music of Sidney Bechet, features a teaming of Liebman with guitarist John Stowell, a reunion of sorts the duo released a terrific set in 2013: Blue Rose (Origin Records), that showcased the duo's adeptness jazz standards and The Great American Songbook. Petite Fleur is the pair's intimate and unfailingly gorgeous exploration of the music of soprano saxophone pioneer Sidney Bechet, the man who brought the "straight horn" into legitimacy as a jazz vehicle. The New Orleans-born Bechet began his recording career in the early 1920's, well before the advent of alto saxophonist Charlie Parker and the bebop revolution. That era before Parker before the complex harmonizations of bop isn't revisited as much as late 1950s thought late 1960s hard bop, mid-twentieth century cool jazz, or Miles Davis mid-sixties modal approach. Petit Feur says that's a shame. The tune that gives this disc it's title is one of Bechet's most famous offerings is visited three times once as a solo by Lowell; once as a solo by Liebman (on piano); and once as a duo. Direct and beautiful sounds. 

A major shaper of the New Orleans tradition, Becht usually played in ensembles that included more horns a trumpet, a trombone to go along with his soprano saxophone. If Bechet had the melody, the other guys either laid a foundation behind him or they snaked counter melodies around his main theme. This was jazz from New Orleans exuberant and bursting with life. Liebman and Stowell take his tunes and reveal their essence, and make them gentle, often understated ruminations. Bechet wrote straightforward, singable melodies that are accentuated in the one horn, one guitar renderings. As for tone on the soprano sax Bechet's was big. It has been described as emotional and reckless, intense and passionate. Liebman doesn't go that way here though he is more than capable. He instead rolls with a surprising (for him and Bechet) gentleness and deftness for the intricacies of the melodies. His tone here is more often than not clean, pure and sweet. Stowell an adept modern player with a fine discography on Origin Records lays back in a pre-bop mode himself, with shimmering rhythms and sustain and elastic single note forays. And sometimes he brings a Django Reinhardt mode into the picture. Liebman and Stowell's Petite Fleur uncovers a different side of Bechet's seminal, now-traditional sound, one that's been glowing under the shining surface all this time. ~ Dan McClenaghan https://www.allaboutjazz.com/petite-fleur-the-music-of-sidney-bechet-dave-liebman-origin-records-review-by-dan-mcclenaghan.php

Personnel: Dave Liebman: soprano saxophone, wood flute, piano; John Stowell: guitar, nylon-string guitar, fretless baritone guitar.

Petite Fleur: The Music of Sidney Bechet

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Dave Liebman, Richard Beirach - Balladscapes

Styles: Saxophone And Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 74:20
Size: 171,3 MB
Art: Front

(4:31)  1. Siciliana
(3:21)  2. For All We Know
(6:32)  3. This Is New
(4:33)  4. Quest
(6:29)  5. Master of the Obvious
(5:52)  6. Zingaro
(4:37)  7. Sweet Pea
(4:46)  8. Kurtland
(6:08)  9. Moonlight in Vermont
(4:12) 10. Lazy Afternoon
(8:47) 11. Welcome / Expression
(9:09) 12. Dl
(5:16) 13. Day Dream

If there is an artistic partnership that deserves to be called "historical," it is the one between Dave Liebman and Richie Beirach : the first encounter between the two who are almost the same age, the sopranist having only one more year than the pianist - happens indeed almost fifty years ago, when the two were still students, and they were together in 1973 for First Visit , the first work on behalf of Liebman. Since then the collaboration has never stopped: together in the Quartet Quest, with Billy Hart and Ron McClure , they have recorded numerous duo works (the last, Unspoken, is from 2013) and have worked together in many different formations. It is therefore based on their highly developed agreement and their common sensibility that this CD is based, which is atypically focused above all on ballads above all . As evidence of the openness and ellipticity of the two, however, the first of these thirteen ballads is none other than a passage by Johan Sebastian Bach, the "Sicilian" from the Sonata for piano and flute in E-flat Major BWV 1031, which Liebman reinterprets to his way to the soprano sax. Then followed by well-known pieces such as the following "For All We Know" and "Zingaro" by Antonio Carlos Jobim one of the highest moments of the work, for the originality and delicacy of the, as in the case of the Shorteriana "Sweet Pea" or of the medley coltraneana "Welcome / Expression," interspersed with original compositions, even if not previously unpublished, of the two protagonists. The figure is that of a very tidy and linear chamber classicism, enriched, however, besides the understanding of the musicians, by the very great interpretative skills of the two. In particular, Beirach appears to be extremely sensitive in measuring time and pauses, so as to create intimate, never dense atmospheres, while Liebman shows off to his soprano his proverbial expressive complexity that makes him one of the greatest living interpreters (and not only), a gift that he also replicates in the reduced occasions in which he takes up the tenor and the flute (in particular, precisely in "Zingaro"). A disc masterfully performed by two Masters, a synthesis of the artistic work they have been leading for a lifetime. ~ Neri Pollastri https://www.allaboutjazz.com/balladscapes-dave-liebman-intuition-review-by-neri-pollastri.php

Personnel: Dave Liebman: sax (soprano, tenore), flauto; Richie Beirach: pianoforte.

Balladscapes

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Dave Liebman - Return Of The Tenor - Standards

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 71:18
Size: 164,7 MB
Art: Front

(10:19)  1. All The Things You Are
( 8:31)  2. Bye Bye Blackbird
( 7:04)  3. Loverman
( 9:56)  4. Secret Love
( 6:23)  5. There Will Never Be Another You
( 7:25)  6. Yesterdays
( 8:21)  7. No Greater Love
( 8:48)  8. Summertime
( 4:27)  9. All Of Me

Throughout much of the '80s and '90s, Dave Liebman focused exclusively on soprano saxophone. On this 1996 date he proclaims the Return of the Tenor, taking up the larger horn once again for an inspired set of well-known standards. (One can read about Liebman's creative reasons for doing so in his self-penned liner notes.) Flanked by the members of his working band pianist Phil Markowitz, guitarist Vic Juris, bassist Tony Marino, and drummer Jamey Haddad Liebman chooses not to rearrange or reharmonize the tunes in any fundamental way. In his own words, this is a "blowing session," but players like these have a way of making a blowing session sound like a lot more. What Liebman is really doing, however, is publicly working out his issues on the tenor saxophone, and using familiar melodies and forms to do so. The varied ensemble formats duo, trio, quartet, quintet help to sustain the listener's interest. ~ David R.Adler https://www.allmusic.com/album/return-of-the-tenor-standards-mw0000183203

Personnel: Dave Liebman - tenor saxophone; Vic Juris - guitar; Phil Markowitz - piano;  Tony Marino - acoustic bass;  Jamey Haddad - drums, percussion

Return Of The Tenor - Standards

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The Dave Liebman Big Band - Live As Always

Styles: Saxophone, Flute Jazz
Year: 2010
File: MP3@320K/s
Time: 60:04
Size: 138,1 MB
Art: Front

( 9:10)  1. A Bright Piece
( 9:32)  2. As Always
(14:37)  3. Anubis
( 7:43)  4. New Breed
(11:24)  5. Philippe Under the Green Bridge
( 7:34)  6. Turn It Around

David Liebman's long list of accomplishments includes working in many different-sized groups in a variety of styles. For this big-band project the soprano saxophonist leads a big band in concert playing his compositions, though with arrangements by others and the band conducted by Gunnar Mossblad (who also plays several reed instruments). "Brite Piece" was first recorded by Liebman early in his career when he was a sideman with Elvin Jones. Although its composer dismisses it as "just a simple ditty with a vamp in the bridge," Andrew Rathbun's arrangement for big band provides Liebman with colorful backgrounds for his improvised flights. Trumpeter and alto flügelhornist Scott Reeves, who took part in the concerts, scored two songs. "Annubis" is an exotic, mysterious piece with the leader playing wooden flute in the introduction, with a solo by oboist Charles Pillow (with a delicious vamp behind him by bass clarinetist Chris Karlic), an understated Middle Eastern-flavored Vic Juris guitar solo, and an ominous synthesizer interlude by Jim Ridl, followed by spots featuring Liebman's piercing soprano sax and Reeves' spacious alto flügelhorn. The second Reeves chart is another early Liebman work, in which the arranger scored Liebman's original solo from his record with Elvin Jones for the sax section. The explosive finale, "Turn It Around," showcases drummer Marko Marcinko and Juris, in addition to the leader. Liebman hasn't been heard in a big-band setting often enough during his career; perhaps the success of Live: As Always will open doors for future recordings. ~ Ken Dryden https://www.allmusic.com/album/live-as-always-mw0002013852

Personnel:  Soprano Saxophone, Flute [Wooden Flute], Composed By – Dave Liebman; Alto Saxophone, Oboe, Flute – Charles Pillow; Baritone Saxophone, Bass Clarinet – Chris Karlic, Jay Brandford; Bass – Tony Marino; Bass Trombone – Jeff Nelson;  Directed By, Alto Saxophone, Soprano Saxophone, Flute, Clarinet – Gunnar Mossblad; Drums – Marko Marcinko; Guitar – Vic Juris; Piano, Synthesizer – Jim Ridl; Tenor Saxophone, Clarinet – David Lown; Tenor Saxophone, Flute, Clarinet – Dave Riekenberg; Trombone – Sam Burtis, Tim Sessions ; Trombone, Flugelhorn [Alto] – Scott Reeves; Trumpet, Flugelhorn – Danny Cahn, Dave Ballou, Patrick Dorian, Bob Millikan

Live As Always

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Marc Copland, Dave Liebman Duo - Impressions

Styles: Saxophone And Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 60:41
Size: 140,0 MB
Art: Front

( 7:05)  1. Cry Want
(11:27)  2. Maiden Voyage
(12:18)  3. Impressions
( 8:33)  4. WTC
( 7:55)  5. Blue in Green
( 3:09)  6. Lester Leaps In
( 3:46)  7. When You're Smiling
( 6:24)  8. Blackboard

The subtle duo of pianist Marc Copland and saxophonist Dave Liebman in a set of great jazz compositions from luminaries including Jimmy Giuffre, Herbie Hancock, John Coltrane, Miles Davis, Lester Young, plus original work. "The two may have done little more than talk about the weather before they began playing the largely standards-focused Impressions, but from such mundane chitchat comes a performance that exemplifies the best of what each of these fine musicians does - but also, with the push-and-pull of two different musical personalities, demonstrates the ability and willingness of each to be drawn outside their normal predispositions, to create music that's the best of both, and something a little more, and plenty special."~John Kelman http://www.squidco.com/miva/merchant.mvc?Screen=PROD&Store_Code=S&Product_Code=14832

Personnel:  David Liebman-soprano saxophone, tenor saxophone; Marc Copland-piano

Impressions

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Dave Liebman - In A Mellow Tone

Styles: Saxophone And Flute Jazz
Year: 2004
File: MP3@320K/s
Time: 53:10
Size: 122,9 MB
Art: Front

(4:34)  1. In A Mellow Tone
(6:09)  2. Child At Play
(6:40)  3. Chance Of Rain
(3:52)  4. The Sun King
(6:49)  5. Chant
(3:13)  6. My Heart Will Go On
(7:19)  7. Romulan Ale
(2:46)  8. Wow
(3:54)  9. Change Up
(7:49) 10. Vamp To Life

Don't let the title of Dave Liebman's latest disc, In a Mellow Tone, fool you. While the ambience is generally more relaxed than his usual fare, this is no easy-going collection of standards; instead what we have is an album that, for all its mellifluous aspirations, has a subtle intensity, and a certain feeling that all is not what it seems. Leading off with a radically reharmonized version of the Ellington classic, "In a Mellow Tone," Liebman sets the tone for the whole album. While the recognizable theme is there, the underlying feel is one of brooding darkness. With bassist Tony Marino and drummer Jamey Haddad eschewing the more expected ambling lope, instead lightly implying a certain sense of peril, Liebman's arrangement may be accessible, but it is hardly easy listening. Liebman's playing is less aggressive than usual, but his expressionist leanings remain intact. Guitarist Vic Juris continues to surprise and enlighten. With a style that sits, for the most part, somewhere between the melodious sound of Pat Metheny and the more oblique lyricism of John Abercrombie, he demonstrates a musical breadth of which few guitarists are capable. From the impressionistic self-penned "Chance of Rain," which is so visual one can see the clouds rolling in and hear the distant thunder, to Liebman's "The Sun King," originally written in the '70s when he was playing with Indian percussionist Badal Roy, Juris demonstrates a knowledge of everything from post bop harmonies to Indian raga form. 

Liebman even manages to take the soporific melodrama of James Horner's "My Heart Will Go On," from the Titanic movie soundtrack, and turn it into a rubato tone poem that is poignant and pensive. "Change Up" is a free piece that features rich interplay between Liebman's soprano saxophone and Marino's bowed bass, before leading into a classical guitar solo by Juris that continues to demonstrate his broad stylistic abilities. Sadly this is the final recording of the current version of Liebman's group that began in '91, following the dissolution of his more outgoing post-Coltrane band, Quest. Liebman states in the liner notes that a long-standing band "both artistically and from the listener's standpoint is consistently at a higher level than in temporary formations." With the effortless way in which the quartet navigates the material on In a Mellow Tone, Liebman's assumption is clearly supported. What will come next is anybody's guess, but In a Mellow Tone is a fitting swan song for a group; easy on the ears without losing its sense of adventure, and the culmination of a lot of obviously joyful hours spent playing together. ~ John Kelman https://www.allaboutjazz.com/in-a-mellow-tone-dave-liebman-zoho-music-review-by-john-kelman.php

Personnel: Dave Liebman (soprano and tenor saxophones, wooden flute), Vic Juris (acoustic and electric guitar, guitar synthesizer), Tony Marino (acoustic and stik bass), Jamey Haddad (drums, percussion)

In A Mellow Tone

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Dave Liebman - Fire

Styles: Saxophone, Flute Jazz
Year: 2018
File: MP3@320K/s
Time: 69:34
Size: 159,7 MB
Art: Front

( 8:42)  1. Flash!!
(32:35)  2. Fire
( 9:12)  3. Sparks
( 6:42)  4. Flames
( 7:24)  5. Inferno
( 4:56)  6. Ashes

The Elements: Fire
The four elements found in the natural world (Air, Fire, Water, Earth) represent the ultimate example of duality, observed in both nature and humankind. Whether it is called yin.yang, nigh/day (any opposing pari), the principle remains the same. As Yoda, the Star Wars sage said: "There are always two!!"Extreme manifestation of this duality pertaining to the element of air are realized as tornadoes, hurricanes and cyclones; the for the water element as floors and blizzards; the earth as earthquakes and for fire, conflagration. Equally on the opposite side there are the life-giving and sustaining qualities of air, water, fire and the earth... all gifts of nature granted to the human species. Conceptually, this music alludes to one aspect of the duality of the fire element. Sparks begin the process, evolving into flames, progressing to an inferno... finally ashes remain as a testament to fire's destructive legacy, but with the understanding that fire is also realized as heat, light and sustenance.

The Rhythm Section
My roots with Dave Holland and Jack DeJohnette go back to the late 1960's. I met Dave in London in 1967 when I was visiting Europe for a few months. With Jack it was about that time we met at jam session in New York. My first album as a leader ("First Visit") was recorded in Japan while I was with Miles Davis and they were with Stan Getz along with my long time partner, pianist Richie Beirach. (Also there was the 1988 "Trio + 1" recording with Dave, Jack and my wife Caris Visentin on oboe. When Dave came to New York joining Miles Davis' group in 1968 he ended up living on the second floor of a loft building where I was the first tenant, eventually joined by Chick Corea on the first floor... 138 W. 19th Street. Of course Jack and Dave have gone on to be recognized as one of the classic bass/drum combinations in jazz history and individually two of the greatest artists on their instruments. Jack especially is a force of nature. Besides the programmatic aspect of the recording as described above, there was in my mind the idea of re-creating the feeling of the music we played in the loft days from that early period, featuring a heavy dose of free jazz inspired by Coltrane's seminal recording "Ascension". There were many sessions that might feature several horn players "soloing" together (Mike and Randy Brecker, Terumasa Hino, Bob Berg, Steve Grossman, etc) all embracing the free spirit of the late 60's period both in the real world and musically. At the same time the so-called "fusion" movement with Miles at the head became popular along with the rock/jazz horn band phenomenon... 10 Wheel Drive (the group I played in), Chicago, Blood, Sweat Tears, etc... These contemporary activities co-existed with the jazz tradition we were all still learning about, since many of the original masters were still very active. Quite an exciting period!! If I must say so, we have all definitely improved in the ensuing decades, especially when it comes to playing "free jazz"... the ability to play less, to play soft, to express a feeling above all .... in sum demonstrating maturity at its highest level. For this recording the opportunity to have Kenny Werner join Jack and Dave in the rhythm section was a blessing as he fit right into the very open and loose scenario I was looking for. Playing and communing with these great artists was an honor and privilege.

Dave Liebman
Special thanks to Kurt Renker for his many years of support in both the practical and musical realms; to John Fishell who is my first call engineer; to mix master, Florian Van Volxem; and as always to Caris and Lydia for their ever-present support.
Note: Along with the recordings "Water- Giver of Life" from the later 90's featuring Pat Metheny, "Air" (all available on the internet), and the present Fire" what remains is "Earth" which will conclude my series on the elements. http://davidliebman.com/home/new_releases/fire/

Personnel:  Dave Liebman (ts, ss, wooden flute, c-flute);  Kenny Werner (p);  Dave Holland (b);  Jack DeJohnette (ds)

Fire

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Dave Liebman Trio - Monk's Mood

Styles: Saxophone Jazz 
Year: 1999
File: MP3@320K/s
Time: 58:07
Size: 134,0 MB
Art: Front

(2:33)  1. Monk's Mood
(4:39)  2. Teo
(5:40)  3. Pannonica
(7:48)  4. Nutty
(5:14)  5. Reflections
(8:08)  6. Gallop's Gallop
(6:00)  7. Ugly Beauty
(5:46)  8. Monk's Dream
(5:19)  9. Introspection
(4:36) 10. Skippy
(2:18) 11. Monk's Mood II

It’s nice to hear Dave Liebman undo a few buttons and dig in with a trio session. Of late the sax icon has taken to larger ensembles and concept albums. The only concept here is Monk, and Liebman’s only guests are Eddie Gomez on bass and Adam Nussbaum on drums. Seldom played gems such as "Teo," "Gallop’s Gallop," "Introspection," and "Skippy" make this not just another Monk tribute. However, bookending the program with "Monk’s Mood" is not original Danilo Perez did the same on his 1996 Impulse release, Panamonk.  Liebman divides his time between tenor and soprano, playing the larger horn on five of the disc’s eleven tracks. His tenor work on "Nutty" and "Monk’s Dream" is especially hot. Listen for echoes of Sonny Rollins’s 1958 trio with Wilbur Ware and Elvin Jones. "Reflections," another tenor track, is played as a very slow ballad and finds Lieb sounding a bit like Joe Henderson. Nussbaum is at his most subtle on "Pannonica," and gives "Ugly Beauty," "Introspection," and "Teo" an interesting, almost funky twist. The best track award goes to "Skippy." Gomez and Liebman nail the boppish melody together and then Gomez is off and running. Liebman’s soprano foray is pointed and aggressive. When the melody returns, Gomez vocalizes along in his trademark fashion, which somehow turns the excitement up a notch. The disc closes on a mellower note, with Liebman playing not-half-bad piano on "Monk’s Mood" while Gomez handles the melody. In his liner notes Liebman candidly writes about seeing Monk live in the 60s. "I will admit," he says, "that the sameness of presentation, personnel, tempos and repertoire sometimes bored me." It was only later in life that Liebman fully began to appreciate Monk’s music. There’s something quite refreshing about Liebman’s ability to tell it to us straight. Tribute records can come across as impersonal exercises in obligatory reverence. Liebman instead lets us in on his aesthetic experience. He involves his audience in his own musical maturation process. And many of us will no doubt identify. We bullshit ourselves and others by claiming that we emerged from the musical womb already digging Duke and Coltrane and Dolphy and the rest. Much jazz is and should be an acquired taste. Liebman’s love for Monk came with time and effort, and the music on this disc is stronger for it. ~ David Adler https://www.allaboutjazz.com/monks-mood-dave-liebman-double-time-jazz-review-by-david-adler.php

Personnel:   Dave Liebman - tenor saxophone, soprano saxophone, arranger, producer, mixing, mastering;   Eddie Gómez - bass;  Adam Nussbaum - drums

Monk's Mood

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Dave Liebman - Joy: The Music Of John Coltrane

Bitrate: MP3@320K/s
Time: 49:55
Size: 114.3 MB
Styles: Contemporary jazz
Year: 1993
Art: Front

[ 6:13] 1. After The Rain
[ 4:39] 2. Untitled Original
[ 4:44] 3. Alabama
[10:32] 4. India
[ 9:12] 5. Naima
[14:33] 6. Selflessness

Acoustic Bass, Electric Bass – Jim Roller (tracks: 2, 4 to 6); Alto Saxophone – Bill Schnepper (tracks: 2, 4 to 6), Mike Fansler (tracks: 2, 4 to 6); Baritone Saxophone – Jim Wingo (tracks: 2, 4 to 6); Bass – Pete Spaar (tracks: 2 to 4, 6); Bass Clarinet – Bill Schnepper (tracks: 1), Jed Hackett (2) (tracks: 1), Jim Wingo (tracks: 1), Kenny Flester (tracks: 1), Mike Fansler (tracks: 1); Drums – Howard Curtis (tracks: 3), Mike Nichols (5) (tracks: 2, 4 to 6); Flute – Carrie Scattergood (tracks: 1), Christine Fry (tracks: 1), Dawn Rhinehart (tracks: 1), Elisabeth L. Boivin (tracks: 1), Grace P. Manuel (tracks: 1), Jen Kuk (tracks: 1), Jennifer McQueen (tracks: 1), Kerry O'Connor (tracks: 1), Kristi Blalock (tracks: 1), Mandy Harris (tracks: 1), Margaret Ross (3) (tracks: 1), Mary Kay Adams (tracks: 1), Melinda Gryder (tracks: 1), Miranda Hopkins (tracks: 1), Susan L. Walker (tracks: 1), Tracie Vies (tracks: 1); Flute [Indian], Synthesizer – David Liebman (tracks: 4); Flute [Mayan] – Gunnar Mossblad (tracks: 4); Orchestra – James Madison University Jazz Ensemble (tracks: 2, 4, 5, 6); Percussion – Mike Nichols (5) (tracks: 1), R.J. Gregor (tracks: 1, 2, 4 to 6); Piano – Butch Taylor (tracks: 2 to 6), Gunnar Mossblad (tracks: 1); Piano, Synthesizer – Michael Souders (tracks: 2, 4 to 6); Soprano Saxophone – David Liebman; Tenor Saxophone – Gunnar Mossblad (tracks: 3), Jed Hackett (2) (tracks: 2, 4 to 6), Kenny Flester (tracks: 2, 4 to 6); Trombone – Kim Zitlau (tracks: 2, 4 to 6), Michael Mosley (2) (tracks: 2, 4 to 6), Tom McKenzie (tracks: 2, 4 to 6); Trombone [Bass] – Steve Coonly (tracks: 2, 4 to 6); Trumpet – Brian Garland (tracks: 2, 4 to 6), Christopher Breault (tracks: 2, 4 to 6), Donna Ott (tracks: 2, 4 to 6), Gregory Oaks (tracks: 2, 4 to 6), John D'Earth (tracks: 3, 4), Kevin Lewis (5) (tracks: 2, 4 to 6). Recorded at James Madison University's "Studio A", Harrisonburg, Va. on 19th-20th March, 1992.

David Liebman has recorded several tributes to John Coltrane through the years (even though he really doesn't sound like him) and his Candid CD is one of his most rewarding. Utilizing a strong college orchestra, some guests and (on "After the Rain") the 17 flutes and five bass clarinets of the JMU Flute Choir, Liebman performs six of Coltrane's top compositions from the 1961-66 period. He sticks to soprano except for some Indian flute on "India" and pays tribute to Coltrane's creative spirit rather than just imitating his solos. "Alabama" and "Naima" are passionate ballads, "India" sounds exotic and the medley of "Joy" and "Selflessness" are free and intense. There are strong individual moments from pianist Butch Taylor and trumpeter John D'Earth although Liebman is the main soloist throughout. He tackles Coltrane's music on its own terms and the results are fresh and often quite exciting. ~Scott Yanow

Joy: The Music Of John Coltrane mc
Joy: The Music Of John Coltrane zippy

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Gonzalo Del Val - Standards In Dublin (With Dave Liebman & Ronan Guilfoyle)

Size: 109,0 MB
Time: 46:55
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Gingerbread Boy (4:35)
02. Remember (5:38)
03. JJ's (Drum Solo) (0:39)
04. The Song Is You (5:25)
05. Mushi Mushi (5:50)
06. Palabras (4:57)
07. Redhead (Drum Solo) (1:03)
08. That Old Feeling (2:47)
09. Summer Night (5:01)
10. Pannonica (6:27)
11. Chocolates (Drum Solo) (1:07)
12. Theme For Ernie (3:20)

Born in ‘Miranda de Ebro, Burgos’, ‘Gonzalo del Val’ began his musical studies at the young age of 7 years old at ‘The Municipal Conservatorium of Miranda of Ebro’. Then relocated to Madrid where he studied drums with ‘Guillermo McGill’ and composition-arrangements with ‘Ramón Paus’ for two years.
Later on, he received a scholarship to study at ‘Conservatori del Liceu’ in Barcelona, where he obtained a “Bachelors Degree in Battery-Jazz” under the direction of musician ‘Marc Miralta’.
Gonzalo del Val’s final thesis; entitled “Seis Cuentos Musicales” received the highest marks of excellence. His work based on original compositions was inspired by the work of French filmmaker ‘Eric Rohmer’.
He has also studied at ‘Conservatori del Liceu’ in Barcelona under talented teachers such us ‘Aldo Caviglia’ and renowned American drummer, ‘Ed Soph’.
In ‘2009’ Gonzalo was awarded a ‘Youth Excellence’ scholarship to study at the prestigious ‘Manhattan School of Music in New York’, under the instruction of Professor ‘John Riley’. While studying in New York, Gonzalo also received classes under the instruction of drummer ‘Adam Nussbaum’.
That same year, French magazine ‘SOJAZZ’ included a review of Gonzalo’s album in a section esteeming his talent as “… one of the ‘Best’ representatives of the Spanish contemporary scene …”
He was furthermore nominated in the category of “Best New Proposal” of ‘2009’ by the prestigious magazine ‘Jazz & Blues, JAC (Barcelona)’.
In December ‘2011’ ‘Gonzalo del Val’ merited the cover of one of the most important Jazz magazines, ‘All About Jazz’. Inside this prestigious edition published in New York, ‘All About Jazz’, dedicates an extensive critique praising the work of this Spanish drummer.
Moreover, the following year Gonzalo was also nominated for ‘BEST NEW PROPOSAL’ by Barcelona’s ‘JAÇ Magazine’ and was chosen for ‘Best Jazz Album’ of ‘2011’ by ‘Ditritojazz.com’.
Throughout previous years, he has also had an active relationship inside the world of teaching, where as a professor he taught at several schools including ‘Conservatorio Pablo Sarasate’ located in Pamplona, Spain.
Since ‘2005’ Gonzalo resides in Barcelona where he teaches at ‘L´AULA de Música Moderna y Jazz Conservatori del Liceu’ (member of ‘The Berklee School of Music’ located in Boston – Berklee International Network-) and at ‘Conservatori Superior de Música del Liceu’.
From ‘2013’ to ‘2015’, Gonzalo del Val also taught as an Academic Director at ‘L’AULA Moderna i Jazz Music Conservatori Liceu’ also located in Barcelona, Spain (Berklee).
From 2016 he is drum teacher in ‘Taller de Músics’, Superior Music School in Barcelona (ESEM)...

Standards In Dublin

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Dave Liebman - Looking For the Light: A Tribute to Chet Baker

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 50:21
Size: 122,3 MB
Art: Front

(5:45)  1. Up Chet's Alley
(9:16)  2. Beautiful Black Eyes
(3:57)  3. Looking For the Light
(5:17)  4. Margarine
(5:02)  5. The Famous Jacques
(6:23)  6. Nightbird
(5:01)  7. You Can't Go Home Again
(5:41)  8. This One's For Chet
(3:55)  9. Sippin' At Bells

Saxophonist and educator David Liebman is a forward-thinking artist whose advanced improvisational style and association with trumpeter Miles Davis in the '70s combined to make him one of the most influential and successful jazz musicians of his generation. Heavily influenced by John Coltrane, Liebman has moved from tenor saxophone to soprano and flute throughout his career and more often than not played in a progressive, post-bop style that touched on fusion and avant-garde jazz. Born in Brooklyn in 1946, Liebman studied classical piano and saxophone before focusing on jazz a move he attributes to seeing Coltrane perform live in New York on multiple occasions. He continued his private jazz studies with such artists as Joe Allard, Lennie Tristano, and Charles Lloyd while earning a degree in American History from New York University. After graduating, he focused solely on a career in music and quickly became an active leader in the vibrant late '60s "loft" scene in New York City. After a year with the early fusion ensemble Ten Wheel Drive, Liebman was asked to join former-Coltrane drummer Elvin Jones' band, and ultimately appeared on several of Jones' albums in the '70s. This brought him to the attention of trumpeter Miles Davis, who hired him from 1970 to 1974. During this period, Liebman toured and recorded with Davis, appearing on such albums as 1972's classic On the Corner as well as 1974's Dark Magus and Get Up with It. Liebman eventually left Davis' band and began working on his own music in various ensembles including the Open Sky Trio with pianist Bob Moses, Lookout Farm with pianist Richie Beirach and guitarist John Abercrombie, and his own David Liebman Quintet, featuring guitarist John Scofield and Japanese trumpeter Terumasa Hino. This was a fertile, exploratory period for Liebman that resulted in a handful of stellar albums, including 1974's Drum Ode (ECM), 1975's Lookout Farm (ECM), 1977's Forgotten Fantasies (Timeless), 1978's Omerta (Storyville), and 1979's Doin' It Again (Timeless). In the early '80s, Liebman formed the cooperative ensemble Quest with pianist Richie Beirach, drummer Billy Hart, and bassist George Mraz, and later bassist Ron McClure. Beginning with group's self-titled 1981 debut for Palo Alto, Quest has continued to release albums throughout Liebman's career. Also during the '80s, Liebman recorded regularly, appearing on myriad albums including Elvin Jones' 1982 album Earth Jones (Palo Alto), 1983's Things We Did Last Summer with trumpeter John McNeil (Steeplechase), 1985's Double Edge with pianist Beirach (Storyville), as well as his own albums including 1985's The Loneliness of the Long Distance Runner (CMP), 1987's Homage to John Coltrane (OWL/EMI), 1988's Trio + One (OWL/EMI), and 1989's The Blessing of Old Long Sound (Newsound). 

It was also during the late '80s that Liebman began splitting his time between playing and teaching jazz. An early clinician at the Jamey Aebersold camps during the '70s, Liebman met such jazz educators as David Baker, Jerry Hearle, Jerry Coker, and other early proponents of formal jazz studies. These experiences, as well as seeing firsthand the interest and need for jazz instruction worldwide while on tours in Europe, spurred Liebman to found the International Association of Schools of Jazz (IASJ) in 1989. Along with releasing such highly regarded albums as 1990's The Tree, 1994's Songs for My Daughter, and 1998's John Coltrane's Meditations, Liebman continued to work with the IASJ to promote jazz and mentor students. For his work, Liebman received several awards in the field of jazz education including being named a National Endowment for the Arts Jazz Master for 2011.While retaining a strong focus on jazz education, Liebman remains a vital, creative force on the jazz scene and performs and records regularly. In 2010, he released the big-band album Live: As Always and appeared as a featured guest on The Bickel-Marks Group with David Liebman. He then paired with pianist Lewis Porter and guitarist Marc Ribot for 2012's Surreality on Enja. Several more well-received dates followed, including his 2014 big-band effort, A Tribute to Wayne Shorter, 2015's Sketches of Aranjuez, and the 2016 duo album, Balladscapes, with pianist Richie Beirach. In 2017, Liebman collaborated with fellow saxophonist Joe Lovano on the tribute album Compassion: The Music of John Coltrane. ~ Matt Collar https://www.allmusic.com/artist/david-liebman-mn0000175407/biography               

Looking For the Light: A Tribute to Chet Baker

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Dave Liebman & Richie Beirach - Double Edge

Styles: Saxophone Jazz 
Year: 1987
File: MP3@320K/s
Time: 40:39
Size: 93,6 MB
Art: Front

(7:09)  1. Naima
(9:07)  2. Round Midnight
(6:37)  3. India
(7:03)  4. On Green Dolphin Street
(6:59)  5. Lover Man - Some Other Time
(3:41)  6. Oleo

Originally put out as an LP in 1987 and reissued as a CD a decade later, this set of duets by David Liebman (on soprano and flute) and pianist Richie Beirach finds the longtime associates in prime form. The length of the program (40 minutes) might be in the LP range but the playing is of the highest order. Liebman and Beirach explore seven superior standards including "'Round Midnight," John Coltrane's "India," a heated "Oleo" and a medley of "Lover Man" and "Some Other Time." None of the performances are at all predictable and there is plenty of chance-taking (along with reverence for the melodies) by both masterful improvisers. This lesser-known sleeper is highly recommended. ~ Scott Yanow https://www.allmusic.com/album/double-edge-mw0000265727

Personnel:  David Liebman (saxophone), Richard Beirach (piano).

Double Edge

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Dave Liebman - Dedications

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 60:35
Size: 138,8 MB
Art: Front

(11:16)  1. The Delicacy of Youth
( 7:44)  2. South Africa
(12:08)  3. The Code's Secret Code
(12:34)  4. Ode for Leo
( 8:26)  5. Treblinka
( 8:25)  6. Mr. K

'79 septet performances led by saxophonist David Liebman. These mix standards, originals, blues, and ballads, with strong, intense solos from Liebman, fine arrangements and ensemble interaction, and standout contributions from pianist Richie Beirach and bassist Eddie Gomez. 

~ Ron Wynn https://www.allmusic.com/album/dedications-mw0000871380     

Personnel: Soprano Saxophone, Tenor Saxophone, Flute [Alto], Producer – David Liebman;  Bass – Eddie Gomez;  Cello – Clay Ruede;  Piano – Richard Beirach;  Viola – Judy Geist;  Violin – Charles Veal, Susan Ornstein

Dedications

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