Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Dave Liebman Delivers an Adrenalizing, Unexpected Trio Album

This album – titled The Dave Liebman Trio Plays the Blues a la Trane –  was in the can for awhile before Liebman might have said to himself, “Hey, why not release this?” And why not? He’s the rare artist who could probably get away with releasing pretty much everything he plays – which he may realize, because he’s pretty much been doing that lately. This set has the saxophone giant playing in a trio situation at a live date in Belgium in the spring of 2008 with Marius Beets on bass and Eric Ineke on drums, an interestingly stripped-down configuration in light of Liebman’s recent, noteworthy big band work. The official story is that Liebman decided to go completely off program for this one and jam out on a series of blues by John Coltrane, or associated with him. It’s both fresh – especially for the rhythm section – and retro at the same time.

On tenor, Liebman wastes no time establishing a formidable attack, one rapidfire spiral after another on Miles Davis’ All Blues, following a late 50s Trane style, exploratory yet managing not to meander. The rhythm section quickly falls into place, Ineke with a loose, funky shuffle against Beets’ lean, fluid pulse that turns wintry and somewhat wry when it comes time for his solo toward the end. Throughout the album, they hold their places, leaving centerstage to Liebman aside from the occasional solo spot. Trane’s Up Against the Wall shuffles steadily along with a genial New Orleans swing: it’s the most straight-up number here. Mr. P.C. features a long, bright, sprightly bass solo (too low in the mix, as is the case all night, the one drawback with this album), Ineke taking a long, playful 3-on-2 solo. Liebman prowls around the minor blues scale or its edges, turning up the heat with the glissandos, but with restraint. A long, methodically crescendoing Village Blues – the one tune here with any real handoffs between the players – sees Liebman wrapping up his final soprano sax salvo unexpectedly – “OK, I’ve made my point, that’s all I’ve got to to say.” Ellington’s Take the Coltrane, tongue-in-cheek in its original version and just as jaunty here, opens with a bass solo and ends the set on an upbeat note. The album is best experienced in its entirety: as an unintended suite, it works strikingly well. It’s a must-own for Liebman fans, and Trane fans ought to enjoy this just as much, a worthwhile homage from one of the greats of this era to one from another. Liebman has an auspicious stand coming up at Birdland on February 22-26 with with his famous 80s quartet including pianist Richie Beirach, bassist Ron McClure and drummer Billy Hart.

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January 20, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment