A fast-moving, sixteenth-note bass line with polychord hits spotlighting the situation in Israel, vis à vis the Palestinian dilemma, but in general concerning any place where two irreconcilable sides seem to consistently meet and clash. Recorded on "Flashpoint" with Steve Smith, Aydin Esen and Anthony Jackson, (Tone Center), 2005

"Flashpoint" / From "Flashpoint"

"Lieb Plays the Beatles" (Day Break)
DAVE LIEBMAN TRIO with special guest John Ruocco

MUSICIANS:
David Liebman: soprano and tenor saxophones
John Ruocco: tenor saxophone, clarinet and bass clarinet
Eric Ineke: bass
Marius Beets: drums


LINER NOTES:
After doing several recordings over the past few years with this trio playing what I call “repertoire” material as well as other similar projects over the decades, I want to the opportunity here to explain the specific process that evolves when dealing with this type of material as opposed to original compositions. 

“Repertoire” for me represents what the body of music commonly referred to as “standards” in two categories: songs written for Broadway, Hollywood or other popular formats (rock, opera, etc.), as well as compositions by jazz musicians that have become part of the canon. Previous projects of mine have ranged from Puccini to Jobim, Monk to Wilder, Kurt Weill to Cole Porter, "West Side Story" and of course Miles, Coltrane and Ornette Coleman. 

Arranging the given material is the primary challenge which technically may include musical devices such as reharmonizing, inserting vamps, changing the forms and in some cases altering parts of the melody. On some of the projects I have done minimal re-arranging, sticking close to the original; the Monk, Wilder and Weill projects are good examples of this more “hands off” approach. 

Beyond what I discover about my personal aesthetic doing this kind of work, there is the information that reveals itself when one delves into the music of great artists, discovering how they thought and worked out their material. I always learn something, from Puccini’s soaring melodic lines to Jobim’s exquisite balance between harmony and melody, to Monk’s economic use of space and so forth.

Another benefit of rearranging known material is that it relieves the onus of writing original tunes for at least a period of time. One works with a known quantity from the start, most likely the melody and harmony primarily. Also, as far as potential listeners are concerned, there is at least a bit of the recognition factor possible, depending on how far away from the original I go. Finally, there is the fact that for the most part these tunes have stood the test of time.

My process for such projects follows a similar pattern. I go through song books by the composer playing the music at the piano, searching for something in the melody or/and harmony that seems interesting and will open a line of exploration. A potential pile develops which gets whittled down and leads eventually to small musical changes written directly on the lead sheets (all hand written by the way…no computer). Soon after I write a fresh lead sheet which becomes the first draft. Over the next months I go to the piano and check these tunes over and over, sometimes altering them drastically, arriving at an arrangement and appropriate rhythmic feel, all depending upon the instrumentation and personnel that will record with me.

For my latest excursion I have chosen the Beatles’ music, which has a biographical tie in as they were a significant part of the back drop of my generation’s story in the 1960’s, both musically and socially for what they represented at the time. Elvis Presley symbolized a break from the rigid conformity of the 1950’s while the Beatles personified rebellion and change for our generation, definitely in America, if only because of their hair style at the time (hard to believe in the present!) 

More specifically it was their lyrics which evolved as they personally and musically matured from “I Want To Hold Your Hand” to “Fool on the Hill,” etc., that spoke to us. The message was at times cute, philosophical, whimsical, even spiritual, just all over the map as we all were at that time. Their melodies, though not as deep as other notable composers I have dealt with, did handily support the lyrics. As stand alone chords, the harmonies were very basic and quasi church-like (but hardly blues based) while the rhythm was quite basic. Interestingly, George Harrison’s tunes, much less in the overall count than the Lennon/McCartney combination shine for their ingenuity, emotional and lyrical depth.

The bottom line was that the Beatles’ music was of a whole and stylistically consistent. Even physically on the page, much like Monk or Ornette tunes, they all look more or less the same, most of the time no more than two pages with an A section, a bridge and a coda. Certainly they were incredibly prolific, writing and recording hundreds of tunes in less than a ten year period. They chronicled both their lives and those of my generation, embodying the changes and social upheavals of the times. There was no going back to the stultifying popular music of the 1950s, (some early rock not withstanding).

For this recording there was no chord instrument, though I play piano on two tracks for the sake of variety. With Eric and Marius in mind along with the wonderful John Ruocco on assorted winds, it was quite a challenge to find the right three notes (two horns and bass) for expressing the content. Most difficult was to find something interesting to improvise on as we jazz musicians are accustomed to doing. The ambiance ended up being quite lyrical, restrained and plaintive, putting the melodies front and center.

I hope you enjoy this excursion into a great body of music.
- Lieb

Track List
1. She's Leaving Home/Let It Be
2. While My Guitar Gently Weeps (Listen)
3. Because
4. The Fool on the Hill
5. That Means A Lot
6. If I Fell
7. Within You Without You
8. Something
9. Blackbird (Listen)
10. Tomorrow Never Knows/Blue Jay Way/Love Me Do
11. Julia
12. She's a Woman/Lady Madonna
13. And I Love Her

"While My Guitar Gently Weeps" / From "Lieb Plays the Beatles"

"Blackbird" / From "Lieb Plays the Beatles"

The title celebrates a particular painting by Monet, one of the greatest colorists of all time, depicting a bridge that is unusual in that it is all basically shades of green rather than the amazing array of different colors that was his usual approach. The introduction section (letter A) suggests splashes of color in the Impressionist style portrayed by dense, yet open sounds; the next section highlights a specific polychord progression with a very diatonic melody; finally letter C is a vamp with only slight harmonic and melodic variations. The scales suggested for improvisation derive from the section B voicings. This is one of the most chromatic of my tunes and a good vehicle for insight into scales and voicings for these kind of chords. From "Manhattan Dialogues" with Phil Markowitz, piano (Zoho Music)


"Philippe Under the Green Bridge" / From "Manhattan Dialogues"

Written for the premature and tragic passing of a good friend and wonderful saxophonist, Bob Berg; a simple vamp type tune with II-V chordal movement between vamp sections. This take was recorded live in Berlin with Lieb on piano, Peter Weniger on tenor-mid 2000s. But the tune also was recorded on "Flashpoint" with Steve Smith, Aydin Esen and Anthony Jackson, (Tone Center, 2005).

"The Gentle Warrior" / From "Flashpoint"

A simple ballad with some non-diatonic modulations written for my wife, Caris, and new born daughter, Lydia (1992). Recorded with J.D. Walters singing, Steve Varner, Jim Ridl, Ari Hoenig for Double Time Records titled "Clear Day" (2000) and earlier for "Songs For My Daughter" on Soul Note Records (1994).

"Mommie's Eyes" / From "Songs For My Daughter"

"BEYOND THE LINE" (Listen)
"Beyond the Line" was inspired by something I heard on a George Benson recording. This composition stands out for me as one of my best combinations of melody with different harmonic colors; concerning a breach of trust in a friendship. This is the title tune of the Dave Liebman Big Band recording on OmniTone (2003) arranged by Vince Mendoza.

"Beyond the Line" / From "Beyond the Line"

I performed this at the funeral for my wife Caris' father.

Performed by Dave Liebman at his father-in-law Harold's funeral

CONVERSATION:
Title tune of one of my Dave Liebman Group recordings (Vic Juris, Marko Marcinko, Tony Marino) form the early 2000s, this tune is exactly what the title suggests. The setting is short phrases tossed around the band with the out head a retrograde inversion of the in statement. From "Conversation" (Sunnyside, 2003)


"Conversation" / From "Conversation"

Along with my old friend, saxophonist Arthur Barron, and musicians from the Miami area, the music here is good, old-fashioned electric fusion, full of a lot of energy as well as some very lyrical compositions. (ZoHo Music)

"Dahomey Dance" / From "The Miami Jazz Project"

On this recording I am joined by Montreal­-based musicians (drums and bass) along with one of my former students, saxophonist Samuel Blais,  featuring a program of free and straight ahead jazz. (Effendi-Montreal, Canada)

"Cycling" / From "Cycling"

 found this piece by Phil Woods that I kept in a file of “tunes to record.” Not sure if it was dedicated to a specific person as the title does seem to evoke that feeling. Also Phil did write songs dedicated to his mentors and peers (Bird, Johnny Hodges, Hank Jones, etc.) By chance I was in Red Rock Studios for an overdub session a few days ago and thought I would record “For You" on piano as a personal goodbye. By chance Matt Vashlishan was around to record this beautiful composition on alto evoking Phil stylistically, with appreciation to Kent (Heckman) for giving us the opportunity to put this music out in the spheres. A fragile melody with  a beautfiul descending bass line encased in a very “classical” harmonic setting (an area that Phil knew very well by the way), this is my musical dedication to the Maestro. 

For You

"QUEST is devoted to interdependent group music rather than the soloist with
rhythm aesthetic. The Miles Davis Quintet and John Coltrane Quartet of the
mid- 60s profoundly influenced Dave Liebman, Richie Beirach, Ron McClure and
Billy Hart, but more importantly, that music opened their creative minds to
the almost limitless possibilities in modern jazz. During the 80s, Quest was
one of the leading creative ensembles in this music, highly appreciated by
critics and connoisseurs. Thankfully after a 14-year hiatus, they regrouped
in 2005 to once again draw upon their skills, shared influences and empathy
to produce stunning music."
 - "Circular Dreaming" liner notes


"M.D." / From "Circular Dreaming"

"With this CD, Dave Liebman kicked off a cycle of four albums inspired by the so-called elements -- Water, Earth, Fire and Air -- attempting to cover a wide range of the moods and emotions that Water suggests. Indeed, Liebman succeeds in coaxing a wide variety of styles out of the H2O motif, from the perhaps unintended new age-like quality of "Reflecting Pool" to the Ornette Coleman-like linear workout of "Ebb and Flow" -- and the opening theme returns at the close to give the album a cyclical spin. Though the material is somewhat uneven in inspiration at times, it does show off the Liebman soprano sax in often optimum form, and he also plays resonantly-recorded tenor and a pitch-bending Indian wood flute. Liebman obtains expert help from Pat Metheny, who is eminently equipped to handle the Ornette manner on guitar synthesizer as well as playing straight bop licks on electric guitar on "Storm Surge." Liebman also brings back his great flexible rhythm section from the Seasons album -- bassist Cecil McBee and drummer Billy Hart -- who know how to mix it up. The last track is an interview with Liebman by Arkadia label chief Bob Karcy that functions as little more than an electronic press kit.
- AllMusic.com

"White Caps" / From "The Elements: Water"

CHILD AT PLAY: Inspired one day when picking up my daughter after school as spring was just breaking; watching the kids running around in the sun, hair in the wind without a care in the world; this melody is one of my favorites as is the sentiment. Recorded on "Hunters and Gatherers" with Jukkis Votilla, (Double Time, 1997) and "In a Mellow Tone," (Zoho, 2001) with the Dave Liebman Group (Jamey Haddad, Vic Juris, Tony Marino)


"Child at Play" / From "In a Mellow Tone"

Dedicated to a great friend, Ernst Bucher from Switzerland, this tune suggest some slight chromatic harmony in a few places (Slash chords, add-ons, etc). The recording is with pianist Phil Markowitz and is part of the accompanying CD that goes with my text book "A Chromatic Approach to Jazz Melody and Harmony" (Advance Music) used for the Master's degree course at the Manhattan School of Music.

"Brother Ernesto" / From CD and text book  "A Chromatic Approach to Jazz Melody and Harmony"

Dave Liebman has developed through time to become one of the top soprano saxophonists in jazz. A highly individual and explorative (yet versatile) improviser who can stretch from bop to free, Liebman studied early on with Lennie Tristano and Charles Lloyd. He gained important experience playing with Ten Wheel Drive (1970), Elvin Jones (1971-1973), and Miles Davis' fusion group (1973-1974). Liebman formed Lookout Farm in 1974, the first of several groups (including Quest in the 1980s) that teamed his reeds with pianist Richie Beirach. By the late '80s, he had largely dropped the tenor to concentrate on soprano and occasionally flute, although he made a rare recording on tenor for Double-Time in 1995. Dave Liebman, who is very active in jazz education and has written several books, has recorded for a countless number of labels through the years as a leader, including PM, ECM, Horizon, Timeless, Palo Alto, Impulse, Soul Note, Heads Up, Storyville, Owl, CMP, Red, and Candid.

Dave Liebman

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