Intervals - David Liebman's Newsletter

INTERVALS - MAY/JUNE 2008

2008-04-29T19:23:00.000-07:00

IAJE DEMISE: Everyone is talking about the end of the IAJE with a lot of finger pointing, recriminations, etc. My first meeting was in 1977 in Philadelphia, dedicated to Trane. I played with Hilton Ruiz in the lobby of a hotel for 200 people and that was it-no booths, no lectures, etc. I have been to almost every meeting since and performed or lectured at many. The one immediate problem of the bankruptcy is of course the payment of dues for members like my wife (Caris Music Services) resulting in being left out to dry. It “appears” that there was prior knowledge about the financial problems. Soliciting contributions to offset financial problems is one things but taking dues under the premise of benefits with knowledge that the chances of getting those advantages is small does seem a bit fraudulent. Everyone loses because no matter what people may say about the way it was run, the people who ran it, and the “bigger is better” philosophy that drove the conventions, the truth is that it is a great loss. I will miss the hang and the chance to see everyone in one place and for young students or older music lovers, it was like Mecca to see all those names in one place. No matter how one feels, this is a bad happening for the jazz community. My organization, the IASJ, still going in its 20th year remains healthy because it is based on select student to student interaction and no outside commercial dealings.

LIEB GROUP IN ARGENTINA: We had a wonderful few days in Uruguay and Argentina with the group. (Best meat I ever had by the way!!) By chance I got to meet the tango-bandoneon master, Dino Saluzzi and actually played with him and his band (all immediate family). A very compelling and lyrical music that goes a beyond the ordinary featuring 11-V harmony but with a twist and most of all a fantastic feel.

With Dino Saluzzi

OF INTEREST!!- (I always thought jazz folks have something wired differently!!)
Scanning the brains of jazz musicians
Posted by David Pescovitz, March 7, 2008
According to new research, jazz musicians unconsciously switch off regions of the brain involved in self-censorship and firing up the area linked to self-expression. The scientists from Johns Hopkins University and the National Institute on Deafness and Other Communications Disorders used fMRI to scan the brains of jazz musicians as they played a specially-designed piano keyboard. From a press release:
The scientists found that a region of the brain known as the dorsolateral prefrontal cortex, a broad portion of the front of the brain that extends to the sides, showed a slowdown in activity during improvisation. This area has been linked to planned actions and self-censoring, such as carefully deciding what words you might say at a job interview. Shutting down this area could lead to lowered inhibitions, Limb suggests. The researchers also saw increased activity in the medial prefrontal cortex, which sits in the center of the brain’s frontal lobe. This area has been linked with self-expression and activities that convey individuality, such as telling a story about yourself. “Jazz is often described as being an extremely individualistic art form. You can figure out which jazz musician is playing because one person’s improvisation sounds only like him or her,” says (professor Charles) Limb. “What we think is happening is when you’re telling your own musical story, you’re shutting down impulses that might impede the flow of novel ideas.”

ON ELVIN: A friend is putting together a book of remembrances based on a chosen photo of a great musician. This is mine on Elvin:
Like most people and certainly performing artists, Elvin had several sides to his personality. There was of course the Elvin on the well photographed Elvin playing the drums, a study in relaxed intensity conveying looseness beyond description- cigarette dangling, an almost scowlish expression and sweat rolling down his entire being. Then there is the Elvin we see here-face as dark as the night with teeth like the sun in contrast, eyes bright and alive and most of all, that smile. This is the Elvin that was my second father who inspired me to not only excel in music but to do whatever is necessary to contribute to the world this special energy that we are privileged to know about through jazz music. Elvin had been around the block so to say, had seen everything more than once and done it all. He brought that experience to everyone together with an incredible understanding of the human condition and what it meant to be alive. His generosity of spirit is renown to those who were around him, be it a fellow performer or a listener in the audience. Elvin used to say that Coltrane was a living "saint." Well, Elvin was right there with him.

YOU TUBE POSTINGS OF INTEREST:
IN TORONTO: This is a burning version of “Footprints” with the Canadian guys I play with on occasion-saxophonist Mike Murley, bassist Jim Vivian and a great drummer, Ian Froman. This is at a club called the Rex during the last IAJE Convention in Toronto.
http://communities.canada.com/ottawacitizen/blogs/thrivingonariff/archive/2008/04/23/the-liebman-murley-connection.aspx

THE BEATLES REHEARSING: This is great watching the four lads put together one of their classics (Get Back)-very natural, very slow and charming-talk about step by step!!
http://fr.youtube.com/watch?v=k-61AgGvWSA&feature=email

BEN WEBSTER:This is a very special performance of “Old Folks,” first of all seeing Ben with Teddy Wilson-what an incredible history. It seems that Ben had just learned of the passing of his Ellington comrade, Johnny Hodges. When Ben begins his solo, there is a moment when tears roll down the face of one of the legendary toughest characters in jazz. The camaraderie in this music is for me one of its most meaningful characteristics. The warmth and respect between musicians is for real.
http://youtube.com/watch?v=rQVVLAO-9LU

RECOMMENDED
RHYTHM MAESTRO:Conor Guilfoyle is a drummer whom I have played with on many occasions in Ireland and around Europe as well as Australia in a group with his brother, bassist Ronan Guilfoyle. Along with guitarist Mike Nielsen, these gentlemen have done an incredible amount of research into rhythm –metric modulation, odd meters, etc. Ronan’s book on the subject is a classic. Conor has delved into odd meter playing in Latin based music and also written an exhaustive book on the subject. Check out the site and the mini lessons there:
http://www.conorguilfoyle.com/press.html

BOOK-THE HUMAN RACE-Robert Antelm:There have been countless books written on the Holocaust, but this one translated from the French is a blow by blow description of what was happening on the absolute human level. It is a heavy read, but the feeling I got was positive because it shows the will to survive is stronger than the depravity man is capable of.
Page 175-“We are no longer hounded by the cold. We no longer tremble, we are able to talk outside without out teeth chattering, we are able to form our words, even take the time to pause between sentences, our speech is no longer hurried, we can bear to be outside and just stay there. We can straighten up, square our shoulders, take deep breaths, we cease to huddle in our arms, and we look at the sky and relax when we walk, We no longer have to hold it for a day or two before going outside to the latrine, We can go out, pull down our pants without shaking and linger in the warm breeze that wafts over our skin.”

BOOK-THE REST IS NOISE by Alex Ross:I am only half way through this highly recommended book about the 20th century classical scene-something very related to what we do. Ross describes blow by blow the absolute revolution that Schoenberg and others created. After all, they were turning the tide on centuries of understandings. Brave is an understatement!!
Here is a wonderful story from the book:
“Jazz musicians sat up in their seat when Stravinsky’s music started playing: he was speaking something close to their language. When Bird came to Paris in 1949 he marked the occasion by incorporating the first notes of Rite of Spring into his solo on “Salt Peanuts.” Two years later, playing Birdland in New York, the bebop master spotted Stravinsky at one of the tables and immediately quoted a motif from “Firebird” into “Koko” causing the composer to spill his scotch in ecstasy.”(pg 92)

PASSINGS
DENNIS IRWIN: A brother beyond brother, Dennis was the consummate side man for several generations of NY musicians. A great player who understood his role in the band, an incredible all around musicians and one of the most soulful cats you could know. Thankfully, he went down relatively quickly and did not suffer for long. He will be sorely missed by the community.

JIMMY GIUFFRE: What a great musician, a true innovator and artist who contributed so much to jazz. He made me actually like the clarinet in this music!!

COMING EVENTS
MAY:Concerts in Rome and Milan with pianist Enrico Intra ; Bologna concert with drummerTony Arco, pianist Roberto Tarenzi and bassist Paolo Benedettini; duo concerts with Jean Marie Machado in Diersbach and Berlin, Germany ; Duc du Lombard in Paris and Vierson-France; LeMans Festival with World View Trio of Wolfgang Reisinger on drums andJean Paul Celea on bass with special guest John Abercrombie; Concerts with Nordbatten Big Band conducted by Tim Hagans in Lulea, Haparanda and Stockholm-Sweden; with Kevin Mahogany and Markowitz(piano) doing a Tribute to Coltrane and Hartmann at the Central Friends of Jazz Festival-Harrisburg, PA.

JUNE:Dave Liebman Group at the Telluride Festival, Colorado; Rochester Festival, NY ; Edmonton Festival, Canada; Saxophone Summit (Ravi Coltrane, Joe Lovano, Phil Markowitz, Cecil McBee, Billy Hart) performances at Birdland-New York City; Regatta Bar-Boston; Montreal and Saratoga Festivals.

RECENT APPEARANCES:

With the Zagreb(Croatia) Big Band

With the Dave Liebman Group in Ottawa, Canada-Cafe Paridiso
With Dominique Muzeau and band in Paris (notice the head "count")

INTERVALS - MARCH/APRIL 2008

2008-03-03T15:32:00.000-08:00

FEATURE

WEILL AND KERN-AMERCAN SONG BOOK: It happens to be I am doing two projects in the next few months that are closely allied: the music of Kurt Weill and Jerome Kern. In doing my research for the tunes and re-arrangements (altering harmony, meter, etc.) it brings me back to the standard Tin Pan Alley song form as an entity of its own. In reading Weill’s biography, he was a product of the German school, influenced by Schoenberg and others of that ilk from the early part of the 20th century. His work with Brecht brought him great fame (Three Penny Opera) but he, like so many from his generation (Bartok, Stravinsky, Schoenberg) escaped from the Nazis to America. Weill was content with doing Broadway and Hollywood and had a very successful career. His writing does generally reflect more sophistication than the norm of the day possibly because of the European classical aesthetic. The tune “Liebeslied” from “Three Penny” is a gem as is “This Is New” and of course "Speak Low."

Jazz guys all know Kern because of “All the Things You Are” (all twelve key centers covered by the way) and so many others. Note that Kern used the first two bars of the Giant Steps progression, in the same key no less during the verse of a really simple tune “As The Clouds Go By” in 1917, further reinforcing the dictum that nothing is new under the sun (courtesy of writer Carl Woideck). But Kern also wrote a lot of insipid tunes. That was to be expected when writers had to come up with dozens of songs for shows and film. In any case, it’s gratifying to be centered on this material which has provided so much of the repertoire for jazz musicians over the years. There really was a kind of symbiosis between writers and musicians/vocalists especially that basically ceased to exist after the 50’s when the power of the record companies grew along with the decline of radio’s influence.

RECENT HAPPENINGS

TORONTO HIT WITH OLD STUDENTS: Some of my best times were in the 80’s at the Banff Institute in western Canada teaching really first class guys. Since then I have kept up my relationship with bassist Jim Vivian and saxophonist Mike Murley, who along with the great drummer Ian Froman joined me for a hit during the IAJE Convention in Toronto at the Rex. Loose two horn, bass and drum format-nothing like that.

UNITED KINGDOM TOUR: I don’t go often to England but every time I do, it is really interesting. There are a lot of great musicians there and jazz schools are happening. The country is full of paradoxes both past and present. Some things there are great, some (like the trains) not happening. But for sure, the people are unfailingly polite as they are reputed to be and I love to hear that accent.

I was invited to play with guitarist Phil Robson, a young bassist, Aidan O'Donnell and my old compatriot, drummer Jeff Williams who spends a lot of his time in London. It was great to be back with Jeff who was in my first group as a leader “Lookout Farm.” He always had a loose thing about his playing and very strong. Phil is a wonderful guitarist and composer, definitely a unique player. We had a ball and hopefully I will be able to play with Phil again.

Besides several workshops at universities, I did one for teenagers at the venerable Royal Academy of Music as part of the Saturday “Day School” program which is a great English longstanding tradition. Music schools all over the country open their doors to students for all the arts and of course professional musicians, dancers, etc., are able to earn some extra money while spreading the word. This is a very positive aspect of English cultural life which shows their respect for culture while insuring that young people are exposed at a reasonable cost.

MEETING WITH THE FREE MASTER:EVAN PARKER:As part of my week in London I had a one night performance at the main local club, the Vortex with free jazz maestro Evan Parker and an old friend, living in London for years, drummer Tony Bianco. This was a much anticipated event since Evan is probably one of the most well known exponents of free jazz on tenor and soprano and from the same generation as me. He is also a Coltrane expert which gives us even more in common. We played two completely spontaneous sets, comprised of mostly burning music. Tony plays a constant stream of toms and drums with selective use of cymbals. Once I warmed to the subject at hand, it brought back incredible flashes from the free jazz loft era where along with Bob Moses, Randy and Mike Brecker, Steve Grossman and others, we cut our teeth in the late 60s and early 70s. I realized that free jazz (at least the energy type-post Coltrane/Ascension style) has unspoken “rules”-in some ways even stricter than straight ahead jazz. For example, some of the no-no’s are major melodies, a harmonic progression that is outlined, 4/4 time and not much space. For the sake of argument I am obviously generalizing and not judging the style because I’m sure with time and practice, all these aspects would eventually appear in one form or another to achieve the required balance. But given a one shot, immediate type of performance, there are assumptions just like if we were playing “All the Things You Are.” Evan is great-he has circular breathing down (which I cannot do at all) ; he is a gentleman and knows how to work with another horn evidencing his vast experience in this setting. The audience had a rare treat.

UNIVERSITY MUSICAL LIFE: I did a few days each at the University of Virginia (with old friend from the loft days, trumpeter John Dearth) and the University of Miami, where I actually did my first college clinics in 1978. The students in Virginia are not jazz majors as compared to Miami which has one of the longest standing and most famous jazz departments around. But the Virginia kids made up for some lack of expertise with enthusiasm taking on some of my harder charts to play, while of course Miami was fantastic. My working group drummer Marko Marcinko is an alumni of Miami and we had a great gig at a club called Alligator Alley with another old student/ friend who is the sax teacher there, Gary Keller. Somehow the show continues on in higher education!!

LESSONS FROM MILES-PORGY AND BESS: As part of Manhattan School of Music’s 90th anniversary I was featured with the orchestra doing the Miles-Gil Evans collaborations “Miles Ahead” and “Porgy and Bess” at Zankel Hall in New York, which is the smaller Carnegie Hall attached performance place. A few days later, we recorded Porgy and once again the Miles Davis lessons go on. So much of Porgy is slow tempos and blues-tinged that I found myself being very specific as to what nuance I should use, be it a slide, lip slur, vibrato (especially monitoring this common saxophone expressive device). And most important of all, to lay behind the time and relax. Such beautiful music which I absolutely love to perform.

PLAYING FOR A SILENT MOVIE: It’s not usual that I do something I have never done before. I was invited by bassist extraordinaire from Torino, Italy, Furio DiCastri as part of a quartet along with Stefano Maccagno on piano and Fabrizio Sferra on drums to play the music for a Cecil B. DeMille silent film,” The Whispering Chorus” from 1918. It appears that the movie has some distinctive aspects for the period, being one of the first to use effects(ghost appearing) and also as a drama of sorts. Of course, the acting and story line are very stylized but using some standard tunes (a Disney song and “In the Wee Small Hours”) along with original tunes by the pianist and Furio, we had a nice program. I must say it was fun to watch and improvise along with the film. It appears that this theater does these things often with bands of all sorts of styles and the people were really into it. In fact the pianist does this type of thing all over the world.

HERBIE’S GRAMMY: Since “Watermelon Man” in the early 60s, “Chameleon” in the 70s and the “Rocket” video in the 80s, Herbie has been going for this. In that respect, it was well deserved of course and even more so celebrating the music of Joni Mitchell. A funny comment I read from country music nominee Vince Gill when someone said the Grammy’s are out of synch with the public evidenced by giving the award to Herbie over rap man Kanye West. Gill pointed out the obvious-that Herbie was a better musician than everyone put together backstage after the show!! True for sure-it only took fifty years for them to give it up.

PASSINGS

TEO MACERO:Teo was the real deal-a saxophonist, an arranger and composer with a sense of adventure, a producer and most of all a man totally into the music. He was obsessed with music (in a positive way) and in my opinion, Miles Davis would not have the reputation he has if it wasn't for what Teo did for his recordings. He was a totally honest man, a rarity in the business.

RECOMMENDED

LIEB MASTER CLASS: Conducted at Roberto’s Woodwinds in New York last year and featuring one tune with my quartet, this was a nice couple of hours answering questions from a very public audience. Available at: http://www.robertoswinds.com/store/p.asp?c=259

MILES IN MONTREUX: This clip which I only saw parts of before is a complete version of “Ife” (which I recorded on “Back on the Corner”) and really shows Miles in process. The best part is how long he draws out his very lyrical beginning solo on Part 1-that was the section I waited for every nite:
http://heliocentricworlds.blogspot.com/2008/02/miles-davis-at-montreux-1973-parts-1-3.html

TWO LIEB INTERVIEWS: In All About Jazz from Feb 25, there is a very interesting and involved interview with pianist Jim Ridl, psychologist Vic Schermer and myself about the artistic process. Vic, being a practicing psychologist asked some different kind of questions which might interest you. You can find it on their site.:
(all addresses on blog have to be typed in to your browser)
http://www.allaboutjazz.com/php/article.php?id=28416

On WKCR (New York’s only real jazz station from Columbia University) I did the Musician’s Show where you are asked to play the music that influenced me from the beginning. I had a very intense three hours which of course is a lot to listen to but if you are interested you can put this into your browser:
http://download.yousendit.com/6DE8CCA879E554DC

COSBY ON SITTING IN WITH STITT: This U tube is classic. Bill completely acts out the second by second fear and apprehension that he felt sitting in with Sonny Stitt when he was playing drums in Philly:
http://uk.youtube.com/watch?v=QPgcQydWWeE

BLUES RECORDER: Some people have heard a recording that I have of a recorded student playing a blues with Mickey Roker from the 70s. But this one is even more impressive-a recorded guy playing Coltrane’s “Blue Trane” solo:
http://www.youtube.com/watch?v=zz7LvCS1oXM

ITINERARY
March:Lecture for Chamber Music America-New York City; tour of Argentina and Uruguay with Dave Liebman Group; Deer Head Inn with Mike Stephens, Tony Marino and Bobby Avey; Paris concerts with bassist Dominique Muzeau and group; gigs, teaching and recording (Kurt Weill project) in Holland with drummer Eric Ineke.

April:Tour with big band of Zagreb, Croatia; workshop at Moravian University, Bethlehem, PA; clinics in Quakertown, PA and Trees Island High School, Long Island, NY; lecture at Town Hall, NY; Dave Liebman Group at the Jazz Base in Reading, PA; Kitano Hotel, NYC; Turning Point, Piermont, NY; Paradiso Cafe, Ottawa, Canada; the Upstairs Jazz Bar, Montreal, Canada, One Longfellow Square in Portland, Maine; lecture on Miles and Trane with Dave Liebman Group at New England Conservatory, Boston.

Love this photo of two kids of the great Paris sax repair man, Herve Martin.

INTERVALS-JAN-FEB 2008

2007-12-30T10:22:00.000-08:00

INTERVALS-JAN-FEB 2008

IT’S ALL ABOUT MELODY
I was interviewed by author Andy Hamilton for his new book on Lee Konitz which I just read cover to cover-a fantastic document. First of all the format is very interesting. It consists of an over two hundred page interview of Lee covering different stages of his career with comments by other musicians interspersed. Konitz is known in the biz as a very honest, outspoken and verbal person with an ability to cut to the chase when he comments on almost any subject. He is merciless in his opinions (being eighty gives you that right I suppose), highly judgmental (on himself as well), yet very clear and able to back up his comments with plausible explanations. I have always felt that musicians are the best sources for review and comment on others in the field, as long as they keep it objective, include comprehensible musical evaluations with of course nothing personal. Lee does just that. For example he admired Stan Getz except when he “pushed” his sound in the upper register, an observation I absolutely agree with. He is equally critical about himself, mentioning among other things perpetual intonation problems as well as a dislike of playing very fast tempos for example. But the major component of Lee’s aesthetic is his absolute allegiance and emphasis on melody making as the essence of improvisation, a view which over the years, I as well increasingly subscribe to.

My generation especially was entranced by harmony. I guess with my book on the subject, I am a prime target for what I am about to say. It was in essence “Giant Steps” which launched many of my peers on that path (or in some cases, a completely reactive “free” of harmonic content style). I was and still am entranced by the richness of color and its subsequent emotional power that I hear and feel from deep harmony as played to such a high level in the mid 60’s by specifically Hancock, Tyner and Corea. The same could be said about at a great deal of 20th century classical repertoire with Bartok, Scriabin, Shostakovich, etc., leading the way. My long relationship with pianist Richie Beirach has been predicated to a large part on harmony, which entices the intellect by challenging one to understand and use it. Naturally, it is also a bottomless pit of discovery with unending combinations. Therefore the trap!!

In jazz specifically, rhythm is still king. Without some aspect of swing, the core of the tradition is not present. What constitutes “swing” is a separate discussion, but suffice to say there are numerous ways that in my opinion music can so call “swing.” But ultimately, the supremacy of melody has to be acknowledged. As a consequence of its being universal, timeless (beyond style and even culture), with the ability to cut to the core of a listener’s visceral reaction to the experience of hearing music as a whole, one must deal with it. As I understand better now, when I hear someone like Chet Baker or Lee play to name two examples, inventing a SPONTANEOUS melody, set in a “swinging” feel as we are expected to do in jazz improvisation, I am duly impressed. In the final analysis harmony shades and supports melody, hopefully enhancing its intrinsic beauty and depth. Of course, as I discuss in my class at Manhattan School of Music on the subject, one’s personal judgment as to what constitutes a “good” or a “lyrical” melody are quite subjective. This perception is affected by one’s listening experience and in this case, culture, etc., hence an area of discussion always open to analysis and discourse. One way of the other, creating a good melody stands as a crowning achievement, be it written or improvised.

I highly recommend that you read Andy Hamilton’s “Lee Konitz: Conversations on the Improviser’s Art” (Univ.of Michigan Press). It will inform you about a great artist who has stayed true to his course flowing from the very beginning against the tide; is acutely aware of who he is and what surrounds him; has earned his place in the historical continuum of jazz and most of all is unfailingly honest. (I hope that someday, an interested party would produce a similar format with me like Andy did Lee for this book!!)

PASSINGS

KARLHEINZ STOCKHAUSEN: Inadvertently when discussing the history of classical music, I and probably others will often state as a sort of overall generalizing statement something to the effect of “from Bach to Stockhausen” meaning the beginning and the end. In the past months by coincidence, Stockhausen received a lot of media attention as a supposed listening influence on the direction Miles Davis took in the 70’s during my time with him as we hear on the recent “Complete On the Corner” sessions box set release (see past Intervals on the subject). As an aside, to be honest I never directly witnessed or discussed that aspect with Miles. However, in any case the German composer had a tremendous influence on several generations of classical and jazz players. His “Gruppen” and “Licht” cycle to name two works certainly turned me around when I heard them. In a way, Stockhausen along with Cage, Boulez and several others were responsible for the unofficial announcement that the element of “color” had arrived, meaning that a texture, sound, color, whatever one might call it, could stand on its own merit as a valid musical gesture, not necessarily co-dependent with harmony, rhythm or melody per se. This is a mid 20th century innovation for sure and jazz has definitely taken that aspect to the limits as have many contemporary composers in the classical field. Stockhausen represented a different way to think about music.

RECENT HAPPENINGS

QUARTET WITH DANIEL HUMAIR. BOBO STENSONS, JEAN PAUL CELEA: I had two great gigs with a real “all star” quartet. Two of the icons of European jazz are drummer Daniel Humair and pianist Bobo Stenson. Their roots go back to Bud Powell and countless American jazz players who used to barnstorm across Europe with pickup rhythm sections. But most of all, these are artists who have found a unique way to play that comes out of the tradition, yet reflects their surroundings and influences. Free jazz is natural to them, but they also can play “inside” when called upon. Playing with this caliber of musicians incorporating such different influences from my own always brings out another aspect of my playing which I really enjoy. Hopefully there will be more work with this group in the future.

QUEST TOUR: Reuniting for the second time after our fifteen year hiatus (2005 was the first tour with a live recording “Redemption” on Hatology), it always feels good to go back home for me, so to say. Playing with Richie Beirach, Ron McClure and Billy Hart is like visiting one’s family. We have a way of communicating that is only possible with the four of us-a certain understanding and common experience which is palpable. We had the opportunity to record at the NDR in Hamburg, Germany (the state sponsored radio/TV network) under what could only be described as stellar conditions: separate engineers for lights, monitors, PA sound, recording and piano tuner on call (even in between tunes during the concert!!). On hand were our old friends from the former German jazz and world music label CMP for whom we recorded and I have done several of my solo projects, producer Kurt Renker and engineer Walter Quintus. The conditions were fantastic, recording for a live audience over two nights and one afternoon. Hopefully we will find a label for the music. In my experience, Germany still stands as the place where the most respect for art is realized in many different ways. When they do it right, it is the best situation for creativity.

RECOMMENDED

SAX MASTER CLASS:My 21st Saxophone Master Class will be held from Tuesday, July 29th through August 3rd at East Stroudsburg University in East Stroudsburg, Pennsylvania. Interested students must send me a tape of their playing and should go to that area of my web site for details.

TEO MACERO: A documentary is being made about producer Teo Macero who of course is best known for his work with Miles, but also with Monk, Brubeck, even Johnny Mathis and more. In fact 3000 albums produced!! I have had a lot of sessions with Teo and he is a great guy who really is into the music. This is a short clip, I assume as a preview for the upcoming film:
http://video.google.com/videoplay?docid=6072745037788321470&pr=goog-sl

CHET BAKER SITE: Great clips and recordings of a master:http://chetbakerfoundation.org/

ANOTHER CHILD PHENOM:Amazingly we get blasé about the amazing talent we discover around the world these days. But go to this video to see the latest ten year old from Israel playing Giant Steps, his own way: http://www.slide.com/r/hEIoBvLpwj8i6TMevbJ9l9ge22mGGsjy
Web site: http://www.arielpiano.com/

ITINERARY

JANUARY:IAJE Convention in Toronto –appearance with Mike Murley, Ian Froman and Jim Vivian at the Rex;England tour with giuitarist Phil Robson and drummer Jeff Williams;concert with drummer Tony Bianco and Evan Parker in London
FEBRUARY:Quest at Birdland, NYC;Cocnert in Torino, Italy with bassist Furio DiCastra and drummer Roberto Gatto; with Manahattan School of Music Jazz Orchestra performing Porgy and Bess and Miles Ahead at Zankel Hall,NYC; workshops and performances at University of Virginia, Charlottsville and University of Miami, Florida

Peace and the best for the New Year to you all; above a picture of a Palestinian and Israeli kid-my hope for the new year!!

Lieb

INTERVALS-NOVEMBER/DECEMBER 07

2007-11-11T20:02:00.000-08:00

MILES AND GIL’S TRYPTYCH: LESSONS ABOUND

With the performance at the Jazz Improv Convention in New York a few weeks ago of the music from “Porgy and Bess” conducted by Justin DiCiocchio and the Manhattan School of Music Jazz Orchestra, I have finally completed the Miles Davis-Gil Evans trilogy of the late 50s. Finally, I have a vantage point concerning the challenges presented by this body of music.

The first of the trilogy “Miles Ahead” is really the most jazz oriented music with true ballads and chord changes in a variety of moods and tempos, not necessarily related to each other except for the signature orchestrations by Gil throughout. Once you move on to “Porgy and Bess” with its familiar tunes, more often than not set in a blues flavor, you can feel the necessity of having some kind of “attitude” towards the music in order to interpret it convincingly. In some ways I could take more freedom with “Porgy” than “Miles Ahead,” but it is incumbent to keep the blues flavor throughout. As an aside, most of the songs are really slow-I mean REALLY slow, a challenge unto itself. Finally, with “Sketches of Spain,” which is by nature more dramatic open (modal and pedal point to a large extent), it really becomes a tour de force for the soloist. You have to step up to the plate with “Sketches of Spain.” Overall, there is an upward trajectory beginning with “Miles Ahead” through “Porgy” and “Sketches” which places more demands upon the soloist each step of the way. Technically, the three are all about equal, but emotionally it is understood that the performer must climb the emotional curve from piece to piece. By the time you are playing “Sketches” you are your emotions are highly exposed, meaning that in the long run your emotional palette has by necessity risen to the occasion. And Miles plays perfect-simple and to the point with a natural dramatic curve. It’s clear why Gil had such an effect on Miles, because playing this music absolutely raised Miles’ game to another level.

In the final analysis, what a pleasure to stand in front of a good band and hear the wonderful orchestrations of Gil’s. Pure magic!!

TWO TRIOS (GERMANY AND ITALY)-I had a nice ten day tour with two trios. The first was comprised of German pianist Juergen Friedrich, bassist John Hebert and drummer Tony Moreno (both from New York). Juergen is a true composer as are so many pianists naturally/ They just seem to have more control of the compositional process with elements of long form and a real sense of development. I think it comes with the territory. The Italian trio (Roberto Tarenzi, Tony Arco, Paolo Benedittini) with whom I have been playing for several years is a real burning rhythm section--jazz all the way. As a horn player soloing with a trio, I get the benefit of an entire rhythm section’s modus operandi and the fun involved in figuring out how and what to play in order to maximize the potential.

NEW RECORDINGS:BLUES ALL WAYS: The newest recording of the Dave Liebman Group (Vic Juris, Tony Marino, Marko Marcinko) has its roots in my long time desire to record a blues record a la “Coltrane Plays the Blues” which is a classic from the early Trane period. My relationship to the blues tradition is obviously not something that I am known for but outside of the fact that most of us start with the basic blues scale as improvisers, there is the challenge of using such a known quantity to express one’s own compositional and improvisational ideas. For example, the opening tune written for my first musical influence is called “Elvis the Pelvis” and reflects what it is known as a “rubber” blues, meaning the traditional blues chords arrive in the improvising form when the improvisational (or traditionally the vocal) line dictates rather than having to stick to the strict twelve bar form. Vic Juris’ “Compared to Who” harkens back to Eddie Harris and Les McCann’s famous “Compared to What” sustaining a blues feel in odd meter while the closer, Vic’s “Night Tripper” does the same in shifting meters. Of course there are some traditional blues forms on the recordings, a ten bar blues with a Giant Steps bridge (“Down Time”), a three part blues in different harmonic colors (“Riz’s Blues”) and Tranes head for Bessie Smith, “Bessie’s Blues.” The title (“Blues All Ways”) is a play on words meaning blues are forever and in all manifestations. The masters had to have a slant on the blues as well as on ballads and rhythm changes; it was de rigueur at that time. Because of the universality of the blues, even I must admit that ”Blues All Ways” is one of the most user friendly recordings I have done with the group.

DREAM OF NITE: With the fine Italian trio mentioned above, we recorded several of our gigs on tour in 2005 throughout Italy. Incredibly we came out with over two CDs of material which was picked up by Universal in Italy, but more surprisingly is also released on Verve in the U.S. With a classic standard, Miles’ “Fran Dance” and some originals by all of us, this CD is as straight ahead jazz as I get.

SAX MASTER CLASS-My 21^st Saxophone Master Class will be held from Tuesday, July 29^th through August 3^rd at East Stroudsburg University in East Stroudsburg, Pennsylvania. Interested students must send me a tape of their playing after Jan 1 and should go to that area of my web site for details.

AWARD: At the Wanagratta Festival in Australia a few years ago I performed with the Dublin Project, but also did a midnight duo with New Zealand master pianist Mike Nock which was recorded and released in Australia, titled “Duologues.” We did a few standards and some originals with barely a rehearsal and after over 20 years since we played together. For 2007, the recording won the equivalent of the Australian Grammy award known as the Aria Fine Arts Award for Best Jazz recording of the Year.

DL GROUP ON THE WEST COAST-Touring with the group in a beautiful new club in San Diego (Anthology), the Jazz Bakery in LA and two schools in the Bay Area were as always interesting, mainly because of audience response. In some ways because of the intensity at which the DL Group plays, there is always a feeling of being a fish out of water in these kinds of places. After all, West Coast jazz was synonymous with laid back and relaxed music, even from the 1950s and we should recall that Bird was booed in LA. But on the other hand, the audience response is VERY enthusiastic and I sense a true hunger for real guys playing real jazz ( if you know what I mean). Although our culture has been dumbed down to such an extraordinary degree, there are many people who do appreciate when bands really put out and do the job the way it is supposed to be.

RECOMMENDED: Joni Mitchell has always been a favorite of jazz musicians, most obviously for her respect and interest in the music. There was a well publicized period when she was hanging with us peasants and I recall meeting her on several occasions. After a silence of several years, her latest recording titled “Shine” is very impressive. The music is vintage Joni with her doing a lot of work on synthesizers with some help from Bob Shepard on soprano and Brian Blade. The production is stellar, but what is most impressive as has always been true of Joni are the lyrics, which in this case are all concerned with the state of the planet and humanity in general. She is dead-on accurate, evocative and honest beyond the call of duty. The words themselves merit serious thought. Highly recommended.

ITINERARY:NOVEMBER/DECEMBER: Concerts in France with Bobo Stenson, Daniel Humair and Jean Paul Celea; Performance of music from West Side Story and Porgy and Bess with Manhattan School of Music Orchestra at Dizzy’s Club, New York; European tour with Quest (Richie Beirach, Ron McClure, Billy Hart).

INTERVALS - OCT 2007

2007-10-01T19:38:00.000-07:00

MY 6Oth YEAR

I must say that this anniversary year was something else. With trips to Australia (performing with McCoy Tyner and Mike Nock); fulfilling a life long dream by visiting the Sahara desert (Mauritania); and doing a bunch of recordings and new books along with several Coltrane tributes and workshops as it was also his anniversary year. On Sept. 23, we celebrated Trane’s 81^st birthday at New York’s Symphony Space with Sax Summit and the Manhattan School of Music big band playing Gunnar Mossblad’s arrangement of “Meditations” in the large setting as well as some other late Trane music. The addition of Ravi Coltrane to Sax Summit (along with Joe Lovano, Cecil McBee, Billy Hart and Phil Markowitz) feels and sounds wonderful. We will be recording a new CD for Telarc to be released in the spring followed by touring.

Following is a link to You Tube to see the group performing "Expression" from Symphony Space:

http://youtube.com/watch?v=r-wl-QXqRPU

RECOMMENDED:

JAZZ ICON SERIES: A new set of DVDs has come out with an incredible one of Trane featuring three performances, among them is the best live Trane on video from Belgium in 1965. Some people may have seen “Naima” and “My Favorite Things” before, but on this DVD, there is in addition a short duo between John and Elvin that is very much like the tune “Vigil” which appeared on record around this time. Also, the newly discovered performance with Stan Getz and Oscar Petersen is included. The Mingus DVD is absolutely incredible, with Eric Dolphy, Jackie Byard, Johnny Coles and Clifford Jordan on tenor. The tunes are incredible, the vibe very real and Eric is playing beyond description. What an unsung hero Eric Dolphy is!! After this last tour with Mingus, Eric died passed within a few months.

DARK MAGUS by Gregory Davis: Not quite a kiss and tell book, there is no question that Miles Davis’ son is a bit peeved about being cut out of the will (which he eventually rectified.) I remember when he was around the band during my time having just become a Muslim with a different name, etc. We never talked. But I must say that the way he describes Miles is VERY accurate in a lot of truly personal ways. It’s too much to get into here, but suffice to say, the book is not a bad read.

COMMENT-THE AMERICAN HIGH SCHOOL: Through the auspices of a local arts center out where I live in the Pocono Mountains of Pennsylvania, I gave a few clinics in neighboring high schools. I did an hour plus one day with my quartet performing a set the next day (very early in the morning!!). Of course, I have to assume and optimistically hope that there are always a few kids who sort of get it and seeing jazz right in front of them may have a real effect. But in general, my observation (and I am pretty confident that anyone who knows the situation will agree), being a high school teacher in the U.S. in our time has got to be one of the hardest jobs around. I don’t’ want to get into the rap like “Well, in my time, it was so and so….” After all, I went to Lafayette High School in Brooklyn with 6000 kids and a graduating class of 2500. Now with my daughter in tenth grade in the local high school in Stroudsburg, I am getting even more first hand looks at our education system. These kids are being controlled like they are in the army-God forbid a kid does anything out of the norm or thinks out of the box or acts in any way non conformist. Most of the guys I know now would probably have been shot if they went to school now. It’s tough out there for students and faculty alike…just another casualty of our “modern” society.

WARNING:I have been receiving this notice below from the “IRS” incessantly in the last weeks. Of course, when you click on it asks for your social and credit card. I called the IRS and as expected, they never e mail anyone, only by phone or letter. Be warned-do not fall for this:

“After the last annual calculations of your fiscal activity we have determined that
you are eligible to receive a tax refund of $249.30.
Please submit the tax refund request and allow us 3-6 days in order to
process it.
To access the form for your tax refund, please click here
Regards,
Internal Revenue Service

Note: For security reasons, we will record your ip-address, the date and time.
Deliberate wrong inputs are criminally pursued and indicated.
Copyright 2007, Internal Revenue Service U.S.A. All rights reserved.”

PASSINGS

Joe Zawinul: What a life this guy had and what an effect. A case could be made that Joe was the man responsible for the whole world music thing, pioneered with Weather Report and continued with his music of the last 20 years. As well, a case could be made that he is one of the founders of fusion-think “Mercy, Mercy, Mercy,” “Jive Samba” “In A Silent Way”, etc., not to mention the verifiable hit, “Birdland”. And finally, yet another case could be made that Joe was THE man who made the synthesizer a viable instrument for improvised music more than just a pop ornament. What a pioneer-what a presence-and by the way, what a unique and intense personality.

MISCELLANEOUS

RONAN GUILFOYLE:: Familiar readers know who Ronan is, the Irish bass player with whom I have played for twenty years and has written chamber pieces for me and others ranging from duos, to string quartets to orchestral settings. He is the author of a book on rhythm that is fast becoming a classic (title needed) covering the topics of metric modulation, subdivision and odd meter. He continues his research into rhythm and especially being able to teach this most elusive subject. Recommended is this article and in fact his whole site:

http://www.ronanguilfoyle.com/press-group-29.html
While you are at it, check the godfather of this stuff, Steve Coleman:

http://www.m-base.com/symmetrical_movement.html

And on you tube, myself with Ronan and the incredible Jim Black from the 55 Bar in New York a few years ago:

http://www.youtube.com/watch?v=GQQtXXHOOpA

RECENT HAPPENINGS

SONNY ROLLINS AT CARNEGIE HALL:Celebrating the 50th anniversary of a Carnegie Hall performance opposite Coltrane in 1957, Newk appeared with Christian McBride and Roy Haynes playing the same tunes he did at that concert: “Sonny Moon for Two,” “ Some Enchanted Evening” and “Mac the Knife.” The trio was great and Sonny at 77 was his usual communicative self both musically and personally to the sold out crowd. He still comes up with it as all the masters do, on the spot real time improvisation. In any case, with Roy Haynes (82 years young) what could be bad?

BEYOND THE CORNER AT BIRDLAND with Mike Stern, Anthony Jackson and my group (Vic Juris, Marko Marcinko, Tony Marino):.We had a ball playing the music from the recording (Shrapnel Records) which happens to coincide with the release of the “Complete On the Corner Sessions” by Miles which is definitely getting a lot of publicity. There is no question that playing in this style demands a different set of chops and conception, as it is musically dominated by open ended vamps and fairly steady, predictable beat patterns. It‘s easy and tempting to play clichés and stay on the same emotional plane, but if one really demands more of himself and the group, improvisational magic can be achieved as is the case in any style of jazz. And if a group has a chance to play the music for awhile, magic is bound to happen.

RECOMMENDED:

This is hilarious-the Spinal Tap version of jazz-British of course!

Jazz club

http://www.youtube.com/watch?v=TebUMhJAKSM

James Brown and Pavarotti-yes, it’s true and happening!!

http://youtube.com/watch?v=opME6ckBDkA

Gene Krupa's sticks and Benny Goodman's clarinet from the Carnegie Hall Concert-1938

FUTURE ITINERARY:

October:Tour of Germany with Juergen Friedrich Trio featuring John Hebert (bass) and Tony Moreno (drums); Italian tour with the Cues Trio featuring Roberto Tarenzi(piano), Paolo Benedettini(bass) and Tony Arco(drums); clinics and performance with the Manhattan School of Music Jazz Orchestra playing the Miles Davis-Gil Evans collaboration “Porgy and Bess” at the Jazz Improv Convention, New York City.\

DAVE LIEBMAN GROUP(VIc Juris, Tony Marino, Marko Marcinko):

Fall Tour 2007

Oct 21st 4pm (master class) 6pm (concert) The Deer Head Inn, Delaware Water Gap, PA
Oct.27th 8pm Chris's Jazz Café, 1421 Sansom St. Philadelphia, PA. (215)-568-3131
Oct. 28th The New Haven Lounge, Baltimore, MD. 1552 Havenwood Rd.
(410) 366-7416
WEST COAST LEG;
Oct 30th Anthropology Jazz- San Diego, CA.
Oct 31th through Nov 3rd 8pm & 9:30pm The Jazz Bakery, 3233 Helmes Blvd.,Culver City, CA www.thejazzbakery.com
Nov.4th 4:30pm concert The Jazz School 2087 Addison St. Berkeley, CA www.thejazzschool.com
Nov.5th 8pm Los Medanos College, Pittsburg, CA (925)-439-0200 for more info

Nov 8th 9pm Cachaca Jazz 35 west 8th St. Greenwich Village, NYC (212)-388-9099

INTERVALS - Sept 2007

2007-09-02T18:57:00.000-07:00

(Drummers gathered at Max Roach's funeral)

PASSINGS:TWO DRUMMERS WHO WILL BE MISSED

Steve Bagby: Not a household name by any means, Steve was THE drummer in Miami for decades. He influenced countless drummers attending the University of Miami as well as studying with him, in particular my present man, Marko Marcinko. Steve was a fantastic musician who played the music, well beyond the drums themselves. He could go all the way and was perfect in a variety of musical situations. A sweet guy also who knew the truth and reality of what we do in the world.

Max Roach:When I spoke to Adam Nussbaum about Max’s passing and commented that he may have been the most important drummer ever as far as setting a new way to play, Adam said that Max would’ve probably said the same about Jo Jones. Max was a pioneer in a lot of ways-drum ensembles, civil rights activism, first recipient of the MacArthur grant for jazz, played with everyone from Bird to Cecil Taylor and was an influential band leader. He referred to the drums as the “multiple percussion set” and played them in a very melodic fashion. If I recall correctly years ago in a poll by Downbeat conducted among musicians for their choice of most respected musicians, it was Duke and Max who came out on top. This was a major guy!!

FROM FRIENDS ABOUT TRANE’S PASSING:

SPECIAL DAY:COLTRANE’S PASSING-JULY 17 1967

It was forty years ago that I landed in Stockholm, Sweden and calling pianist Lars Werner whose number was given to me by bassist Cameron Brown. After the usual salutations Lars asked: ”Do you know that John Coltrane died today?” I immediately broke into tears while Lars urged me to quickly take the train to his home. I was at the right place at the right time in the 1960s being able to see Trane many times in New York. It was completely by accident but it has determined my life since. I would not be the same person without the music of John Coltrane. Whatever words I write cannot express my appreciation as I was definitely privileged to have been witness to greatness. His music is as close to a belief in a higher power as I have ever felt.Anyone who knows me, either personally or through the music over these decades realizes how important Coltrane was to my life, way beyond the music itself. When I think of the most influences that have molded me outside of direct family, it is Trane, number one. Through his music, I saw the power of sound and human creation, that there is something else besides what we materially see or hear in front of us. What underscores these thoughts is that over the four decades, the power of Trane’s music has just grown more and more, obviously in some ways as a result of the constant releases of “new” material, but more than that. Eventually, by hook or crook as I became a better musician over these years, my appreciation of the skills and depth of what Coltrane gave the world keeps increasing. This reality has strengthened my convictions about the power of art to raise the human condition. As well, when you have such a model in one’s mind and ear on a daily level, it puts everything else clearly in proportion, in the real world as well as musically. I am a lucky guy!!

THANK YOU JOHN AND CONTINUE TO REST IN PEACE.

(NOTE:July 17, besides being Trane’s passing day is also Lady Day’s!!)

Following are some edited comments concerning my last Intervals edition written for Trane’s passing on July 17:

Hey Dave, It says in the Bible “that a man of justice lives by faith alone. Trane was a man of Faith… that’s why (to me) his music was righteous .Thank you for sending this to me. I love Trane.
Peace Brother
T

AMEN......thanx for reminding---i remember where i was then(home in 10th grade high school)--- i had really just begun to understand him (as elvin first grabbed my constant attention)---i remember staring at a picture from one of the lps----very shortly thereafter i remember IMPULSE released EXPRESSIONS---since you had heard his live testimony it probably didn’t shock you as much but that stuff on expressions really blew me away as i heard how he was clearly creating something totally new right till the end---as i guess we all have to........
best---ss

YEAH Brother Dave, MY feelings as well...
TRANE was my MAIN MAN, never heard anything like that and don't expect I
ever will again. Like YOU, when I want to hear PERFECTION I go right to
CRESCENT
and just lay up and open my SOUL and let the MASTER fill it with LOVE.
And LORD ELVIN too. I remember when I first heard him on a Gretsch Drum Night
recording with the other Masters, Max, Blakey, Philly Joe I think it was.
Elvin really blew them all away cause his shit was so New and SO HIP. (That thing he did
with the bass drum, playing two sixteenths that tata tata thing coordinated with
the left hand whereas before almost everyone played a single note off beat. Elvin
moved the time into the hands playing On Top like melody line players do while at
the same time providing the most profound but free kind of bottom. OH MAN, he
won my heart IMMEDIATELY.)
Yeah Brother, Trane took US way Up past the MOUNTAINTOP into the realm of
Heaven itself and WE could never be the SAME again...
R

I remember Coltrane's nod to us, some forty odd years ago, one night outside the Half Note. For me a pleasant anecdote, for you the royal touch, a transformation. You are right about luck David, it's influence is huge, defamed though it is by the muscular nitwits running things who seem to consider will, which usually is little more than favorable precondition, the only acceptable explanation. But falling into things works quite well too. I guess I've moved from being an ignorant jew to an ignorant daoist.
Mike

Dear David

This remembrance is extremely significant as only true genius, greatness can and should be. If not for the importance of universal sustenance and our own humanity and awareness, deep spiritual insight and the desire to have peace in a world of hostility and fear, then to enjoy in what little time we have the pleasure and the healing of such great and noble artists such as Mr. Coltrane for years of greatness still yet to be discovered by those who where there, those who are there and those who are yet to come
Michael

Dave
I remember one festival in the late 70's backstage in Japan when you ripped into "Giant Steps" like nobody's business--never forgot that moment of your confirmation re Trane . . . I had my moment with Trane myself, when we came face-to-face in the Village Vanguard. He said to me "Thank you", kind of out of the blue . . . but quite appropriate, what with your saying "Thank you" to the Master today, on the anniversary of his passing. What goes around comes around.
Love and Peace,

Larry and Tracey Coryell

I do share your feelings, dear Mr. Liebman.
There is not that much to add.
His music speaks for himself.
Warm regards
Flavio

Hi Bro:
Thanks for these few lines on Coltrane
I exactly know what you mean and I just can tell that
Him and his music and this quartet are for me a source
of immense emotion and, in the bad moments of life, a
reason to go on, for all the reasons you said.
You think you are a lucky guy
I think I am a super lucky guy to know you and share
sometimes this mystery of music with you
Love
JP

“The Half Note is what changed my life as Elvin and John played 40 minutes more after McCoy and Jimmy dropped out on one chord. NOW THAT I LIKED!

COMMENT

A VIEW OF RELIGION: From an article in the NY Times Sunday Section about the idea of redemption and its history in the modern world, I found these sentences which I feel are very accurate as to my feelings towards this touchy subject.

The Politics of God by MARK LILLA: “The idea of redemption is among the most powerful forces shaping human existence in all those societies touched by the biblical tradition. It has inspired people to endure suffering, overcome suffering and inflict suffering on others. It has offered hope and inspiration in times of darkness; it has also added to the darkness by arousing unrealistic expectations and justifying those who spill blood to satisfy them. All the biblical religions cultivate the idea of redemption, and all fear its power to inflame minds and deafen them to the voice of reason. We encounter what those orthodox traditions always dreaded: the translation of religious notions of apocalypse and redemption into a justification of political messianism, now under frightening modern conditions.”

ON INGMAR BERGMAN by Stephen Holden (critic of the NY Times)-some prescient remarks I think:

“Today the religion of high art that dominated the 1950s and ’60s seems increasingly quaint and provincial. The longstanding belief that humans are born with singular psyches and souls is being superseded by an emerging new ideal: the human as technologically perfectible machine. The culture of the soul — of Freud and Marx and, yes, Bergman — has been overtaken by the culture of the body. Biotechnology leads the shaky way into the future, and pseudo-immortality, through cloning, is in sight. Who needs a soul if the self is technologically mutable? For that matter, who needs art?”

RECENT EVENTS

IASJ 17^th Annual Meeting: For our third time in the beautiful Tuscan city of Siena, we were hosted by the Siena Associazone which has been conducting workshops for thirty years turning out countless musicians, Italian as well as other nationalities as a result of their yearly workshop held each August. We had the most countries ever in this, our seventeenth year with a sizable representation from the States:Cincinnati Conservatory, Univ of Miami, Cal Arts, New School, Berklee, Univ of Michigan, Indiana University, the New Paltz campus of the NY State University as well as the Souza Lima School in Sao Paolo, Brazil, Riga, Latvia (hosts of next year’s meeting); Prague, Czech Republic and usual attendees from around the world. Once again the level of the students along with their ability to get along both musically and socially in the international ensembles continues to impress my colleagues and myself. The IASJ is alive and doing well in our 18^th year!!

Lydia and Caris in Rome: St.Peters(top) and the Palatine

WE THREE TOUR: With maestro Steve Swallow and Adam Nussbaum, we had a wonderful week of nice concerts in July. What a pleasure to consort with Citizen Swallow who plays perfectly every night and conjures up aural impressions of J.S. Bach in his solo excursions, tune after tune. And “Dome” has to be one of the most fun drummers to play with-his energy and feel are always right on.

20^th MASTER CLASS: It is hard to believe that I have been conducting master classes at East Stroudsburg University in Pennsylvania, very near to my home for twenty years and in the same room with my partner Pat Dorian taking care of the logistics. For the first fifteen years or so I kept the saxophone theme, but then alternated with the chromatic concepts I teach at the Manhattan School of Music. This year, for the special class I decided to do a whole week on Coltrane culminating in a multi-saxophone version of the “Meditations Suite” which I have performed many times during the five year anniversaries of Coltrane’s birth and passing. With ten former attendees, spending a week on Coltrane was incredible. The truth is that the well never runs dry-John was amazing beyond belief and in a way, you couldn’t have written a better script (outside of his early passing). Everything in his musical life seemed to go down in perfect order, something which he was definitely aware taking positive advantage. Like all great art, the material itself continues to reveal more and more as time passes, based on its quality, not on the myth (which with the passing of time, naturally increases in any artist’s case).We also played a night at the Deer Head Inn in small group formations with the rhythm section of Mike Stephans(drums), Evan Gregor(bass) and Phil Markowitz(piano).

SKETCHES OF SPAIN IN MARCIAC, FRANCE: With my good friend, Jean Charles Richard, conducting great students from the Toulouse Conservatory, I had a great time as I always do performing my favorite all time piece of music, Gil Evans’ “Sketches of Spain.” Each time I do it I hear more of Gil’s orchestration and arranging which as mentioned above in relation to Coltrane, also reveals more each time. It appears to be a dictum that the true worth of a work of art cannot be fully discovered until some time has passed.

IRELAND, ISRAEL, SARDINIA: I had a very active four days in Dublin, Ireland culminating in a performance of a piece written by bassist Ronan Guilfoyle called “Head, Hand, Heart” (an expression I use in teaching describing those aspects of being involved in an art form. It was scored for clarinet (John Ruocco), trombone (Nils Wogram), guitar (Irish guy) , drums (Tom Rainey who is really incredible) and of course Ronan on bass. At the Red Sea Festival in Eilat, Israel Saxophone Sumit with Joe Lovano and Ravi Coltrane played two concerts of an all Coltrane program ending with the “Meditations Suite.” Finally, a return after thirteen years to Nuoro, a small town in the middle of Sardinia with native trumpet master, Paulo Fresu and his group with whom I recorded and toured in the 80s. Italian students have a really fresh and lively spirit.

THE WONDERFUL WORLD OF LOST LUGGAGE: Maybe one of the greatest highs and lows in the world of travel is when at first your bag doesn't make it to your last stop and you start figuring out what to wear to the gig, how to wash up and what to buy if it goes on for more than a day. BUT, when magically you go to your room after the gig or sometime the next day and there it is, innocently standing in the middle of the room, it is like finding your lost child!! It happened to me twice in four days.

RECOMMENDED

Bret Primack presents Like Sonny - The Story of Sonny Rollins and John Coltrane
which can be seen here: http://youtube.com/watch?v=KckpQYnrozQ

SEPTEMBER SCHEDULE

Go to venue to get exact dates, fees if any and addresses.

September: Birdland, NYC with the Dave Liebman Group featuring guests Anthony Jackson and Mike Stern playing music from the “Beyond the Corner” (Shrapnel Records) recording; Saxophone Summit playing the music of John Coltrane including Meditations Suite with the Manhattan School of Music Concert Jazz Orchestra at Symphony Space, NYC featuring Joe Lovano, Ravi Coltrane, Phil Markowitz, Cecil McBee and Billy Hart; appearance at the COTA Festival, Delaware water Gap, PA –Dave Liebman and Neighbors with Mike Stephans(drums), Evan Gregor(bass), Matt Vashlishan (alto), Bobby Avey(piano), Lydia Liebman(vocals).

Peace
Lieb

Special Day - Coltrane Passing - July 17, 1967

2007-07-17T06:38:00.000-07:00

I was at the right place at the right time in the 1960s being able to see Trane many times in New York. It was completely by accident but it has determined my life since. I would not be the same person without the music of John Coltrane. Whatever words I write cannot express my appreciation as I was definitely privileged to have been witness to greatness. His music is as close to a belief in a higher power as I have ever felt.

Anyone who knows me, either personally or through the music over these decades realized how important Coltrane was to my life, way beyond the music itself. When I think of the most important influences that have molded me outside of direct family, it is Trane, number one. Through his music, I saw the power of sound and human creation, that there is something else besides what we materially see or hear in front of us. What underscores these thoughts is that over the four decades, the power of Trane’s music has just grown more and more, obviously in some ways as a result of the constant releases of “new” material, but more than that. Eventually, by hook or crook as I became a better musician over these years, my appreciation of the skills and depth of what Coltrane gave the world keeps increasing. This reality has strengthened my convictions about the power of art to raise the human condition. As well, when you have such a model in one’s mind and ear on a daily level, it puts everything else clearly in proportion, in the real world as well as musically. I am a lucky guy!!

THANK YOU JOHN AND CONTINUE TO REST IN PEACE.

INTERVALS:JULY-AUGUST 2007

2007-06-26T15:36:00.000-07:00

COMMENT

CELEBRATING FORTY YEARS IN EUROPE

Little did I know that after finishing my junior year in college in 1967 when my parents gave me $1000 cash and a book called “Europe on Five Dollars A Day” that I would be going there countless times since. It was truly an adventure with tenor in hand, landing in London, scared out of my 21 year old wits and making my way to a hotel in Piccadilly Circus, the only hotel that my parents had wisely booked on the tour. I had a few phone numbers and somehow ended up at the premier club in London, Ronnie Scotts for after hours big band rehearsal with all the younger musicians. It was there that I met John Surman and Dave Holland who immediately invited me to stay at their pad, which I did for the next three weeks. (This was a year before Holland joined Miles Davis.) Being a young New York saxophonist was a bit exotic at the time and I completely grooved with the guys. I worked my way across Scandinavia by boat and train, making my way to Stockholm and again calling a number that bassist Cameron Brown had given me. Once more, I was invited to pianist Lars Werner house and spent two weeks there with a great bunch of older musicians, even doing my first recording. By coincidence, I landed on the day Trane died which was dramatic to say the least.

As anyone familiar with my schedule is aware of, I go to Europe on a very steady basis and have been doing this for the past twenty plus years. As George Wein, the impressario of the Newport and JVC Festivals for decades told me once: “If it wasn’t for Europe there would be no jazz!” A bit dramatic but I would have to agree. As well the changes in the European scene has been incredible over these decades, from a period when copying the American style was the main thing to the wonderful individuality we have become accustomed to with the German record label, ECM, leading the way in the 1970’s. European artists have and continue to find many voices to express their own identity. I have been very fortunate to have made many relationships with musicians from all the countries and of course the very existence of The International Association of School of Jazz (IASJ) came about due to the wide spread emergence and influence of jazz education in Europe. I have to state that for me Europe has made me a better musician and artist-it is in general a place where culture is respected and admired.

WYNTON MARSALIS ON THE CASE

I have never had any direct contact with Marsalis but of course like anyone in the business have observed him for decades, being at times exasperated with some of his remarks, but admittedly also agreeing more than not with some of his points. Not withstanding some negative side affects that have resulted from Wynton’s utterances, I still have a lot of respect for HIS respect of jazz and the fact that he tirelessly serves as a great role model for young people everywhere, African Americans particularly with his educational activities. I came across an article that appeared in US Today earlier this year titled “Hot Corporations Know How to Swing.” In a question and answer format Wynton makes some great points about jazz, how a group resembles a finely tuned business and more. Some excerpts:

“When you listen to great jazz musicians, you hear the respect they have for each other’s abilities. During a performance most of the musician’s time is spent listening to others and making adjustment, improvising based on what someone else does.”

“…jazz music always stood as a fortress of integrity. The musician’s skills were so hard earned that they did not easily sell out. Once the musicians decided to be less—for notoriety, publicity or money—our art began to face challenges:dearth of leadership reducing human labor to a line item on a budget and so on.”

“In jazz, hierarchy is determined by your ability to play, not your position in the band. It is rooted in the elevation and enrichment of people. The reason that jazz is the most flexible art form on the planet is because it believes in the good taste of individuals…in the human power to create wonderful things….”

“Swing is …a world view.. a belief in the power of a collective ability to absorb mediocre and poor decisions. When a group of people working together trust that all are concerned for the common good, then they continue to be in sync no matter what happens. That is swing—it’s the feeling that our way is more important than my way.”

1965-THE YEAR OF THE SAXOPHONE AND END OF COMMON LANGUAGE

I recently came into possession of live recordings from London’s Ronnie Scott’s club (the same one mentioned above) with Sonny Rollins playing with a local rhythm section in 1965. (I think they are commercially available). This is some of the greatest saxophone playing I have ever heard, on standards, creative beyond belief with a command of the horn and rhythm that is over the top. It lead me to thinking that during the year 1965 (or around that year), so many great live recordings of important saxophonists and bands have come to the fore and exerted an incredible contemporary influence. There is of course Trane at the Half Note, the Miles Davis Plugged Nickel recordings, some of Wayne Shorter's very influential Blue Note recordings, Ornette Coleman at the Golden Circle and Miles’ “Four and More” which really put the rhythm section of Hancock, Carter and Williams on the map. I think a case could be made that the era of jazz having a common language (harmony, time signatures, repertoire, etc) was fast approaching its zenith with so many musicians having spent years playing steadily on a night to night basis. Shortly after the direction of the music would change irrevocably.

RECENT ACTIVITIES

MILES DAVIS:BEYOND THE CORNER BOXED SET

Sony Legacy records is releasing all the tracks that were recorded in the period 1970-75, including “On The Corner” “Get Up With It” and many unreleased studio recordings in a five CD boxed set this fall. As part of their promotion, they gathered bassist Michael Henderson (who traverses the entire period), guitarist Pete Cosey and me to speak about Miles. They somehow procured the garden in back of Miles’ former residence in Manhattan where we all spent some significant times in our lives. I have not seen these gentlemen since my last recording date with Miles (which was for the track “He Loved Him Madly” from “Get Up With I.”). It was really a special meeting talking about the music we played, how Miles brought together so many diverse elements (a bassist coming from Stevie Wonder, a guitarist who worked with people ranging from Gene Ammons to Aretha Franklin, a saxophonist working with Elvin Jones (myself), a bebop drummer (Al Foster), etc—not to mention tablas, percussion and a few more guitarists and keyboardists. This period of Miles was met with much antipathy and I remember vividly when Michael Henderson, who plays only electric bass, took Dave Holland’s place. That was really a significant move by Miles, because it more than implied that the days of walking 4/4 time were over and all that meant. Nowadays, with rap and world music so in the fore, Miles’ far sighted thinking and concepts are being very positively re-examined and this boxed set is long over due. That evening I went down and sat in with Pete Cosey, playing some down home blues coming right out of Chicago, his home base. No doubt, in a lot of ways life does come full circle.

BBC RECORDING FOR COLTRANE ANNIVERSARY

July 17 will be the exact date of Coltrane’s passing forty years ago. In commemoration of that I was asked to organize a recording session for the BBC which we did in New York featuring Joe Lovano, bassist Ron McClure, Phil Markowitz and Billy Hart-a sort of half Saxophone Summit band. We did all Trane tunes and it was a great day to just go in and play the repertoire that is so close to all of us. Look for the broadcast on BBC on the web.

BADAL ROY AND STEVE GORN

Talking about Miles, it was after all through the “On the Corner” sessions that I met tablaist Badal Roy who became part of my first group “Lookout Farm” in the mid 70’s. We have maintained our friendship over the years and I had the pleasure of joining his band which features bansurai master Steve Gorn and guitarist Kenny Wessel at an event sponsored by National Geographic Magazine (which I avidly subscribe to by the way) publicizing India. We had a great time and though I cannot say I am intimate with the incredible intricacies of Indian classical music, when a situation like this comes up with people basically “jamming” on the sound and feel of that style, it is a lot of fun—and for sure it sets a mood on an audience that is very powerful. Listening to Steve play the long bamboo bansurai flute is a thrill in itself.

RECOMMENDED(paste into your browser)

A Dixieland rendition of Giant Steps, that is amazing:

http://www.upbeat.com/lieb/01-giantsteps-bluestobechet.mp3

This has to be seen to be believed-a canary singing the blues!

http://www.youtube.com/watch?v=xGJaz64lrJ4

ITINERARY

July: concert and 17^th Annual Jazz Meeting of the IASJ in Siena, Italy (our third time there celebrating the 30^th anniversary of the very influential Siena Associazone); performance with bassist Christian Stock Group in Augsburg, Germany; tour with “We Three: Steve Swallow and Adam Nussbaum in Europe. (http://www.saudades.at)

August: 20^th Anniversary of Lieb’s Saxophone/ Chromatic Master class at East Stroudsburg University in Pennsylvania, USA celebrating John Coltrane with a performance for multiple saxophonists doing the “Meditations Suite” joined by Evan Gregor on bass, Mike Stephans on drums and Phil Markowitz on piano; performance of “Sketches of Spain” at the Marciac (France) Festival with the Toulouse Conservatory Orchestra under the direction of Jean Charles Richard; workshop and premiere of chamber piece written for Lieb by Ronan Guilfoyle in Dublin, Ireland; Red Sea Festival in Eilat, Israel with Saxophone Summit doing Coltrane program; workshop and performance at trumpeter Paolo Fresu workshop in Nuoro, Sardinia.

September: Birdland in New York City with Dave Liebman Group featuring Mike Stern and Anthony Jackson doing music from “Back on the Corner” (Shrapnel Records); Festival in Delaware Water gap, PA with Bobby Avey, Matt Vashlishan, Evan Gregor, Mike Stephans and Lydia Liebman; Saxophone Summit with Manhattan School of Music Jazz Orchestra doing “Meditations Suite” at Symphony Space, NYC on Coltrane’s Birthday.

Peace

Lieb