Self Portrait
Improvisation is the core of jazz, its heart and soul. But not everyone can be a Louis Armstrong or a Charlie Parker, though they might try. In Self Portrait of a Jazz Artist, David Liebman, a creative accomplished composer-player with several recordings to his credit, gives us rare insights on the musical thoughts and realities of a jazz-artist as he comes to terms with the creative process.
His chapter on the art of improvising, which is the core of the book, is in itself a revelation, showing the different stages an improvisder must deal with to achieve the artist's goal: "to express something meaningful and communicate it to others." The path is not easy and many fall by the wayside. Liebman discusses these pitfalls and, in a particularly revealing autobiographical section, "ruminates" on his own two decades of experiences in the field with such elements as audiences, critics, promoters and drugs. The result is a unique book, highly personal and at the same time extremely comprehensive without being overly technical, which makes it interesting not only to would-be jazz artists but also to those curious about the inner workings of the jazz mind.(Available by mail order from: Caris Music Services, 2206 Brislin Rd., Stroudsburg, Pa 18360.)
Self Portrait (review of Second Edition)
David Liebman (1966) Self-Portrait of a Jazz Artist-Musical Thoughts and Realities (2nd ed). Rottenburg N. Germany: Advance Music (distributed by Caris Music Services. RD#7-Box 7621G, Stroudsburg, PA 18360 (USA), ISBN 3-89221-013-6, $19.95; 217 pages.
This may be a title that's already familiar to you! As a second edition, it is typical of Liebman the man and artist: it is extensively updated and reworked, since he seems to always be in a state of growth and development. He is also extremely hard-working and introspective, and his willingness to share enriches us in many ways. Many of us function best when working with idealized models. I have long thought that David Liebman had provided us with an insightful model when he first introduced this book in 1986. It wasn't likely that we, as readers, would follow the exact same path to achieve celebrity; but the story was so sensitively told that it felt like many of us could learn from Liebman's example.
What makes this book so special is to discover how he has grown and developed. He describes this metamorphosis in the book's preface, where he reflects upon the difference of being a jazz musician nearing fifty-compared to that younger version he represented in his first edition. Once again, he shares a lot of intimacy, sensitivity, and sometimes pain in his revelations. Liebman clearly possesses a powerful sense of purpose. Interestingly, in the same preface he poses some questions that somewhat parallel the Werner book. Liebman's growth over the past decade since he completed his first edition is obvious. What also emerges is Liebman's strong sense of purpose -a "calling" if you will-in which his sense of mission to his fellow musicians and the general future of music becomes evident. He is obviously sincere in his motivation to help and lend support.
The new edition contains two new interviews, an updated discography and bibliography, a more extensive photo segment, and an extended set of appendices. If you don't have a copy of the first edition, you should definitely purchase the second edition of this book. Come to think of it, even if you do have the first edition, you should seriously consider the newer version. This book should be obligatory reading for all serious jazz students, regardless of their age.
Self Portrait (Review of First Edition)
Self-portrait of a Jazz-artist (Musical Thoughts and Realities), David Liebman, Rottenburg, W. Germany: Advance Music (Available through Stroudsburg, PA: Caris Music Services, 1988. (ISBN 3-89221-013-6, (paperback) $8.95, 96 pages).
Among stellar jazz musicians, David Liebman is probably one of the most articulate and introspective, which is fortunate for any reader who takes the time to examine this marvelous book. Although the book is not highly organized and seems to evolve somewhat randomly with a stream-of-consciousness approach, it is, nevertheless, offered in such an engaging and fascinating manner, that the reader has little problem assembling the information and absorbing it into a workable gestalt. And it is the content, not the structure, that is so noteworthy in this work. Liebman simply presents every facet of his musical world for the reader to examine and understand, in a straightforward, unselfconscious manner that is both touching and rewarding. Practically every page is comprised of headings that describe, in detail still another aspect of his craft gained from introspective discovery, without jargon or unnecessary embellishment, but with enough practical and useful information to make each of these a nugget. For instance, on page 10, he completes a little essay on "The Concept of Soloing," followed by "Relaxed Intensity," "Making Mistakes," and the beginning of "Different Playing Situations" - it doesn't really matter how related these topics are, they are each wonderful miniatures to savor and make use of repeatedly in the future.
This is one of those rare and wonderful books where the reader can open to any page to find inspiration and information immediately that can be generalized to whatever tasks are at hand. For me, one of the more moving segments was Liebman's autobiography, told in a compelling, yet sensitive, fashion - it makes for especially enjoyable reading. This is heightened by Liebman's willingness to describe himself in the most vulnerable, yet healthy, manner imaginable. The book also contains several appendices which include a personal list of books and records (that particularly reflect Liebman's eclectic and diversified interest in an astonishing array of subjects), a discography, and list of publications. This is going to be one of my favorite books and, because it is so accessible and short, I suspect I will be reading it on numerous occasions in the future. I strongly urge you to do the same!
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