Reviews for Manhattan Dialogues

From All About Jazz
By Andrew Velez

The opener on Manhattan Dialogues, composed by David Liebman is his own “Teacher Of Our Child”. It’s a comfortably melancholy rumination, yet more suggestive of the early hours of a morning after than of a kindergarten. By contrast, “7” only fleetingly lands on traditional melodic structure. Here Liebman on soprano and tenor saxophones and Phil Markowitz on piano, who have been collaborating in various settings since the early ‘90s, trade musical fragments. Markowitz jumps around on the keys, occasionally giving out with cheerfully melodic outbursts that are punctuated by droll tweaks and sqeaks and lowdown moans form Liebman.
“Sno Peas’, a 1979 Markowitz tune may previously be remembered from Bill Evans and Toots Thielman’s Affinity. Here it’s an opportunity for Markowitz’ lengthy and lush phrases suddenly to turn meditative. It’s in these darker moments that Liebman’s warm sax lends a sympathetic partnering.
Two classics, “Round Midnight” and “The Night Has 1000 Eyes”, close the set with renditions that explore a complete harmonic range. Most notable is a solo with which Liebman opens the latter. As an intro to Dizzy Gillespie’s melody, it’s of a beauty whole and complete unto itself.
Recorded live at New York’s Manhattan School of Music, this duo plays outside of traditional categories such as jazz or classical. As Markowitz has observed, what they’re up for is music “…with no esthetic or restrictive barriers.”


By Jay Collins
From Cadence Magazine

It seems that saxophonist Dave Liebman is everywhere these days. Whether mixing it up with Ellery Eskelin (Different But The Same, Hatology), improvising with Tony Bianco and Tony Marino (LineIsh, Emanem), or recording fusion with drummer Steve Smith (Flashpoint, Tone Center), Liebman proves time and again that he is a musical chameleon. Manhattan Dialogues, then, presents a different side of Liebman from the aforementioned examples, a meeting with pianist Phil Markowitz for an intimate duo setting that follows the path set by their numerous releases together. For those unfamiliar with Markowitz, he has kept a lower profile than Liebman, having played with the likes of Chet Baker and Mel Lewis, focusing on a variety of gigs in New York.

The live session, recorded at the Manhattan School of Music is mostly subdued, but thrives due to its emotional depth, commencing with the introspective beauty of “Teacher of Our Child” that features Liebman’s delicate soprano mixing with Markowitz’ fragile piano lines. A similar path inspires both “Philippe Under The Green Bridge” and the sublime reticence of “Jung.” Liebman picks up his tenor saxophone for a spell on “Mahoning” a graceful performance with Liebman’s darkly poignant thoughts mixing with Markowitz’ pastels. It is not all morose introspection, though, as the duo interacts on the bubbling “7,” based on Cole Porter’s “I Love You,” as well as the jagged lines of “Off By One.” The pair also swings on Markowitz’ “Sno’ Peas,” a piece first recorded by Bill Evans and Toots Thielemans. To round out the session, Liebman and Markowitz add their take on two standards, “The Night Has 1000 Eyes” and “Round Midnight,” the former featuring playful improvisation from both players, and the latter a showcase for the velvety side of Liebman’s tenor. While guaranteed to not leave your heart pounding in your chest, this ruminative summit presents two kindred spirits engaging in an intricate musician’s conversation.

By David Franklin
From Jazz Times

Saxophonist Dave Liebman and pianist Phil Markowitz have recorded ten CDs together and they have worked as a duo since the late 1990s. Since they are exceptional performers who combine advanced theoretical knowledge and technical skill with a mature jazz sensibility and a rich musical imagination, all the right elements were in place for this fall 2004 duo performance before students and faculty at the Manhattan School of Music.

Except for Monk’s “Round Midnight” and one other standard the compositions are all the performer’s own. They include such inventive material as Markowitz’s “7,” whose melody is based of the interval of that name superimposed on the chords of Cole Porter’s “I Love You,” and Liebman’s slow, rubato and evocative “Jung,” which provides him a setting for an inspired solo that reveals an authentic dramatic curve and also gives Markowitz an opportunity for a virtuoso mini-recital. Indeed, in a few spots the pianist’s improvisations sound more “classical” than jazz, and that’s OK, too, but for the most part he swings heatedly with an extraordinary display of conceptual brilliance and hand coordination. Meanwhile, Liebman’s ambitious and splendidly crafted soprano and tenor lines consistently exhibit, Coltrane-inspired jazz inflections.

By Dan Ouellette
From Billboard Magazine

In the most intimate of musical settings, soprano and tenor saxophonist Dave Liebman meets up with pianist Phil Markowitz for sublime duo conversations that are at turns relaxed, ecstatic, placid and tumbling. The two jazz veterans have collaborated often over the years, so what you hear within these dialogues is the music of simpatico spirits thoroughly and playfully engaged and enraptured by the improvisations they conjure up. Most of the tracks are originals, highlighted by "Jung," Liebman’s contemplative, dreamlike homage to the Swiss psychologist/philosopher, and the moving "Mahoning," a reflection on a large-canvas painting by Franz Kline and the fourth movement of Markowitz’s orchestral suite, "Abstract Expression—Musical Portraits of American Masters." In a smart move, the pair passes on nonoriginals until the end, when saxist and pianist buoy into a jaunty take on "The Night Has 1000 Eyes" and, for the finale, inspirit new life into the old warhorse, "’Round Midnight."

By Dennis Hollingsworth
From Jazz Improv

David Liebman and Phil Markowitz have been productive members of the New York scene for quite some time. Actively performing and recording together for over ten years, their longevity is rare in the current world of jazz. This continues a pattern established between Liebman and pianist Richie Beirach during the 70s and 80s. In “Manhattan Dialogues” the duo’s indisputable familiarity pays great dividends. All of the necessary elements for creating highly engaging music are present. Advanced technical ability, cutting edge harmonic understanding, spectacular improvisation, tremendous interplay and fine compositions create a road map that represent the apex of today’s jazz musicianship.

            From the outset one notices very powerful emotional connections to the music at hand: Liebman’s dexterity and passion, trademarks of his approach are front and center. Markowitz displays a “kitchen sink” of piano styles, using the full range of the grand’s awesome ability. Five Markowitz compositions, three Liebman tunes and two venerable standards make up the program. The set was recorded live for a student and faculty audience at the Manhattan School of Music, adding to the exuberance of the performance.

            The ballad “Teacher of Our Child” opens the set with Liebman’s familiar sound on soprano. Written for a woman who spent artistic time with his daughter, the tune pensively meanders its way through the paces. A seemingly simple melody helps establish a contemplative mood where delicacy is key. Markowitz solos with restrained power, leading to a controlled exploration from Liebman. “7” starts with Markowitz applying the full expanse of the keyboard, after which Liebman enters on soprano. A purposely constrained tandem melody leads to an intense dialogue, all set to the harmony of Cole Porter’s standard “I Love You.” Their spontaneous interplay occurs with such remarkable ease and speed that careful, repeated listening is warranted. “Phillippe Under the Green Bridge” is another Liebman tune written for his daughter, this time involving a stuffed animal named Phillippe, another ballad featuring soprano. The tune has a chromatic base and a melancholy flavor. Both solo over the complex harmony with deliberate restraint and compelling pacing.

            Markowitz’s “Sno Peas” picks up the tempo adding fervor with aplomb. Liebman, remaining on soprano, enlists jagged lines, upper registers and sixteen note runs to express his striking chain of thought. Markowitz stretches as well, using commanding technique, a la McCoy Tyner to portray his designs. “Jung,” inspired by the biography of Carl Jung, languidly forges its way through an unaffected yet weighty forest of tones and subtle tempos variations. Markowitz’s solo is a combination of classically inspired technique and modern harmonic invention, pulling huge expanses of sound from the instrument. Liebman chooses his notes carefully, allowing the piano to suggest pathways of advancement, which he moves towards with supreme purpose. “Off By One’ continues with a more rapid tempo, an angular melody and an advanced chord structure. Liebman attacks on soprano with long flowing lines while allowing conspicuous silence to pepper his commentary. Markowitz ascends with a complex solo of his own, hammering away with abrupt chords, choppy patterns and delicious invention.

            “Mahoning” truly highlights what makes these guys so special, Inspired by a painting of Franz Kline in the Whitney’s collection, it begins with high note piano trills leading to a straight forward melodic statement. Liebman uses the tenor to present the deceptive melody, deliberately building a dynamic solo against Markowitz’s careful harmonic background. Liebman’s horn drips with emotion before Markowitz introduces a veritable lesson in twentieth century harmony, reminding listeners of Hindemith’s “Ludis Tonalis.” Listen for the repeated us of high note trills and chords set against authoritative low note expressions. Liebman screams the melody for the ending sequence with such power you will reach for the handheld. Wow!

            “The Night Has 1000 Eyes” immediately follows with more powerhouse tenor and piano gymnastics. Liebman’s tenor races across the changes with bellows, screeches and breakneck lines. Markowitz’s playing is absolutely brilliant as he takes us through an abbreviated history of jazz piano style. Tatum, Powell, Evans, Monk; it’s all there. Check out the stride playing in this solo! Next, the two trade agile lines, then launch into an exquisite diatribe as the tune winds its way to fruition. The great “Round Midnight” completes the program. Liebman enters with a muscular introduction engaging the entire range and tonal capabilities of the tenor. The tune is then laid out in a traditional ballad format with Liebman carrying the solo load in grand fashion.

            Engineer Louis Brown’s commendable portrayal belies the difficulty of live recording. Horns and rand piano are captured with all inherent strengths and nuances intact. Attention to detail is obvious, befitting the exemplary performance left by these two masterful musicians. Words only hint at the merits of this disk and repeated listening will surely deliver just deserts.

By Mark Turner
From All About Jazz

Respected and accomplished musicians saxophonist Dave Liebman and pianist Phil Markowitz translate music theory to reality in this duo performance before students and faculty at the Manhattan School of Music, where Liebman expounds the principles of his course and book A Chromatic Approach to Jazz Melody and Harmony. The resulting concert is truly a dialogue of improvisation between two voices. The ten compositions comprise a mix of standards and originals that allow the instruments to converge and communicate intricately.

From the brooding opening notes of the first composition, the musicians speak in varied pitches and engage in dialogues. Liebman’s saxophone is spirited, taunting, and explosive, whereas Markowitz brings his abstract-expressionism forte with depth, outré, and power. The fact that this is a highly listenable recording is a testament to the talent of each musician. Personal at times on selections like “Philippe under the Green Bridge,” or exhibiting intense playing on the standard “The Night Has 1000 Eyes,” this is a jazz concert of a different persuasion.

By John Kelman
From All About Jazz

Most musicians are fortunate enough to find one musical partner where such shared simpatico exists that they can evolve in perfect tandem - exploring a variety of contexts with the kind of comfort level that ensures complete trust and an unfettered imagination that makes no pursuit beyond reach. To find more than one is rare indeed. Saxophonist Dave Liebman and pianist Richie Beirach’s 20-year-plus relationship, well-documented on last year’s Mosaic Select 12 box of archival live recordings, saw them approach everything from the early fusion-meets-world music of Lookout Farm to the open-ended freedom of Quest and more intimate duets.

But when the two parted companies in the early ‘90s, it became Liebman’s good fortune to cement a host of vital new partnerships, including guitarist Vic Juris, percussionist Jamey Haddad, bassist Tony Marino and pianist/keyboardist Phil Markowitz. Liebman’s post-Beirach quintet became the core of projects ranging from detailed exploration of the music of John Coltrane — inarguably Liebman’s biggest influence — to its own diverse range of original composition.

Markowitz may have left the quintet in the late ‘90s, but he continues to be pianist of choice for Liebman, heard most recently on last year’s Saxophone Summit featuring Joe Lovano and Michael Brecker, and now on Manhattan Dialogues, a series of duets recorded at the Manhattan School of Music, where both teach on a regular basis. With a personal and deeply-shared musical language, this set of eight originals and two radically-reharmonized standards is arguably the most vivid document of Liebman and Markowitz’s remarkable chemistry to date.

For the most part pensive and darkly-hued, the common ground that Liebman and Markowitz share may be on the cerebral side, but Liebman’s ever-present expressionist tendencies give even the most heady chromaticism of his own “Teacher of Our Child,” “Philippe Under the Green Bridge” and “Jung” a visceral edge. And while neither Liebman’s or Markowitz’s material swings in any kind of traditional way, leaning more towards a kind of abstract rhythmic pulse, there is an inherently insistent groove on Markowitz’s more uptempo “Off By One” and “Sno’ Peas” — the latter a tune that was first recorded by Bill Evans and harmonica legend Toots Thielemans, although in a far more conventional context than this significantly outré reading.

Throughout, Liebman and Markowitz are so in each others’ pockets as to consistently blur the line between form and freedom. In fact, by the time the duo reaches the standards — “The Night Has 1000 Eyes” and “’Round Midnight” — at the end of the programme, the overall complexion has been so well-established as to largely obfuscate the more recognizable characteristics of these well-known tunes.
And yet, while many of the set’s compositions are born from intellectual premises with challenging foundations, the 70-minute programme remains completely compelling. More provocative than evocative, Manhattan Dialogues demonstrates the power and subtlety of improvisation in the hands of two artists who combine common musical goals with an uncommon ability to find the most direct — if not necessarily the easiest — paths to get to them.
 

Review of Live Concert
North Pointe Cultural Center Kinderhook, NY Saturday, May 7, 2005
by J Hunter

Dave Liebman cut his musical teeth during the birth of Fusion, playing reeds & flute for artists ranging from Miles Davis and Elvin Jones to the seminal jazz-rock group Ten Wheel Drive. While Phil Markowitz' resume is somewhat more traditional, the pianist grew up in East Hampton, NY, the cradle of the Abstract Expressionism movement led by Jackson Pollock and Willem deKooning. With these facts in mind, it is no wonder Liebman and Markowitz share a unique musical vision that has deconstruction at its base.

True, jazz has always been about deconstruction; you'll never hear Miles' arrangement of “Surrey With the Fringe On Top” in any revival of Oklahoma. But there's pulling a building apart brick by brick, and there's hitting the place with a wrecking ball stuffed with dynamite. If straight-ahead, traditional-beginning-middle-and-end music is your thing, then this show was not for you. If you were willing to take a risk and open your mind as well as your ears, you were in the right place Saturday night at Northe Pointe Cultural Center.

As Liebman said during the relaxed pre-show Q&A session, the duo format is all about dialogue: “Now, sometimes one guy's talking about the weather, and another guy's talking about how the Yankees lost…” From the first exchange in the show's opener - the Markowitz composition “Set-To” - you could see how someone could think these men were playing two entirely different pieces of music. The clue was in the title. This wasn't just a dialogue; it was an argument, with each participant speaking from a place of strength and determination. You might not have been able to fathom the subject, but you couldn't help but be impressed by the passion of the participants and the skill of their musical rhetoric.

Whatever instrument he plays, Liebman plays the whole instrument, finding notes and harmonics you wouldn't think were possible, and presenting them in ways that catch the breath. In the prelude to his composition “Phillipe Under The Green Bridge”, Liebman played a child's recorder directly into Markowitz's piano, employing it as both an amplifier and an echo chamber. Markowitz' playing style is as multi-faceted as his influences. While there are elements of the great romanticist Bill Evans (“Sno' Peas”, a Markowitz composition that was part of Saturday night's set, was first recorded by Evans), these are pooled with a chord-based approach that evokes classical composers like Bartok and Copland. The combination dovetails perfectly with Liebman's next-level attack.

The 90-minute set ranged from standards like “Round Midnight” and the encore “The Night Has A Thousand Eyes” to original compositions from Liebman & Markowitz' latest duo recording, Midnight Dialogues (Zoho). Each number was just as thrilling, and just as much of a challenge as the opening salvo. Two pieces - “Phillipe” and Markowitz's “Mahoning” - were inspired by paintings by Claude Monet and Franz Kline, respectively. And even if you weren't familiar with the paintings themselves, the duo's intricate, evocative playing painted the pictures inside your mind.

Like the paintings that inspire them, this music is not for everybody. Northe Pointe, Planet Arts/one2one, and Hudson Valley Friends Of Jazz took a gamble by adding it to their series of duo concerts. The gamble paid off, as evidenced by the standing ovation at the end of the encore. Once again, the pre-show talk was as entertaining as the show itself, with Liebman freely (and, occasionally, profanely) discoursing on everything from State-sponsored music and the evolution of Fusion, to the recent deaths of Elvin Jones (who Liebman credited as a father-figure) and fellow reedman Steve Lacy. Markowitz also gave a heartfelt tribute to a former colleague and leader, the Capital Region's own Nick Brignola. It was a perfect appetizer for the Brignola tribute set to end the spring concert series June 4th.

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