Seraphic Light

 

Ashley Kahn liner notes

 

Two years have passed since the Saxophone Summit last gathered to record, and much is not as before. 

 

“A lot of different factors have changed,” Joe Lovano says. “We’ve been playing a lot, on our own and together. But of course the biggest change was losing Michael Brecker this past January. He was such a close colleague, friend, inspiration and voice. It’s pretty tough. I feel he’s still here with us.”

 

Dave Liebman grows solemn at the mention of their fellow saxophonist. A spontaneous comment by Brecker in 1998 turned the Saxophone Summit from a one-night, Coltrane-themed collaboration at an Israeli jazz festival, into a more permanent thing.

 

“Michael said ‘We should do this, keep it going.’ But then he said something very interesting: ‘You know, Lieb, we might get hit for this,’ meaning critically. There might be some folks out there who might not agree with the project and its emphasis on Trane and so forth. In a sense we’re setting ourselves up. “

 

Given the personalities involved, it’s no surprise that the notion of resistance cemented a common resolve. “I said, ‘But Michael, it’s our time. If we don’t do it, who’s gonna do it? Who cares what anybody thinks at this point in life?’ Then Joe came into the conversation, and we decided this is our chance. We’re gonna get the right guys, contemporaries, first line to play in the band, and that’s how it started.”

 

Pianist Phil Markowitz, bassist Cecil McBee and drummer Billy Hart became the top-tier rhythm section behind Brecker, Liebman and Lovano – creating a sextet of consistent invention and spiritual inclination. Ten years and two albums later, the matrix linking Brecker, the group, and their shared source of inspiration – John Coltrane – has expanded and deepened. Liebman notes:

 

“This recording is dedicated obviously to Michael and also to Alice Coltrane because they both passed earlier this year, only a day apart. We’re very grateful Randy Brecker agreed to take part on a few tunes -- that was Joe’s suggestion. And it’s incredible to have Ravi as a member of the group. I couldn’t think of a better guy in this situation: ready for it, blossoming in front of our eyes. Both of them add a sense of lineage and full circle to the recording.”

 

Rehearsals and a memorable performance at Manhattan’s Symphony Space featuring the current lineup preceded the sessions for TITLE, allowing Ravi to grow comfortable in a new environment beyond his own quartet. “Doing things on your own you can get to a specific place,” says Coltrane. “But doing it within a collective, especially with very, very talented people, there’s an accelerated potential for growth.”

 

“We all can relate to what Ravi’s saying,” says Liebman. “In interviews, Michael actually described the same thing: how we would play together, then he’d go back to his own group, and it changed the way he conceived of his own music. You’re in a collective and then transfer it to your present situation. That’s what learning’s about – transference.”

 

To emphasize the obvious: Saxophone Summit is no mere tribute band, simply reviving the canonical works of a past master. It was founded, and continues to function as an active and collaborative workshop, relying equally on its members to provide creative muscle and material. At the outset of the planning for TITLE, Liebman requested that each contribute a composition. The results – filtered through the voice of the sextet – yielded music that varies in mood and thrives with consistent challenge.

 

Lovano’s “Our Daily Bread” (as in The Lord’s Prayer) pulls one in with a breezy insouciance. “Transitions” is an intricate, time-shifter by Phil Markowitz that lives up to the sectional quality implied in its title. The hypnotic, rolling effect of “The 13th Floor” by Ravi Coltrane, offers its own time-signature twist: a drum part in 6 and bass part in 9. Liebman’s “Alpha Omega” is pensive, yet in an unhurried, dreamy way. Billy Hart’s contribution -- “Reneda” -- sways with a loose, Caribbean flavor, and Randy Brecker’s musical missive “Message to Michael” is upbeat, flowing with an off-kilter, Latin groove. “All About You,” is a gem of a ballad McBee wrote in 1973 but had shelved; its unveiling doubles as Ravi’s showcase on this album.

 

Ravi’s tenor and soprano saxophones add two new elements to an unusual panoply of instruments in the group’s frontline, including such exotica as Liebman’s bamboo and C flutes, as well as Lovano’s alto clarinet and aulochrome (the double soprano saxophone heard on “Seraphic Light”.) Lovano notes that much of the group’s magic derives from its battery of sounds and instrumental combinations.

 

“As three saxophonists and woodwind players, we’re able to contribute different textures and sounds, and spontaneous orchestrations happen as we follow each other’s solos. There are a lot of duet, trio and quartet moments as well as group collectives - every little section of this group has its own dynamic. The magic is to try to get next to each other and blend and find these unit sounds within the sextet.”

 

The freedom to explore at will is a top-down aspect of Saxophone Summit, Markowitz adds. “Dave has fashioned a very democratic society in this band. That’s his conception as leader, and he keeps it open. When you’re playing a lot of ‘free music’ the way we are, everybody has to be a very active participant and a very active composer.” “It’s not about adding something to a given situation,” says McBee. “Fundamentally improvised music can be about removing something or leaving it alone entirely. Dave offers us those choices and I thrive on that. I’m as happy as a bird in a tree!”

 

“I felt it’s time to get everybody in on the act,” Liebman says of TITLE. “I think when you raise everyone’s profile by asking them to be more a part of it, the band’s going to have longevity. To me that’s the most important thing: keeping this group together.”

 

More gigs, more exposure, and more inspired recordings like this one: beyond the usual things that would help ensure a band’s staying power in today’s environment, there is the binding power in the common devotion to John Coltrane. Intriguingly, the three tunes imported from the latter stage of his career – often thought of as his most, dense-and-intense period – were chosen more for their prayer-like aspect and melodic priority.

 

“These later tunes have in some cases direct harmony, while in others the background is very free. In any case they are all great songs,” states Liebman. “It’s also fascinating that Coltrane recorded two of them –‘Expression’ and ‘Seraphic Light’ – in A-flat, which for a tenor player is your most resonant key. You can play from the lowest range of the saxophone, B flat, up through the normal highest note which is F. And for ‘Cosmos’ I wrote a reharmonization and three-horn voicings.”

 

“When Coltrane got to this period,” adds Hart, “he had gone beyond the philosophy and his music had become metaphysical. It still sounds new to me. You’d think after forty years I would know all about my biggest inspiration, but I’m still discovering things about him, and more things about myself.” Markowitz echoes the sentiment: “Being inside of Coltrane’s repertoire can do nothing but lift you up to your highest performance and spiritual level, which is ultimately what we’re trying to achieve as musicians.”

 

Memory can be a funny thing. Only two months ago, I sat in the control room for three days, hearing these performances as they were recorded. I recall the sessions held a certain gravity, the music a pronounced sobriety. It had every reason to be, given who was not there, and who was, and the weight of their common purpose.

 

Now, I’m shaking my head, smiling, listening to music that sounds immune to its own significance, a wistfulness rather than weight linking one track to the next. Perhaps that’s what most recommends this recording. I like to think the “light” in the album title might suggest buoyancy of spirit as much as spiritual illumination. Listen -- enjoy.

 

-- Ashley Kahn, November 19, 2007

 

Ashley Kahn is the author of A Love Supreme: The Story of John Coltrane’s Signature Album and other jazz titles. He often contributes to National Public Radio’s “Morning Edition.”

 

 

Ravi Coltrane liner notes:

 

Making this recording with Sax Summit resonated in so many ways for me, it was a truly rewarding experience.  

 

Last year brought the indescribable loss of my mother, Alice Coltrane. The simultaneous loss of Michael Brecker was truly incomprehensible.  The timing of this project for me was so meaningful in both a musical and a personal way. It has been a great solace to play this music with these musicians.

 

Michael was that rare thing: incomparable musician and great man.  His many kindnesses and encouraging words to me over the years were invaluable. It is such a sad thing to no longer have him with us and I would never presume to enter this group with any thing but the deepest respect for his great legacy.

 

Dave and Joe both inspire me greatly and it is a thrill to play with them. I admire Dave's commitment and passionate drive in bringing the late period of John Coltrane's music to people's attention.  His scholarly exploration of these compositions is so important. Joe’s expressive, elegant spirit emanates through everything he does and I simply look forward to any opportunity to play music with him. Thank you, Dave and Joe, for extending this opportunity to me. Special Thanks to Randy Brecker, I take courage from his strength and his continuing commitment to music. I would also like to thank Billy, Cecil, and Phil for their great playing and support. 

 

Many thanks go to Elaine Martone, Dave Love, and Robert Friedrich for their excellent work and commitment to the art and science of record making.  Thank you also to the wonderful staff of TelArc.  In addition, I would like to warmly acknowledge the tireless efforts of Bret Primack, Ashley Kahn, and Anna Sala.

 

 

Joe Lovano liner notes:

 

The essence of this recording was to focus on the beautiful spiritual ballads of John Coltrane’s final period.  Dave, Mike and I had been exploring these pieces (especially “Expression” and “Peace On Earth”) and developing an approach together to examine them in our own way.  We also wanted to contribute original compositions for the session in reflection of Coltrane’s great artistry.

 

In the wake of Mike’s untimely passing and also the loss of one of our spiritual leaders and inspirations, Alice Coltrane, this project took on a very personal life of its own.  Ravi Coltrane’s voice and presence gave us all a solid, warm feeling and the music speaks for itself. 

 

 “Peace On Earth” was featured on our first Saxophone Summit recording, Gathering of Spirits.  “Expression” is explored on this recording, Seraphic Light, featuring Randy Brecker on trumpet.  Having his contribution within our music brought Mike’s energy, inspiration and aura into the room in a real way. 

 

I’d like to personally thank David Liebman for his consistently creative musical ideas, execution, vision and drive; Phil Markowitz, Cecil McBee and Jabali Billy Hart all of whom are an integral part of this collective ensemble; Ravi Coltrane and Randy Brecker for their beautiful sounds and ideas; Ashley Kahn for his insights; Bret Primack for video-documenting the sessions and all the folks at Telarc for their trust and support.

 

David Liebman liner notes:

 

            For me, this recording was one of the most dramatic I’ve done, albeit in opposite, yet equal respects. It was uplifting and joyous, but at the same time deeply emotional and sad because of the loss of Michael. For me, he was one of the couple of brothers I have had in this music and life, someone who shared a common experience as a result of our backgrounds and spiritual/musical connection to John Coltrane. Since Sax Summit’s first recording and European tour a few years ago, we waited for Michael’s drama to be played out. The night of his passing, I was able to talk in person with Jabali (Billy Hart), who is one of the wise men in my life. We came to the conclusion that we had to move forward and Ravi would be the right guy if he would accept our invitation. It was a heavy time for him since his mom had also passed but he graciously accepted. I am so glad that Ravi is with us-he brings light, youth, a different musical voice and of course an undeniably powerful blood line. Having Randy grace us with his presence on this recording as well as contributing a tune built on a Michael riff was the perfect touch. The literal meaning of my composition “Alpha and Omega” is customarily defined as the beginning and the end. For this recording, it may be more accurately construed as the end and the beginning. 

 

            The original idea for the recording was to follow up where the first CD, “Gathering of Spirits” musically left off as heard in both Michael’s title tune and Coltrane’s “Peace on Earth.” These performances suggested a direction implied by the late period of Trane’s music where an emphasis on simultaneous solos, abandonment of specific pulse, lyrical melodies and harmony that ranged from pure diatonicism to dissonance were the significant musical elements. The Coltrane compositions we chose for this recording reflect those directions, hence one aspect of the presentation. On the other hand, we wanted everyone in the group to have a compositional voice represented, so in essence we have two albums in one. The original tunes are to my ears quite accessible and compact in their performances offering a needed contrast to the weightier Coltrane material.

 

            I am very appreciative to Telarc/ Heads Up Records for pursuing this route again with music that to be honest is not what would normally be considered “user friendly.” Thanks to our producers, Dave Love and Elaine Martone for sparing nothing in providing us the platform to create with no holds barred and engineer Robert Friedrich for once again seriously taking care of business. Also to Bret Primack who has become the man visually chronicling so much of our careers; to our scribe and dear friend Ashley Kahn; to the rhythm section which goes way beyond the pale; to Jean Jacques Quesada, my “bon ami” from France who always spreads a positive vibe; to Ravi for jumping aboard with class and intelligence; and finally to Joe Lovano, who besides playing so much music, has a heart and sensibility as grand as it gets.

 

            I expect Sax Summit to go on for a long time. What we play is important for us as artists to accomplish, as it is for the world to hear. Thanks for your time and support.

 

 

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