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Reviews for Seraphic Light |
From All About Jazz
By
Woodrow Wilkins
When three prominent saxophone players come together to honor one of their highly regarded brethren, and include compositions by one of the most revered instrumentalists ever, the listener is in for a treat. So it is with Seraphic Light by Saxophone Summit, led by the trio of Ravi Coltrane, Joe Lovano and Dave Liebman.
Saxophone
Pianist Phil Markowitz composed and arranged “Transitions,” which features Ravi Coltrane on tenor, Liebman on soprano and Lovano also on tenor. While it does have some melodic moments, it's largely an example of free expression. Markowitz adds a subtle yet engaging solo, while drummer Billy Hart and bassist Cecil McBee help set the pace.
”Message to Mike” was written and arranged by Michael Brecker's brother, Randy Brecker. It features Randy Brecker on trumpet, Coltrane and Lovano on tenor, and Liebman on soprano. This track is like crashing John Coltrane into Miles Davis with a little Freddie Hubbard. All of the saxes are engaged, each doing its own thing behind Brecker during one sequence. All four horns perform the melody--when there is one. Even then, they're not always in harmony, and definitely not in unison. It's about as individualistic as a group of musicians can get, yet still sounding like they're in the same band. When the horns take a much-needed breather, Markowitz, Hart and McBee close out the track.
The title song is the second of three John Coltrane compositions that close out this set--all arranged by Liebman. “Seraphic Light” features Coltrane and Liebman on tenor, with Lovano on double soprano. The song begins in brooding fashion to deliver the subliminal message that great artists, like the highest order of angels, leave too quickly; but live on as their work inspires others. A good portion of this track leaves Hart in the background while the saxes express themselves freely. When Markowitz and McBee rejoin, it sounds like six musicians going in different directions, though somehow remaining a unit. The horns eventually pass the light on to the piano. Hart goes it alone for a good bit, working almost exclusively with the toms before adding the snare and cymbals.
Coltrane, Liebman and Lovano each play different members of the saxophone family. On selected tracks, Liebman also plays C flute and wooden flute, and Lovano plays alto clarinet and Scottish flute. Though seven of the 10 tracks are original compositions, they all sound like vintage John Coltrane, making this a fitting tribute.
From All About Jaz
by Russ Musto
- LIVE AT BIRDLAND, NYC -
The simultaneous assemblage of three world class
saxophonists on a single stage customarily signals a straightahead 'blowing
session'—a grand jazz tradition marked by extended solos over familiar chord
changes that can be either exciting or tedious, depending on the night and
participants. Saxophone Summit, the supergroup featuring Dave Liebman, Joe
Lovano and Ravi Coltrane (who replaces founding member Michael Brecker) takes
a different approach to the union of reeds, one in which composition is as
important as improvisation, resulting in a whole that is greater than the sum
of its parts. On the band's opening night (Jun. 10th) at Birdland, the stellar
sextet, anchored and propelled by its longstanding rhythm section of pianist
Phil Markowitz, bassist Cecil McBee and drummer Billy Hart, engaged in four
deep explorations of strikingly original music from its two superb albums.
Beginning with Hart's intricately arranged “Reneda,” Liebman's distinctive
soprano in the center of his colleagues' two equally individual tenors, the
group searched out harmonies and rhythms that distinguished it from other
groups. “Tricycle,” an architecturally sophisticated work by Liebman that
began subtly with bass and brushes and dynamically rose to heights of
intensity, was followed by McBee's beautiful “All About You,” offering a
fitting contrast. The set closed with a climatic reading of John Coltrane's “
From Jazzwise - Great Britain
By Stuart Nicholson
4 Stars
No musicians in jazz are better equipped technically, creatively and philosophically to take on the challenge of saxophonist John Coltrane’s legacy, and in particular the music he was playing during his “final period” (1965-1967) than Liebman, Lovano and John’s son, Ravi. This challenging, yet questing phase of the late saxophonist’s life is represented by the compositions “Cosmos,” the tile track “seraphic Light” and “Expression which comprise the final section of the album. There is an energy and spontaneity here which perfectly captures the spirit of Coltrane’s explorations some forty years on. Liebman and Lovano in particular with their contrasting styles relishing the cut and thrust of creating in the moment; Ravi Coltrane, playing in the late Mike Brecker’s stead, performs with poise and understandable deference that actually balances the music. The remaining seven tracks are originals contributed by band members, with one, “Messsage to Mike,” from guest Randy Brecker (who also plays on “Expression.” In interview, Liebman says he believed they gave greater balance here than on the group’s debut album “Gathering of Spirits” and certainly “Alpha Omega,” “Transitions,” and “Reneda” are album highlights, as much for the energy and passion of the saxophonists-an element far too often missing in contemporary jazz-as the exemplary rhythm section playing of Markowitz, McBee and Hart.
From All About Jazz New York
By Tom Greenland
…”Continuing its original mission to celebrate the music of late period Coltrane, this outing features heavy blowing-not exactly free jazz, but jazz “free-ly.” The first half features compositions by each member, accessible melodies and arrangements that fully exploit Liebman(soprano sax, flutes) and Lovano’s (flute, alto clarinet, aulochrome) doubling talents, but the heart of the groups comes to the fore on the last three cuts: “Cosmos”, the title track and “Expression,” all Coltrane covers and templates for excursions into ecstatica and dissonance. Liebman really shines here, rolling out blistering manifestos of soul and ice. Mike Brecker is remembered in “Message to Mike,” an upbeat romp penned by brother Randy, featuring group soloing and a party vibe-a fitting sendoff to one of the tenor’s greatest exponents.”
From All About Jazz
By John Kelman
Formed in the mid-1990s by three of
jazz's leading post-Coltrane exponents—not just to pay homage to the saxophone
legend's exploratory latter period work, but to advance his collaborative and
collective soloing aesthetic into a fully contemporary context nearly thirty
years after his death—Saxophone Summit was dealt a tremendous blow, as was the
entire jazz world, when co-founding member Michael Brecker passed away in
2007.
Still, Saxophone Summit's remaining front-liners, Dave Liebman and Joe Lovano, decided that continuing on with pianist Phil Markowitz, bassist Cecil McBee and drummer Billy Hart would better honor Brecker than throwing in the towel. Recruiting Coltrane's son Ravi to fill the third saxophone chair (”replacing” would be an absolutely inappropriate description) seemed a logical choice, making Seraphic Light not only a moving tribute to Brecker, but a logical extension and expansion of what made Saxophone Summit: Gathering of Spirits (Telarc, 2004) such a powerful record, and an unusually experimental one for the more centrist Telarc label.
That's not to say Seraphic Light isn't completely accessible. Markowitz's “Transitions” opens the disc on a fiery note, but with an attention-grabbing groove and front-line melody that's equally attractive, so much so as to almost disguise the song's full depth. But by the time Saxophone Summit gets to the title track, first heard on Coltrane's Stellar Regions (Impulse!, 1967), it's fully migrated towards the “no-time, no changes, no harmonies” approach that so dominated Coltrane's final two years. Still, as free as it is, and with Lovano using his custom-built aulochrome (a twin-soprano hybrid that allows him a degree of polyphony that even multiphonics can't on a single horn), it's proof that Coltrane wasn't striving for chaos, but rather a deep, transcendent spirituality.
It's no coincidence that the three Coltrane tunes are collected at the end of the disc, including “Cosmos,” which begins with poetic beauty but dissolves into greater freedom for one of Markowitz's most stunningly unfettered solos on record. The first seven tracks are a democratic distribution of one song each by the group's six members, plus the up-tempo modal workout “Message to Mike” by brother Randy Brecker, who guests on trumpet on two tracks. Thus, Seraphic Light works its way gradually towards the more expansive freedom of the Coltrane covers.
While Ravi Coltrane hasn't made the leap to broadly influential—yet—that both Liebman and Lovano have, his is a voice evolving in leaps and bounds. Here, while his warmer tone unmistakably alters Saxophone Summit's complexion, it's still a truly mighty meeting of three saxophonists whose lives have been inexorably altered by the spirit of John Coltrane. With Markowitz, McBee and Hart a creative and fluid triumvirate far beyond the restrictive term “rhythm section,” Seraphic Light not only captures Coltrane's spirit but, dedicated to Michael Brecker, captures his intrepid soul as well. For those who consider Coltrane's latter period inaccessible, Seraphic Light capitalizes on its dense beauty in a most approachable fashion, without compromising its elan vital one iota.
From Downbeat Magazine
By Jejj 'McCord
Michael Brecker initially suggested, back in 1998,
that a one-off John Coltrane tribute with Joe Lovano and Dave Liebman be made
permanent. The Saxophone Summit's debut arrived in 2004, and since then
Brecker has sadly passed away. His life and essence hang prominently over the
Summit's follow-up, Seraphic Light.
Ravi Coltrane supplements the Summit lineup, and his distinctive, supple voice
forges an even stronger emotional connection to his father's late-period
spiritual work. Seraphic Light retains the vigorous interplay of its
predecessor, though it is not, at least at the beginning, as much of a work of
fiery improvisation. The album opens with seven tautly composed originals by
the member of the group. Randy Brecker's "Message To Mike" is not a somber
ballad, but rather an exciting Steve Lacy-esque piece of post-bop, which
builds to bombastic intensity. Pianist Phil Markowitz's opener, "Transitions,"
is equally surprising, a devious rhythmic maze. Liebman's "Reneda" features
the ensemble as a locked-in unit.
These seven pieces alone would have made a fine album, but the three extended
Coltrane pieces that end the album -"Cosmos," "Seraphic Light" and
"Expression" -set the bar even higher. Evoking the spirit and mayhem of
Coltrane's late work, all are remarkable not only for their improvisatory
spirit, but also for their cohesion.Coltrane displays startling originality,
while Liebman and Lovano haven't sounded this free and daring since the last
Saxophone Summit recording. On "Cosmos" and "Expression," Lovanoreaches from
deep within to channel Coltrane's spirit. Liebman, Lovano and Coltrane feed
off each other's creativity.
From Jazz Times
By Bill Milkowski
This follow-up to Saxophone Summit's triumphant 2004 debut, Gathering of Spirits, resonates with deep meaning on a number of levels. First, it is shrouded in sadness due to the absence of founding member Michael Brecker, whom this disc is dedicated to. Secondly, his replacement in the Sax Summit lineup is Ravi Coltrane, a narural heir to the Trane legacy that Brecker and fellow saxophonists Joe Lovano and Dave Liebman embraced throughout their careers. Furthermore, it includes two latter-day Trane pieces, "Expression" and "Seraphic Light," that Ravi's mother and John's widow, the late Alice Coltrane, originally played on. (By tragic coincidence, Alice passed away on January 12, 2007, a day before Michael Brecker died.)
Given all of these heavy circumstances coming into the October 2007 session, it's easy to see why Seraphic Light bristles with moments of cathartic intensity and joyous abandon. The three Trane pieces here-"Cosmos" (from Live in Seattle), "Seraphic Light" (from Stellar Regions) and "Expression" (the title track from John Coltrane's final studio sessions in February/March 1967)-contain dense, atonal excursions that might scare away timid listeners. And yet rhere are other moments here that are far more listener-friendly than the previous Sax Summit ouring, making for a kind of yin-yang project. Or, as Liebman puts it in the liner notes: "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."
Originally formed in 1997 as a loose blowing ensemble for a John Coltrane tribute in Japan, Saxophone Summit evolved over several gigs into a tight working unit with well-planned arrangements and thoughtful originals. That tightness manifested on Gathering of Spirits and continues on Seraphic Light with the superb rhythm tandem of bassist Cecil McBee and drummer Billy Hart returning to provide solid grounding in the midst of the most outre excursions. The underrated pianist Phil Markowitz, also returning from Gathering of Spirits, is a key presence here, offering the kind of extended voicings and glistening arpeggios that both McCoy Tyner and Alice Coltrane brought to John Coltrane's expansive vision.
This time out, every member of the group contributes a composition. Markowitz's 'Transitions" kicks off the proceedings in spirited fashion, shifting from a brisk 6/8 pulse beneath Lovano's and Colrrane's tenor solos to a gentle rubato section underscoring Liebman's probing soprano solo. Ravi's "The Thirteenth Floor" opens with a juggling of angular ostinatos-the kind of contrapuntal web that he regularly dealt with during his tenure in Steve Coleman's Five Elements-with Lovano repeating a low-end motif on alto clarinet while Coltrane on tenor joins together on some intricate unison lines with Liebman on C flute. As the piece develops, the hypnotic form holds while the three horn players engage in more freewheeling exchanges, with Lovano switching to Scottish flute and Liebman on wooden flute. Hart's "Reneda" is an affecting melody that showcases Liebman's flowing lyricism and unbridled improvisations on soprano sax, and also highlights Markowitz's gentle, cascading touch at the keyboard. McBee's gorgeous "All About You" (originally written in 1973) sets a sublime tone for Ravi's beautiful ballad playing on tenor, and showcases the great bassist in an extended dramatic solo.
Trumpeter Randy Brecker makes a special guest
appearance on his urgent "Message to Mike," which is built on a funky riff
that was a Mike Brecker signature. The tune is fueled by Hart's Latin-flavored
pulse and slamming backbeat and employs generous doses of simultaneous soloing
by all four horn players so that by the end of piece it sounds like a frantic
Dixieland band in full wail. Liebman's more introspective "Alpha and Omega"
presents a somber blend of Coltrane's tenor sax, Lovano's alto clarinet and
Liebman's soprano sax against the sparse, rubato accompaniment of Hart, McBee
and Markowitz. Lovano's breezy "Our Daily Bread," in which Joe on tenor, Ravi
on soprano and Liebman on C-flute engage in some freewheeling exchanges over a
mid tempo swing groove, is perhaps the most accessible number on the album,
standing in direct contrast to the dense and lengthy Coltrane numbers that
close out the collection on a heightened level.
The three principals delve into Trane's "Cosmos" with unbridled conviction,
summoning up ferocious intensity on tenors while Markowitz tweaks the
proceedings with powerful, harmonically provocative piano work. Lovano
switches to the aulochrome (an odd Dr. Seuss-like double soprano saxophone)
for the brooding, hymnlike title track, which escalates over 11 minutes to
some impassioned free blowing by each of the saxophonists and includes a
stirring Mrican-inspired drum solo by Hart. But the peak of heightened
intensity is reached on the final track "Expression," in which Randy Brecker
joins the three tenor players for some ecstatic free-jazz blowing underscored
by Hart's rolling pulse to conclude this spiritually charged offering.
Of course, Alice Coltrane never used to term "jazz" to describe her husband's late works, describing it instead as "music of a higher principle." That definition certainly applies to a great deal of Seraphic Light.
From the Boston Globe
The original Saxophone Summit gathered three titans in the prime of their lives; the premature passing of Michael Brecker last year left Joe Lovano and Dave Liebman bereft of a third. In teaming with Ravi Coltrane, they've set the bar for their explorations of the "out," the mystical side of the sax, higher than ever.
From Jazz and Blues Report
By Nancy Ann Lee
Dedicated to the late group member Michael Brecker, this 10-tune album features replacement Ravi Coltrane performing with saxophonists Joe Lovano and Dave Liebman in the follow up recording to their 2004 debut album, Gathering of Spirits. The intent of the new project was to pick up where the previous album left off and to capture the essence of John Coltrane’s later period, the investigation of spiritual ballads. Pianist Phil Markowitz, bassist Cecil McBee and drummer Billy Hart provide rhythm team support for the saxophonists as they explore and extend the music of the legendary saxophonist John Coltrane (four tunes) and six accessible originals by group members. Trumpeter Randy Brecker performs on two tracks, the chattering, lighthearted “Message to Mike” and the finale, John Coltrane’s “Expression.” Highlights abound and include Lovano’s melodic “Our Daily Bread” and McBee’s romantic ballad “All About You.”Lovano and Liebman have been collaborating as Saxophone Summit for a decade with Michael Brecker until his death. Ravi Coltrane admirably fills Brecker’s spot in the team, keeping this group impressively vibrant. This is a spectacular listen, full of energy and ideas.
From The Washington
Examiner
“This music is ripe
for rediscovery and reinterpretation, and led by these influential musicians,
hopefully it will see a renaissance.”
From All About Jazz
By Martin Longley
Review from the Ghent Jazz Festival, Belgium-7/08
The final stretch is devoted to some of the globe's finest saxophonists. First, Saxophone Summit unites a front-line of Joe Lovano, Dave Liebman and Ravi Coltrane, the latter having the difficult job of replacing a departed Michael Brecker. Some folks might assume that this aggregation is a summer festival dollar- spinner, and I suppose that, realistically, there is some cash involved. Listening to the hornmen's rapport will confirm that this is also a convincing artistic endeavour, particularly with Liebman at the conceptual helm (it's he who appears to be the dominant onstage strategist). This band goes well beyond the saxophone: its tonal spread is widened by various permutations of flutes and bass clarinet, so that the palette is ever- shifting in its emphasis. The soloists are battling with each other, but in the themed sections harmony is paramount. The solos are extended, but filled with development. In the end, all three are nearly equal, but Liebman is off in the heavens, always striving for fleeter and more spiraled lines.
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