RE-RELEASE OF QUEST (mid 1980s):THE NEW SOUND OF BEBOP-STORYVILLE RECORDS
This two CD set combines three recordings that were made in the mid-1980s by the group:
QUEST
II and MIDPOINT featured the group with Dave Liebman(soprano sax);
Richie Beirach(piano); Billy Hart(drums); ROn McClure(bass). Also
included is the duo set of standards DOUBLE EDGE with Beirach and
Liebman. The music here captures the group both live and in the studio
with a repertoire encompassing originals and standards. QUEST was
considered THE New York band of the '80s, a very interactive rhythm
section lead by Liebman's intense soprano style with an emphasis on
chromatic harmony generated by Beirach. Scott Yanow's accompanying liner
notes are extensive.
"Since the time of these recrodinfs,
Liebman, McClure and Beirach have all participated in a countless number
of perfromances, recordings and memorable moments. Happily, all are
quite active as of this writing continuing to add to the legacy of jazz
and improvised music. But even after the passing of more than two
decades, their work with Quest remains among the highpoints of their
careers." Scott Yanow
Twenty five years ago,
one of the era’s most arresting groups was Quest. Growing out of the
partnership between Liebman and pianist Richie Beirach, Quest played a
brand of Coltrane-inspired jazz that was ethereal one moment, funky the
next. Searching for the New Sound of Be-Bop is a two-disc compilation
that includes two Quest albums, Quest II from 1986 and Midpoint, a live
recording from 1987, along with Double Edge, a duo session of standards
Liebman and Beirach made in 1985.
ALL ABOUT JAZZ by JOHN KELMAN
A few minutes of this outstanding and welcome reissue are
all that's needed to hear that the members of Quest had not only found
the sound they were searching for, but were continuing to fight the good
fight of pushing it ever-forward...something that they all continue
doing to this day, both inside and outside the purview of this fine and
now clearly groundbreaking quartet.
Le Jazz Hot (Planet Arts Network)
The New York Repertory Jazz Orchestra conducted by Bill Warfield featuring David Liebman and Vic Juris
1. Le Petite Fleur (1) by Sidney Bechet 2. Le Petite Fleur (2) by S.Bechet 3. Le Creation Du Monde by Darius Milhaud arranged by Bill Warfield 4. Creataloop by Bill Warfield 5. Blues To Bechet by John Coltrane 6. Le Petite Fleur (3) by S.Bechet 7. Variations On A Theme By Frank Poulenc arranged by Bill Warfield 8. Pablo's Story by David Liebman 9. Petite Fleur (4) by S.Bechet
Liner Notes
Why this treatise on an instrument when I should be talking about
Bill Warfield's latest? Because for this, Warfield's self-proclaimed
magnum opus, he has chosen one of jazz's most important proponents on
that instrument, Dave Liebman, to express it. Liebman said that for him
it was Bechet who gave the sporano sax it's own voice. "He played it
like it was supposed to be played, whatever that is." Lieb said. "It's a
difficult instrument. [In the wrong hands it can sound like an oboe.]
Yet it became Bechet's only instrument eventually giving impetus to
Wayne Shorter and myself." Both Lieb and Shorter explore new avenues of
expression. On LE JAZZ HOT Liebman and Warfield give theme and
variations fresh insight.
At first hearing, "Petit Fleus" is a
nice, even a romantic ballad. It's popularity was borne out when it
became a charted hit in the fifties by European Acker Bild. Later Pete
Fountain covered it on clarinet. While quite a beautiful and eminently
hummable - English lyrics have been written- it's not a difficult piece,
excepting the composer's bravura attack. On LE JAZZ HOT "Petit Fleur"
is played no fewer than four times. The entire CD is a conceptual
collection not unlike what Warfield's personal hero Miles Davis did with
Gil Evans. There's a connection there as well; Lieb played in Miles'
avant electric bands. Warfield's penchant for Le Six- Milhaud, Poulenc,
Tailleferre, Honegger, Auric and Durey- adds a French connection to LE
JAZZ HOT.
The title is also French; "Le Jazz Hot" is what they
called our music when it entered Gallic shores during WWI. "Blues to
Bechet" offers an example of what that new music may have sounded like,
updated with Vic Juris' guitar adding spunk. "The idea of the suite is
to create a tone poem that starts at the end of WWI," Warfield said.
"Lieb's solo on the [opening] 'Petit Fleur' is the mourning of the end
of the destruction," he continued. "The second version is a rebirth
which starts with the brass chorale into the beginning of the twenties
in Paris." Warfield gives a reverential bow to Darius Milhaud with his
arrangement of the composer's "Le Creation du Monde" and later to
Francis Poulenc with "Variation on a Theme by Frank Poulenc." [A play on
Duke Ellington's paian to Henry V in his Shakespearean Suite, "Such
Sweet Thunder." The Duke dubbed him "Hank Cinq."] Liebman is on tenor
here. "Creataloop" is a series of variations.
What would twenties
Paris be without Pablo Picasso? "Pablo's Story" is Liebman's dedication
to the master impressionist and father of the abstract. The arrangement,
or as Bill more aptly put it, "envisioned" piece, concludes the tone
poem. He also said that the final version of "Fleur" is an ominous
preview of what's to come in WWII. Warfield sees the piece as something
of a snapshot of European history from 1920 to 1938. "This is a special
project that's near and dear to my heart," he said. "I think it's the
best work I've done." From this side of the speakers that's not idle
braggadocio.
- Arnold Jay Smith. Prof. Jazz History New Jersey City University.
This is an
unusual venture featuring the great saxophonist David Liebman with a
full-blown orchestra under trumpeter Bill Warfield's direction. The band
mostly operates in a Gil Evans Sketches of Spain-era mode, on four
different examinations of New Orleans
soprano-sax pioneer Sidney Bechet's theme Petit Fleur; there are
also jazz spins on Darius Milhaud and Francis Poulenc – references to
Bechet's adopted France.
Liebman delivers the opening account of the principal theme, but
mingles it with probing multiphonics. The band whoops and slews in a
George Russell-like manner on the rocking Creataloop, sidles stealthily
on John Coltrane's Blue for Bechet, simmers romantically on a brass-led
version of Petit Fleur, and swings hard on its Poulenc variations, with
Liebman at his most rugged and forceful on tenor sax.
Lieb Plays Weill (Daybreak Records-Netherlands)
The David Liebman Trio with Marius Beets and Eric Ineke and special guest Jesse van Ruller
1. Mac The Knife (Mackie Messer) 2. This Time Next Year 3. Speak Low 4. What Good Would The Moon Be 5. Here I’ll Stay 6. Liebeslied 7. Let There Be Life, Love and Laughter 8. You’re Far Too Near Me 9. Apple Jack 10. My Ship 11. This Is New 12. September Song
Liner Notes
Kurt Weill could be considered one of the first great eclectic
musicians of the 20th century. He did it all-from twelve tone
Schoenbergian music to Broadway; from “Mac the Knife” to operas; from
Brecht to Lotte Lenya; he was as prolific and contemporary as anyone.
This is even more remarkable if you take into account the dramatic
period of history and upheavals he experienced as a German and then an
expatriate in the U.S. through the first half of the 20th century.
As
jazz musicians we all have played “Speak Low” countless times and on
rarer occasions “September Song” and “This Is New” (used to play that
with Pete LaRoca and Chick Corea). “My Ship” was my flute ballad feature
when I was with Elvin Jones in the early ‘70s and who can forget what
Gil and Miles did with that tune on “Miles Ahead.” I have done a lot of
repertoire over the years, from Porter to Monk to Puccini, etc.; Weill
has been on my list for decades.
Following up our Alec Wilder
tribute in concept (Lieb Plays Wilder – Daybreak DBCHR75214), I
reharmonized and reorganized the music as I saw fit, of course retaining
the melodies and important harmonic highlights. In Weill’s case in
fact, the harmony was so rich and full of surprises, it was like working
with a brother in arms! “Liebeslied” which I have recorded before is
one of my all time favorite tunes and in my research I found some gems I
did not know (“This Time Next Year” for example).
Needless to say
Eric and Marius love to swing out and as well are completely adaptable
to any of the many stylistic turns I like to take. They know the roots
and are great interpreters of any written page. A surprise was Jesse van
Ruller, a first place award winner in the Thelonious Monk Competition,
who played so wonderfully and with whom I hope to work in the future.
Thanks
to Fred for letting this happen and Marius for a really excellent job
on the sound. And to Eric -my soul brother- (ELVIS LIVES!!).
And most of all, to Kurt Weill who left the world so much great music and art.
Dave Liebman September 17, 2008 Stroudsburg, PA USA
Liebman is one of the great contemporary sax improvisers, and a rarity in being an American jazz
musician from the Miles Davis stable who can embrace pretty much all
improv idioms. But lovers of Kurt Weill's classics might blanch at the
thought of such a radical reinterpreter being let loose on such
sanctified material. The later stages of Mac the Knife do find the
unquenchable Liebman drifting further into a world of grunting
double-time bursts and upper-end warbles, but the steady click of Eric
Ineke's cymbals restrain him, and the saxophonist has rarely sounded
more Sonny Rollins-like. Contrastingly, his limpid soprano sax lines
curl delicately around Jesse van Ruller's decisive lines on groovers
like This Time Next Year and Here I'll Stay. Speak Low is unleashed as a
hard-edged, tenor-led swinger full of typical Liebman insinuations, the
resourceful leader plays janglingly free-floating piano on Liebeslied
and My Ship, and the unaccompanied September Song is a short exercise in
seductive solo tenor-sax poetry. Liebman's records aren't usually for
the casual listener, but this one might help a lot of the unconverted to
get the idea.
From Jazzwise Magazine
One
of the privileged few saxmen to have toured with both Miles Davis and
Elvin Jones, Liebman is an imaginative veteran with a technique that
comes out of decades of word and keen ear for the “outside” phrase that
makes the most hackneyed standard sound fresh. Recorded in Holland,
this album of Kurt Weill standards teams him with a brilliant
guitarist, Jesse Van Rulle. Marius Beets, who sound engineered the
session, and the propulsive Ineke complete a classy all Dutch rhythm
section. Van Ruller gells with Liebman remarkably well. His antique
Levin semi-acoustic enhances Liebman’s soprano saxophone on “This Time
Next Year,” recast as a mid tempo bossa and skates smartly through “This
Is New.” Weill’s most used standard, ”Speak Low” is also taken briskly
with Liebman back on tenor and a quote from “Milestones” to bookend the
arrangement. The leader’s piano version of “My Ship” and “Liebeslied,”
the latter a free duet with Ineke’s brushes are a bit of a curiosity but
in general fans should enjoy his trawl through the Weill songbook.
Whether well known (“This Is New,” “September Song”) or less (“Apple
Jack,” Here I’ll Stay”), every Weill theme has a strong melodic logic an
artist like Liebman needs.
From The Yorkshire Post-England
The
masterful saxophonist David Liebman has produced some fine records in
recent years, but this one probably tops them all. It's a stimulating
run through the music of Kurt Weill, one of the greatest of popular song
composers. Liebman moves between tenor, soprano and flute for expansive
readings of the likes of Mack the Knife and Speak Low. He's mostly
accompanied by bassist Marius Beets and drummer Eric Ineke, which gives
him plenty of harmonic space, though guitarist Jesse Van Ruller also
appears. Liebman is on peak form.
Dave Liebman Group Live at MCG (Manchester Crafts Guild Records)
Dave Liebman Group (recorded 1995)
Dave Liebman – soprano Saxophone, wooden flute Phil Markowitz – piano, keyboards Vic Juris – guitar Tony Marino – electric and acoustic Bass Jamey Haddad-drums, hadgini drum
Hear Sample Track
"Beyond The Line"
Track List
1. Maiden Voyage 2. Cut 3. All Blues 4. Mine Is Yours 5. Beyond The Line 6. New Age
Liner Notes
The group on this recording began to play together in 1991. After
having played during the 80’s with Quest - a completely acoustic, hard
core contemporary jazz group that used very little written music
(featuring my long time comrade Richie Beirach on piano), I wanted to
have a more arranged atmosphere with an emphasis on color and rhythm. I
never thought of it as fusion music; just good tunes with rich
harmonies, using the power and colors that synthesizers and electric
guitar could give you. Having a musician and composer with the skills
and artistry of Phil Markowitz in the keyboard chair meant anything was
possible, both acoustically and coloristically. Jamey brought me into a
world where rhythms were not jazz, nor world, nor anything categorical -
just open and interesting. In this version of the Dave Liebman Group,
Vic was the second horn, shading and shadowing me as well as soloing.
(The group became a quartet with only guitar a few years after this
recording and eventually Marko Marcinko replaced Jamey.) Tony as always
does the job no matter what style or instrumental context. We recorded
several CDs with this configuration of my group, but this one
definitely captures the electric and live aspect of what I was doing in
the first half of the 1990’s. The tunes speak for themselves, but I
think that “Mine Is Yours” is one of the greatest compositions I have
heard, operatic in scope. Herbie Hancock’s classic “Maiden Voyage” was
the first tune that I know of which stayed inside suspended harmony for
its entire structure as well as incorporating a hip ostinato rhythm,
both of which were points of departure for my adaptation. The same can
be said for “All Blues” with a line in eleven and some different
harmonic colors. “Beyond the Line” and “New Age” are two tunes with a
preponderance of major chords, a class of harmony that I don’t use in my
writing often. And “Cut” is one of the most rocking tunes in ¾ you are
ever likely to hear!! I am grateful that Marty Ashby and Manchester
Craftsmen's Guild were able to capture this documentation of an
important stage of my musical journey.
David Liebman Group | MCG Jazz (2009) By John Kelman Managing Editor :
It
may not possess the same visibility as other longstanding groups like
the Dave Holland Quintet or Oregon, and saxophonist Dave Liebman's Group
hasn't completely avoided flux. Marko Marcinko replaced drummer Jamey
Haddad a few years back, and Phil Markowitz's departure trimmed the
group from a quintet to a quartet, even though the keyboardist continues
collaborating with Liebman to this day, most recently on Saxophone
Summit's Seraphic Light (Telarc, 2008). Bassist Tony Marino and
guitarist Vic Juris remain to this day, contributing to David Liebman
Group's reputation as one of the most thrilling live groups going.
The Miles Davis/Gil Evans Collaborations(Jazz Heads Records)
Manhattan School of Music Jazz Orchestra
Hear Sample Track
"Summertime"
Track List
1. Springsville 2. The Maids of Cadiz 3. The Duke 4. My Ship 5. Miles Ahead 6. Blues for Pablo 7. New Rhumba 8. The Meaning of The Blues 9. Lament 10. I Don't Wanna Be Kissed
Porgy and Bess Live
1. The Buzzard Song 2. Bess, You Is My Woman Now 3. Gone 4. Gone, Gone, Gone 5. Summertime 6. Oh, Bess, Oh Where's My Bess 7. Prayer 8. Fisherman, Strawberry and Devil Crab 9. My Man's Gone Now 10. It Ain't Necessarily So 11. Here Comes de Honey Man 12. I Loves You, Porgy 13. There's a Boat That's Leaving Soon For New York
Sketches of Spain Live
1. Concierto De Aranjuez 2. Will O' The Wisp 3. The Pan Piper 4. Saeta 5. Solea
Liner Notes
I'm sure that when Miles Davis and Gil Evans recorded Miles Ahead in 1957, they weren't thinking that it would eventually lead to a trip of classic collaborations, with the addition of Porgy and Bess, and Sketches of Spain.
Or, after having achieved this trifecta, they would have imagined that
five decades later these works would become vehicles for new
interpretations by other soloists.
Fortunately, this music has
found new life in other hands. Among the most noteworthy renderings are
the joint efforts of Dave Liebmand and Justin DiCioccio, who have
performed these masterworks, and recorded them live, one CD at a time,
between 2003 and 2009. Now they have been brought together under one
roof, so to speak, and that is a very good thing.
We learn from
Liebman's opening remarks here that it was not until after he and
DiCioccio decided to release the concert performance of Sketches of Spain that "in our minds was the temptation to go the distance with the entire tryptich."
By
accepting that daunting challenge with an individualistc, interpretive
power, Dave broadened and deepened his artistic core as an
improvisational musician.
As overseer of these projects, Justin
DiCioccio is to be highly commended for his insightful efforts. However,
it goes beyond that. The professional excellence of the Manhattan
School of Music Jazz Orchestra reflects directly on his abilities as a
conductor, while also relating to his overall guidance as Chairman of
the Jazz Arts Program and, in turn, to the estimable teachers of that
program.
Ira Gitler
New York, New York, 2009
With
the release of this set, I can accurately say that closure has been
accomplished. For a performer that represents a very positive feeling.
When Justing and I started this cycle, deciding to release the live Sketches of Spain
concert presented at Manhattan School of Music nearly a decade ago, we
were already tempted to go the distance with the entire triptych. One
more live performance (no second takes!!) of Miles Ahead, and a recording session of Porgy and Bess
completed the work. I am very appreciative that Jazzheads agreed to
release the music as a whole. And of course, my sincerest gratitude goes
to all the students over the years who have contributed. We all went
beyond the "educational" aspect of a school activity and entered the
realm of art.
As I have noted previously, playing the part of
Miles Davis created a challenge unlike any other, primarily because he
was such a major stylist with a definitive musical personality.
Employing the soprano sax as the main voice surely allowed me some
freedom, but most of all there was my inner voice, mantra-like,
reminding me to keep it simple and straight ahead, allowing the music
that Gil composed to be the mail focal point. I can recall countless
philosophical discussions with both mentors and peers over the years
about letting the music itself determine the course of events, trusting
and not having to put anything on it. To the best of my abilities, I
tried to let the music guide me, blending into the writing and following
the flow, as Miles did so well. Of course, what incredible music to be
playing over- the colors, the harmony and the mood beyond descruption.
This was one of the great experiences of my musical lige and a privilege
to be a part of. My eternal thanks to Justin, who truly knows how to
bring the music and, even more, the bibrations all together, every time.
Understandably, some listeners who are suspicious
of the jazz-as-repertory-music approach will
wonder why Sketches of Spain needed to be revisited.
But here’s the good news: Sketches of Spain Live
is about
interpretation, not emulation. Liebman, DiCioccio
and the MSM Jazz Orchestra are smart enough to
avoid making an exact replica of Davis’ classic.
Relevance (Red Toucan Records-Canada)
Dave Liebman-tenor and soprano saxophones, wooden flute Evan Praker-tenor and soprano saxophones Tony Bianco-drums
Recorded live at the Vortex,London England, Jan 27 2008
Hear Sample Track
"Relevance", Set 2
Track List
1. Relevance (First Set) Part I- 23:46
2. Relevance, Part II- 12:18
3. Relevance (Second Set) Part III- 27:27
4. Relevance, Part IV- 10:02
Liner Notes
After decades of playing with musicians from the famous to the esoteric to relatively unknown, there still exists for me a wish list of those who for one reason or another I haven’t performed or recorded with. Near the top of my list was saxophonist Evan Parker. With the help of an old friend and compatriot, Tony Bianco, we were able to arrange a gig at the Vortex in London for the BBC. Of course I have always had the utmost respect for Evan’s art, his unique technical mastery and longstanding reputation as one of the masters of the free jazz idiom. As would be expected for such an occasion we said hello, went directly to the stage and improvised two sets. I will remember this evening as one of my best experiences with a peer saxophonist. Tony as always provided the perfect flowing and consistent “carpet” for us to commune together.
As Evan and I both evolved from the Coltrane aesthetic, I think that this meeting could be seen in some ways as similar to the encounter we all know of Newk and Trane on “Tenor Madness” (1957) — different approaches to a common language. (I would imagine to dedicated jazz listeners, this meeting will also be of some historical value.)
Thanks to Robert Abel at the BBC for his cooperation in getting the music released; to Ali at the Vortex which is a great venue for just such events to occur; and most of all to Evan and Tony for their incredible energy and spirit.
ALL ABOUT JAZZ Free, volatile and airily becoming, Liebman, Parker and Bianco pack it all in spades.
CADENCE MAGAZINE
The two-way dialog Dave and Evan get going is rather breathtaking and Bianco is perfectly irrepressible, insatiable in his stoking of the flames. Those that don’t care for the all-stops-open hoot-out should stay away from this one. Others will find some of the best playing on record for both saxophonists. Now that’s saying something. Liebman’s chromatic mastery and sound color control is something to hear and Evan continues at the top of his game. Simply ravishing!
PARIS TRANSATLANTIC
According to Dave Liebman's liners on Relevance, he's wanted to play with Evan Parker for a long time, and as Parker has always shown a willingness to make new musical acquaintances on the bandstand (witness the various lineups of his recent two-week stint at The Stone in New York), drummer Bianco accordingly arranged a January 27, 2008 performance at the Vortex.
ALL ABOUT JAZZ
Relevance offers one of the most spectacular examples of unrestrained tenor—and soprano—madness since John Coltrane recorded with Pharoah Sanders. Instructively it's difficult to tell one reedist from the other, a fact that is unsurprising since both men's styles initially derive from Trane. While the duets are linear, any fireworks expressed are kept within the creative framework by the solid rolls, pops and jagged rebounds of Bianco. From the beginning it's likely Liebman on tenor who latches onto hocketing squeaks and extended vibrato runs while Parker's tenor playing evolves from irregular diaphragm-forced runs to reed biting. More moderato on sopranos, the two create in double counterpoint. Only in the second set does Parker use circular breathing; in response Liebman unrolls throat-tightening dissonance and triple-tonguing. Before switching back to tenors for an additional layer of contrapuntal contours, one saxophonist sounds an adagio tone that could come from a country blues fiddle.
ALL ABOUT JAZZ
It is hard to imagine that these two saxophone titans, Dave Liebman and Evan Parker, had never met on stage before this 2008 concert at The Vortex in London. Both are innovators with a distinct, almost larger than life sound and they combine forces to make this meeting very special.
FREE JAZZ BLOGSPOT
Saxophonist Dave Liebman is an absolute sax virtuoso, but his stylistic range is so wide, and his musical appetites so broad, that you never know what you get when you buy his albums : the music can be mellow and bland, new-agey superficial, yet equally creative or adventurous.
MUSIC WORKS
While their soprano saxophones provide passages of light and reflection, it’s the dark intensity of the tenor exchanges that is most memorable in one of the year’s most impassioned releases.
Five On One (Pirouet Records-Germany)
John Abercrombie- Guitar
Drew Gress- Bass
Marc Copland- Piano
David Liebman- Tenor and Soprano Saxophones
Billy
Hart- Drums
Hear Sample Track
"Lost Horizon"
Track List
1. Sendup (John Abercrombie)
2. Like It Never Was (Drew Gress)
3.
Childmoon Smile (Marc Copland)
4. Four On One (John Abercrombie)
5.
Lost Horizon (Caris Visentin, David Liebman)
6. Retractable Cell
(John Abercrombie)
7. My Refrain (Drew Gress)
8. Lullaby For IMKE (Billy
Hart)
9. You And The Night And The Music (Arthur Schwartz, Howard
Dietz)
If, indeed, albums
are living breathing beings—and this might well be so—then the beating
heart of Five on One, by the marvelous Contact ensemble, is "Lost
Horizon," a mighty, burbling piece of music that appears to come from a
cornucopia of modern sound. It is mysterious, magical and hypnotic, and
brings waves of sound that lap incessantly into the inner ear with that
warm undertow made memorable by five of the most eminent musicians of
this day. Incandescent saxophonist Dave Liebman melds undulating sound
with the mellifluous tonal palette of guitarist John Abercrombie.
ALL
ABOUT JAZZ
By
Joel Roberts
5 on One is the debut album by what can
only be called a supergroup of progressive jazz luminaries: soprano and tenor
saxophonist Dave Liebman, guitarist John Abercrombie, pianist Marc Copland,
bassist Drew Gress and drummer Billy Hart. While the members of the quintet,
recording under the name Contact, have never played together as a group before,
they’re far from strangers.
ALL ABOUT JAZZ
by Troy Collins
Five on One
features five of the most renowned artists in modern jazz working
together as a cooperative ensemble under the name Contact. Saxophonist Dave Liebman, guitarist John Abercrombie, pianist Marc Copland, bassist Drew Gress and drummer Billy Hart
transcend the aesthetic limitations of many similar all-star gatherings
with their complementary sensibilities, garnered over the years in
various configurations.
ALL ABOUT JAZZ
by Dan Bilawsky
The
practice of forming super groups in jazz can be fraught with disaster.
Festival promoters often try to draw audiences by lumping musicians
together in all-star settings, but a lack of chemistry, familiarity,
common ground or interest, often turns these events into yawn-inducing
bores. All four of these boundaries, thankfully, don't come into play
with Contact—the collaborative quintet responsible for Five On One.
ALL ABOUT JAZZ
by Dan McClenaghan
The
band called Contact is about as all-star an affair as can be found in
modern jazz, and it's hard to imagine any serious listener not having a
favorite among the players, whether it's saxophonist and renaissance man
Dave Liebman, pianist Marc Copland—whose marvelous New York Trio Recordings pushed his profile up closer to where it belongs—ECM Records stalwart/guitarist John Abercrombie, veteran drummer Billy Hart, or ubiquitous super sideman/bassist Drew Gress. Five on One burns brightly, with a highly cohesive chamber ensemble sound, with no star outshining the others.
STEP TEMPEST(internet)
By Richard Kamins
Contact is composed of five master musicians - Dave Liebman (tenor & soprano saxophones), Marc Copland (piano), John Abercrombie (guitar), Drew Gress (bass) and Billy Hart
(drums) each has been on the "scene" for a good while. Everyone
contributes, at least, one original piece and they save the one
standard, "You and the Night and the Music" for the final
track.
JAZZCHICAGO.NET
by Brad Walseth
Talk
about your supergroups: the five members of Contact: saxophonist Dave
Liebman, guitarist John Abercrombie, pianist Marc Copland, drummer Billy
Hart and bassist Drew Gress, have played together in various
incarnations over the years, but this is the first occasion all five
have been involved together in a recording - and it is a welcome moment
for jazz fans indeed. Abercrombie's "Sendup" starts things off brightly -
Liebman's glorious soprano sax floating above Abercrombie's intricate
knots and Copland's piano sheen. Gress - the youngest member - is
especially vibrant, while Hart displays his veteran touch on this jaunty
number.
ALL ABOUT JAZZ
By John Kelman
They've played together in various permutations and combinations, but Five on One represents the first time they've joined together as a discrete unit. Reconvening the Second Look (Savoy, 1996) quartet—which comprises four-fifths of Contact— pianist Marc Copland proved you can go back again with Another Place (Pirouet, 2009).
NO TREBLE MAGAZINE
by Phil Wain
There
is some delightful music here rewarding an active listener with its
subtle inventions and interactions. The atmosphere is mostly fairly
restrained: no “passionate” show-boating, few extremes of mood, just
inventive and beautiful music. You might not have heard of Contact but
you have heard of some of the musicians: Dave Liebman, Billy Hart and
John Abercrombie.
AUDIOHILE AUDITION
by Doug Simpson
While Five on One
might seem like a professional wrestling pile-up or a hockey power
play, it actually refers to five masterful musicians joined together for
the first time on one album: saxophonist Dave Liebman, guitarist John
Abercrombie, pianist Marc Copland, bassist Drew Gress and drummer Billy
Hart. Five on One is also a sly nod to John Abercrombie’s piece in this collection, “Four on One.”
