Dave Liebman

Dave Liebman - First Visit (1973) {West Wind WW 2067 rel 1991}
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© 1973, 1991 West Wind | WW 2067
Jazz / Post Bop / Saxophone

First Visit is an album by saxophonist David Liebman which was recorded in Tokyo in 1973 and originally released on the Japanese Philips label before being reissued by West 54 Records in 1980 and on CD by West Wind Records in 1991.

Dave Liebman - Drum Ode (1974) {ECM 1046}
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© 1974 ECM Records | ECM 1046
Jazz / Post Bop / Saxophone / Percussion

A thunderous recording by saxophonist Liebman from the year 1974. Here the American saxophonist - and friends Abercrombie and Beirach - are flanked by no less than eight drummers and percussionists. To listen to 'Drum Ode' is to swim in waves of rhythms, cross-rhythms, polyrhythms, to be carried along by tidal beats. At the time when he made 'Drum Ode', Liebman was playing with the Miles Davis Group in its most electric/tribal groove period, and Miles's influence is clearly discernible here.

Saxophonist and educator David Liebman is a forward-thinking artist whose advanced improvisational style and association with trumpeter Miles Davis in the '70s combined to make him one of the most influential and successful jazz musicians of his generation. Heavily influenced by John Coltrane, Liebman has moved from tenor saxophone to soprano and flute throughout his career and more often than not played in a progressive, post-bop style that touched on fusion and avant-garde jazz.

Saxophonist and educator David Liebman is a forward-thinking artist whose advanced improvisational style has made him one of the most influential and successful jazz musicians of his generation.

David Liebman Group - Blues All Ways (2007) {OmniTone 12208}
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© 2007 OmniTone Inc. | 12208
Jazz / Progressive Jazz / Modern Creative / Saxophone

While the blues is one of the clearest roots of conventional jazz tradition, few but saxophonist Dave Liebman could release an album that covers as many stylistic bases as Blues All Ways. There's good reason why Liebman can create a blues homage ranging from the 7/4 Memphis shuffle of "Elvis the Pelvis" and lithe, harmonically sophisticated swinger "Down Time" to the ethereal "Riz's Blues." With a quartet with this much shared history, the saxophonist has a lean but highly flexible unit that can not only handle anything he throws at it, but can lob more than a few surprises back at him. Any release from this group is worth hearing but Blues All Ways, like the largely undiscovered masterpiece Conversation (Sunnyside, 2003), stands out amongst its growing discography.