Dave Liebman: What It Is - The Life of a Jazz Artist
As a performer, another defining aspect to Liebman is his acknowledgment and, even more so, acceptance of jazz in Europe as being a different but absolutely valid beastsomething that may stem from the American tradition, but possesses its own legs and a different approach. Collaborating with everyone from from Swedish bassist Lars Danielsson and pianist Bobo Stenson to the Italian quartet of Dream of Nite (Verve, 2007), with pianist Roberto Tarenzi, bassist Paolo Benedettini and drummer Tony Arco, rather than putting up barriers, Liebman's life has clearly been about breaking them down.
With a life like Liebman's, there's no shortage of anecdotes, from some surprising (but unsurprisingly astute and revelatory) comments about his collaboration with guitarist Pat Metheny on Elements: Water (Arkadia, 1999), to the challenges of being the only white player in Miles Davis' group at a time when "the colors of the Yamaha equipment on the stage were painted red, black, and green stripes, the flag of the Black Panthers." Liebman has never been shy to criticize, and has plenty to say about artists who sell out for a quick buckwhile, at the same time, recognizing that were he offered a certain fee, he might do it toobut he's equally quick to turn that critical eye upon himself, in a manner that lends unequivocal credibility to everything he says. He's also quick to praise, and there's plenty of that, too, in particular about the members of his current Dave Liebman Groupguitarist Vic Juris, bassist Tony Marino and drummer Marko Marcinko.
And it's praise well-deserved, though it may be a stretch to think of Liebman the way he positions himself with the group:
Tony is very quiet. Vic reacts to Marko and it's great. I'm like kind of the outsider, 'cause I'm the old man.
In truth, a Dave Liebman Group giglike his two-night stretch at Café Paradiso in Ottawa, Canada, in 2011sounds, with eyes closed, like a group of younger players, because Liebman refuses do anything but keep on top of where the music is going, without ever losing touch with the foundations that make it what it is:
Each generation added something and I didn't want to get behind. Not a lot of guys from my generation do it that well. It's a way of hearing, and like anything, concepts come easier when you are young, meaning learning it when you are older is a challenge. I'm not going to tell you I'm as good as Steve Coleman is at it, or as my students, but I must say that at my ripe age I can get by with this crazy shit, more or less. Do I enjoy it as much and all that? That's a different discussion, an aesthetic one. But I want to be able to get on a gig and do it, not be just likeHe only plays 'All the Things You Are.' I don't want to be the old man, you know. That's an ego thing, besides musicalyou don't want to be typecast.
A confluence of confidence and humilitycompletely aware of what he's good at and where he needs work but, with the mind of a problem solver, always seemingly capable of addressing his challenges and moving forwardLiebman may be approaching septuagenarian status, but he still has plenty of plans and the energy, drive and work ethic to make them happen. Equal parts captivating autobiography and inspirational "you can do it too" guidebook, What It Is is just that. From Dave Liebman, you'd not expect anything less.
Page 2: Dave Kaufman
Page 3: John R. Fowler