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Jazz Articles about Dave Liebman

8
Album Review

David Liebman, Jeff Williams: In Duo

Read "In Duo" reviewed by Neil Duggan


There is a wonderful hidden treasure trove of jazz recordings which keep being unearthed from old radio broadcasts, forgotten corners of attics or, in this case, boxes of old cassette tapes. Drummer Jeff Williams was delving through some old cassettes made during his extensive career. He found a recording from an improvisational session he made in 1991 with saxophonist Dave Liebman. The recording was made at a session at Bar Room 432, on the West Side of 14th Street in ...

2
Album Review

Dave Liebman: Live at Smalls

Read "Live at Smalls" reviewed by Alberto Bazzurro


Tre ampi brani per un totale che supera di un po' i settanta minuti di musica tirata e vibrante, colta dal vivo nel gennaio 2022 al celebre jazz club newyorchese, compongono questo notevole nuovo lavoro di Dave Liebman, una delle presenze più significative (e incidenti) della scena jazzistica ormai da oltre quarant'anni. Il gruppo protagonista dell'incisione, del resto, è di prima grandezza, a partire dal pirotecnico (ma mai per miracol mostrare, come si suol dire) trombettista Peter Evans, che si ...

2
Album Review

JD Walter: What the World Needs Now

Read "What the World Needs Now" reviewed by Pierre Giroux


JD Walter beckons listeners into a soulful and captivating journey through modern jazz interpretations of non-jazz material. With his unique vocal stylings and innovative arrangements, he brings a fresh perspective to familiar popular tunes, and several jazz standards, while delivering thought-provoking original compositions. From the very first track--Stevie Wonder's “Golden Lady"--it is evident that Walter's vocal prowess is a force to be reckoned with. He dashes along in full flight and then effortlessly shifts into intricate ...

7
Album Review

Funkwrench Blues: Soundtrack For A Film Without Pictures

Read "Soundtrack For A Film Without Pictures" reviewed by Chris May


Once upon a time it was hard to walk into an arthouse cinema without bumping into a jazz soundtrack. Miles Davis' for Louis Malle's Ascenseur Pour L'échafaud (1958), Charles Mingus' for John Cassavetes' Shadows (1959), Krzysztof Komeda's for Roman Polanski's Knife In The Water (1962) were among a legion of similarly inclined endeavours. But all that was a long time ago in a galaxy far, far away. In the 2020s, if you want to hear a freshly ...

13
Liner Notes

Marc Copland: Impressions

Read "Marc Copland: Impressions" reviewed by John Kelman


Solo performances may approach presenting an artist at his or her most vulnerable, but it's in the context of the duo that they're the most exposed. Not only are their abilities, instincts and improvisational élan laid bare, but their communication skills, at the deepest level, are impossible to disguise. The good news is that, were pianist Marc Copland and saxophonist Dave Liebman in Hans Christian Andersen's famous children's story, “The Emperor's New Clothes," there'd be no child crying out, “But ...

8
Liner Notes

Machine Mass: Inti

Read "Machine Mass: Inti" reviewed by John Kelman


One of music's most remarkable qualities is its ability to provide a context for expression of otherwise indescribable feelings. The genesis of Machine Mass Trio came at a time of duress for Tony Bianco, the expat American drummer who, since relocating to Europe in the mid-1990s, has performed with A-list improvising musicians including Elton Dean, Evan Parker and Alexander Von Schlippenbach. He's also a charter member of douBt, alongside fellow MMT mate, Belgian guitarist {Michel Delville. “My wife ...

5
Album Review

Dan Costa: Beams

Read "Beams" reviewed by Craig Arthur


UK-born pianist Dan Costa plays and composes in the impressionistic tradition of Bill Evans, acoustic Herbie Hancock, Chick Corea or Marcin Wasilewski. It is a style that lends itself well to the alchemy of turning light into music, music into light. And his subject matter of choice on Beams, like that of an impressionist painter, is indeed light. He describes the album as “a celebration of light in some key physical and metaphysical forms." Light is like water, ...


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