Sax great David Liebman, multitalented percussionist, bandleader Adam Rudolph and prominent Japanese percussionist Tatsuya Nakatani project an otherworldly, Uber world jazz tome on this recording of spontaneous compositions, where song titles were appended by Rudolph as he listened to the track mix. Thanks to the crystalline audio characteristics, the production offers a very detailed soundstage.
The percussionists employ an arsenal of Eastern and Western instruments, aside from Rudolph's live electronic processing maneuvers as the music encompasses an electro-organic platform with sacred passages and other movements where caricatures of the Amazon jungle crossed my mind. Moreover, the trio delves into twoand three-way exchanges which is a component that elevates the interest level, as they pepper and mimic each other via fast-paced conversations and unorthodox rhythmic explosions.
Liebman's screeching soprano sax lines aggressively contrast the background EFX and Rudolph's nimble percussion motif on "The Unknowable." Other movements are offset by Nakatani's shrilling metal percussion sounds that often cut into these improvisations with silvery tonalities as other bizarre episodes develop with creaky sound-sculpting passages and renegade storylines. But Liebman launches a fierce bop tirade atop rolling and pummeling cadences on "Present Time."
"Premonition" features Liebman's free-form tenor sax phrasings, complete with plaintive cries, heightened by Nakatani's buoyant drumming and Rudolph's brash accents. Here, the band gels to an ultra-progressive tribal ritual. Nonetheless, the program whizzes by, partly due to the musicians' highly energized activity levels. It's an album that transcends many or perhaps most world jazz type endeavors as the trio pushes the envelope, yielding an atypical sequence of stirring musical events from start to finish.
Track Listing: Benediction (Opening); The Simple Truth; Late Moon; The Unknowable; Skyway Dream;
Transmutations; The Turning; Present Time; Distant Twilight; Iconographic; Cosmogram; Premonition;
Personnel: Dave Liebman: tenor and soprano saxophones, C flute, Native American flute, recorder, piri, Fender
Rhodes (10); Tatsuya Nakatani: drum kit, gongs, metal percussion, percussion; Adam Rudolph:
handrumset (kongos, djembe, tarija, zabumba), thumb piano, sinter, mbuti harp, slit drum,
percussion, overtone flutes, Fender Rhodes (11), live electronic processing.
I was first exposed to Jazz when a couple of dear friends of mine turned me onto it around 1971. I was already into Progressive music, R n' B, Soul, Motown, Latin Rock and other styles that were a great ladder to Jazz
I was first exposed to Jazz when a couple of dear friends of mine turned me onto it around 1971. I was already into Progressive music, R n' B, Soul, Motown, Latin Rock and other styles that were a great ladder to Jazz.
Being a Musician myself, (Lead Guitar/Bass Guitar), I studied at the Dick Grove School of Music with Dick Grove, Jeff Richman and Lee Ritenour. This was around '84-'85. I started playing the Guitar in November 1967. Playing Guitar came quite naturally to me thank goodness. Though I spent hours upon hours practicing while my school buddies were doing Sports.
It was in the early '70s that I really got into Jazz, Jazz Rock, Jazz Fusion and World Music. Seeing Weather Report, Miles Davis, Wayne Shorter, Larry Carlton, Steely Dan, John McLaughlin and the Mahavishnu Orchestra, RTF, Herbie Hancock and the Headhunters, VSOP, Freddie Hubbard and so many, many more amazing artists opened my eyes to the beauty and eloquent nature of Jazz. I really love the brilliant ensemble playing that is in Jazz!!
When I play and write music, it blends so many style together. Many fans ask me why my playing sounds so jazzy. It's because I understand Blue Notes, the phrasing, the tonality, time signatures and more. I can also play Rock, Folk, Soul, R n' B and other styles too. I seem to gravitate more and more as I get older to a jazzier style. Currently I'm 62 years old. I have released 2 CDs world-wide. Working on my 3rd.
I also teach Guitar/Bass/Music Theory to my students. They range from 6 years old to much, much older. (I was hired by the City of Aurora, CO to teach ages 6-13 specifically). Currently I teach 41 children in 5 classes. Additionally another 7 private students.
My wife, Meesh, and I love Jazz dearly. It was one of the things that we share together!
Most of the people that I know today do not get jazz. I try to explain what to listen for, but many times the music of Jazz is a bit much for them. So be it.
In a nutshell, I live, breath and listen to Music 24/7. No TV except the Food Channel and Weather.
I love John Kelman's articles. They are so insightful and well-constructed!
Thank you all for doing what you do.