Liebman played on Davis' On the Corner (Legacy, 1972)—a dense album that, amongst its repetitive grooves as well as flat-out sonic assaults, was i of the trumpeter's almost audacious as well as controversial recordings. Augmenting his electrical current quartet amongst ii guests—guitarist (and Davis alumnus) Mike Stern as well as electrical contrabassist Anthony Jackson—Liebman has expanded his sonic capabilities, only the overall approach is filled amongst a infinite and, at times, calm rarely heard inwards Miles' mid-'70s music.
Unlike other tributes, there's no trumpet here, as well as the emphasis is on master copy material. The studio versions of the ii Davis tracks Liebman has selected are ones that he didn't perform on record, though he did play them inwards performance. "Black Satin" rocks as difficult as Miles ever did, only breathes to a greater extent than inwards the process; "IFE" is a slower, greasier convey where Vic Juris in i trial once again demonstrates his remarkable versatility as well as incomprehensible lay as i of jazz's almost undervalued guitarists.
Liebman may live known for his fiery intensity—and he delivers enough of it on tracks similar the swinging "5th Street" as well as Latin-esque "New Mambo," where, next an every bit powerful solo from Stern, he goes it lone amongst drummer Marko Marcinko earlier the residue of the grouping gradually re-enters. Both tracks likewise signal to Liebman as a author of greater detail. There's ample solo infinite throughout the album as well as a rigid emphasis on groove. But Liebman writes to a greater extent than clearly delineated heads, which furnish a greater focal signal for the residue of the group.
Perhaps the biggest revelation is "Bela," a tranquil, classically informed note poesy form that features a lyrical bass solo from Tony Marino as well as some elegant tradeoffs betwixt Stern as well as Juris. The reference to Miles may look subtle given the fourth dimension menses when Liebman worked amongst him, only Miles e'er respected spare economic scheme as well as classicism. "Bela" is i of the almost vulnerable as well as delicate pieces Liebman has every written, though the tenuous groove of "Mesa D'Espana" is a unopen second.
What makes Back on the Corner special is its avoidance of literal homage. Instead, Liebman demonstrates the rattling particular trial that Miles had on him inwards ways that may bespeak a niggling searching. Liebman has e'er spoken amongst his ain voice, only dig deep into Miles, as well as Liebman's honor on Back on the Corner becomes crystal clear.
While listening to saxophonist Dave Liebman's 2007 release, Back on the Corner, it's pretty darn difficult non to intend of Miles Davis' groundbreaking early-'70s fusion period. And in that place are obvious reasons for this: firstly, Liebman truly played amongst Davis at i signal (appearing on Davis' 1973 release, On the Corner), some other Davis sideman plays throughout the album (guitarist Mike Stern), as well as lastly, ii of the compositions were penned past times Davis himself. Joining Liebman as well as Stern is renowned sessionman Anthony Jackson on contrabass, summation Liebman's ain band of the final xv years (bassist Tony Marino, guitarist Vic Juris, as well as drummer Marko Marcinko). And the grouping admirably replicates the audio as well as experience of all those classic fusion releases of the early on '70s (no Spyro Gyra-esque blahness here), specially on the aforementioned Davis-penned tracks, "Ife" as well as the downright funky "Black Satin," as good as the laid-back album opener, "5th Street," as well as some other funk workout, the properly titled "J.B. Meets Sly." If y'all intend that vintage-sounding fusion is dead as well as gone circa the early on 21st century, Dave Liebman's Back on the Corner should alter your mind.
Saxophonist Dave Liebman started his 18-month tenure amongst Miles Davis inwards 1972 past times recording tracks for On the Corner, the trumpeter’s nod to funk artists James Brown as well as Sly & the Family Stone. On Back on the Corner, Liebman revisits the spirit of that oft-debated recording without rehashing it rail past times track, as well as gets ample back upward from guitarist (and beau Miles alum) Mike Stern as well as bassist Anthony Jackson.
The invitee stars’ contributions are matched past times Liebman’s 15-year-old working band of guitarist Vic Juris, bassist Tony Marino as well as drummer Marko Marcinko. They propel Stern’s epic solo on an energized “Black Satin,” the lone rail from On the Corner. The other Davis composition, the strutting “Ife,” features Liebman’s soprano darting roughly Juris’ chiming chords as well as Marino’s Chapman stick.
All other compositions are past times Liebman, as well as they encompass several dissimilar musical corners. “5th Street” opens the CD amongst surprising tranquility, a stark contrast to the 20-minute “On the Corner” medley that led off the album that inspired this one. Marcinko’s drum solo segues into “New Mambo,” an odd-timed showcase for the interplay betwixt Stern’s guitar as well as Liebman’s tenor. Juris’ acoustic guitar interlude leads into the moody “Mesa D’Espana,” which features Liebman on soprano as well as wooden flute. Only the closing “J.B. Meets Sly/5th Street Reprise” recalls the hyperactive funk of On the Corner. Lesser artists mightiness take away maintain tried to predictably recreate that disc verbatim, only Liebman proves that he learned a valuable lesson during those eighteen months: Doing the expected was never Miles’ style, either.
Track Listing:
1. fifth Street
2. Ife
3. Bass Interlude
4. Black Satin
5. Bela
6. Drum Interlude
7. New Mambo
8. Acoustic Guitar Interlude
9. Mesa D’Espana
10. Electric Guitar Interlude
11. J.B. Meets Sly/5th Street Reprise
Personnel:
Dave Liebman: tenor as well as soprano saxophones, piano, synthesizer, wooden flute;
Mike Stern: electrical guitar;
Anthony Jackson: contrabass guitar;
Vic Juris: electrical as well as acoustic guitar;
Tony Marino: acoustic, electrical as well as stick bass;
Marko Marcinko: drums, percussion.
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