Those fortunate enough to have witnessed more than one of the American saxophonist David Liebman's recent UK performances reported that his shows were remarkably different from night to night. Liebman, whose reputation rose in the 70s when he was hired by Miles Davis for the trumpeter's early crossover adventures, has been developing in the 90s as an immensely sophisticated performer of a Coltranesque persuasion. Yet his public profile (despite Downbeat heralding him as "one of the most important saxophonists in contemporary music") remains modest compared to Michael Brecker's or Joshua Redman's. Maybe that's due to change.
Liebman's current quartet has stayed together for much of the past decade and in its alertness and ensemble cohesiveness it sounds like it. A fine guitarist, Vic Juris proved himself to be just as adventurous as his boss, and just as adept at occupying idiosyncratic spaces somewhere between loose improvisation and familiar idioms. When Liebman called for an Elvis tribute, hurling himself into a ferocious free-tenor barrage over drummer Jamey Hadad's headlong rock'n'roll beat, Juris played a string of riffs the 50s Nashville session guitarists would have been proud of. His own solo, echoing John Scofield in its muscular chording, was full of left-field phrasing and unexpected turns. Then he became reflective on Wayne Shorter's Fall, a smoky ballad that Liebman gracefully embellished with softly elided sounds and meticulous control of tone.
The band took on Miles Davis's classic All Blues at a fast, funky clip, with Liebman initially stretching its minimalism on soprano saxophone, and Hadad's drumming intensifying to a storm of polyrhythms that were forceful and springy at once. The leader took a second and more abrasive solo on tenor, and when he returned to the familiar theme it was to pack its phrasing with laconic mutterings and glittery trills. Hadad then abandoned the regular kit for a spectacular Airto Moreira-like percussion display on Coltrane's The Drum Thing, and Liebman continued the tribute to his biggest influence with My Favourite Things, which drew a solo of harmonic adventurousness coupled with a driving, metallic urgency. A lot of the material may be familiar, but this is a band that gives the notion "cutting-edge" some resonance. Fortunately, Liebman seemed to enjoy working here enough to want an immediate invitation back.
***** Unmissable **** Recommended *** Enjoyable ** Mediocre * Terrible
