The perpetual motion of the sound or the dynamism of the convulsive soprano sax

…Then when you get the sound vibrates
the most comprehensive of the hymns…"

Catalina Bustamante.

The perpetual motion of the sound or the dynamism of the convulsive soprano sax. This is Dave Liebman, interpreter and artist, in the sense that lives and plays in full. Customizes your loudness philosophy. It is their raison d'être. Your voice is instrumental as a figure tender and violent that arises in the space. The monarchy of its sound (for his distinctive force), deeply offends me, touches me physically.

The instance of its music is genuine revolt, style developed from a very early age: "Her mother who is passionate about music, which makes him take piano lessons from the age of nine years. Soon studying the clarinet and then the sax. There is no more than fourteen years old when he took his first concerts." (1) its artistic and spiritual father was John Coltrane. Says Dave: " In Coltrane had something spiritual, a value that is beyond words, a committed to the music, a sincerity, a depth, a seriousness that i valued above all. It was truly the thrust force that prompted me to play both emotionally and inspiration" (2).

In this cd of Charles Evans "Subliminal Leaps", in the company of Ron Stabinsky at the piano, Tony Marino to the low and the young Charles Evans in the baritone sax, Liebman shows its identity: phrasing extensive, torn, vigorous. A quartet that offers us designed themes in a delicate calm, but that seems to be been predicting any tragedy. There is suspense in it.

In "Dream-out March", the baritone and soprano, in beautiful chorus, it also presents a dialog imperative and intense, which stresses that secret alien to musical conventions: improvisation lyrical of winds that move in its force of ideas. "Playful function that involves all the opposite of distraction: activity and collaboration of the listener. (3)

"Certain Soprano" appreciate the double bass set the pace in your guideline paused before a bright soprano of lukewarmness in his phrasing, encantatorio, without hypertrophies, relaxed atmosphere, for data entry, without pause, the next topic "Mahler Method", dressed as a compass serene, thoughtful, melodic emancipation of purified and beautiful distinction. Stabinsky's piano is very romantic, whereas the baritone, in the same trend, filter your bass sound with little demand in its tone, very unlike the soprano, piercing, sun-ray in its full readiness timbric. A soundscape that is disturbed in its restraint.

"Traps for Use With snmp." starts with a pointillism sound where the rings play in her intimate shake. The only low reminds me of some passages of Jimmy Garrison to the front of the Coltrane quartet, in those memorable recordings in black and white of the decade of the 60's for television. It is proverbial in their brief only. In this theme there is a keen interest in the exploration, pentagram of the unexpected.

"Subliminal Leaps", the topic more extensive, is the essence of a leafy catastrophe. It is the breakup of the shape within another form. A halo of mystery becomes the protagonist of his argument. The soprano takes possession of her acute record exquisitely Liebman endorsed the words of Albert Ayler: "Would a simple melody to the more complex textures, and then return again to the simplicity, straining forward then to the more complex sounds and more dense". Charles Evans in a only emphatic, magistral, eloquence of a solid, prodigious, the good style of Hamiet Bluiett.

"Reprise" is the point apart from that the conclusion, the synthesis and the commitment of this formidable quartet: Textures of grandiose sobriety, not exempt from force; central database supported by the soprano and baritone in a fabric of repeated and consummate timbric melodies and vitality, with the unmistakable support of the piano (a little ambitious) and low (nothing pretentious) "

This work "Subliminal Leaps", production recorded in the St. Stephen's Episcopal Church, in Wilkes Barre, Pennsylvania, is embodied by its atmosphere of musical purity, which tacked into traits with delirious, leads me to this image that was made by the philosopher George Bataille of the painter of Arles: "The same fragility of that amazing hat of flames expresses no doubt to that momentum of dislocation could obey Vincent Van Gogh each time that was suggested by a beam of light" (4)

I am enchanted by this light musical depth that surrounds artistic honesty.
January 21 - 2014-01-21 Twitter: @jazzero

(1) “Diccionario del Jazz”: Carles, Comolli, Cleargeat. Editorial Anaya &Mario Muchnik. Pag 731
(2) “Episodios. Escritos sobre Jazz”: Ebbe Traberg. Pag. 122
(3) “Free Jazz/Black Power”. Carles, Comolli Editorial Anagrama. Pag. 300
(4) “La Conjuración Sagrada. Ensayos 1929-1939. Geroge Bataille. Adriana Hidalgo Editora. Pag. 28

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Gustavo Bustamante