Kristjan Randalu/Dave Liebman: Mussorgsky Pictures Revisited


Although Russian composer Modest Mussorgsky (1839-81) is best remembered for Night on Bald Mountain and Pictures at an Exhibition, the latter has had the more interesting afterlife, inspiring arrangements from such wide-ranging artists as prog-rockers Emerson, Lake & Palmer, German metal band Mekong Delta and Japanese electronic pioneer Tomita. Yet this duo of soprano saxophonist Dave Liebman and pianist Kristjan Randalu presents more than a recasting of the Mussorgsky mold, instead a fresh landscape irrigated by channeling water from the source material. Case in point is the jaunting “Promenade,” which opens in straightforward territory but which in subsequent iterations (five in all) draws out hidden messages.

Liebman understands how to turn even the most familiar melodies inside out without losing their skin in the process. His tone is as flexible and colorful as ever, navigating every twist of “Les Tuileries” and “The Market” with characteristic attention to detail. The physicality of his artistry is most obvious in “Ballet of the Unhatched Chickens,” as also in his bluesy handling of “Samuel Goldenberg and Schmuyle,” the latter a veiled stand-alone among extroverted peers. Randalu, for his part, is as comfortable laying foundations as he is building on top of them. Whether orienting his compass to the lodestar of “Bydło” or jazzing up “Baba Yaga” with exuberance, he makes sure that every wisp of proverbial smoke fulfills its promise of fire. As a unit, he and Liebman find profoundest coherence in “Il Vecchio Castello,” of which they make an understated dirge.

And so, by the time we reach the farewell of “The Heroic Gate,” we are confident in having been somewhere. This is, of course, the whole point of Mussorgsky’s greatest hit: to place us in that gallery so that we may feel the colors of every scene as if they were our own.

(This review originally appeared in the April 2020 issue of The New York City Jazz Record, a full PDF of which is available here.)

“Music We Order Our Lives To”: The Masters Quartet Live Report

August 20, 2011
8:30 pm

Steve Kuhn piano
Dave Liebman saxes
Steve Swallow bass
Billy Drummond drums

A brief dictionary perusal of the word master yields variations on a theme of dominance: one who uses, controls, even disposes of that which is mastered. It’s with this hierarchical vision of mastery in mind that I entered the hallowed doors of Birdland for a late-summer performance by The Masters Quartet. None could earn such a title, of course, without verifiable skills and the countless hours necessary to hone them. As longtime collaborators, Kuhn and Swallow are strangers to neither, having made their first recorded appearance alongside Liebman on the bassist’s 1979 debut, Home, with over a decade’s worth of friendship and gigging already between them. Listening with eyes closed, one could hardly guess that Carla Bley band regular Drummond is a relatively new addition to this veteran nexus. Their blend was so seamless that by the time I stepped out into the humid streets, dominance was farthest from my mind.

To be in the presence of all four was already an honor, but the venue made it exponentially more so. This being my first Birdland experience, I finally understood why Charlie Parker dubbed it “The Jazz Corner of the World.” From its candlelit murmur, non-invasive wait staff, and intermittent tick of silverware to its top-flight roster, carefully considered sightlines, and one-on-one feel, the setting was ambiance incarnate. Though nothing remains of Birdland’s original digs, one can glimpse those glory days in the monochrome gallery of talents that adorns its walls. All the more reason, then, to bask in the present, where four incomparable musicians filled our ears with concoctions both pungent and smooth—not unlike the French martini at my fingertips—as they took to the stage and eased us into the evening’s intensities with a pair of trios.

A lush opening surge as only Kuhn can elicit swept this heart away in the standard, “There is No Greater Love.” With a sigh and a smile, he made us feel part of the band, creating music simply by bearing witness to its spontaneous unfolding. Through peaks and valleys, Kuhn navigated every turn of Swallow’s unshakable bass lines and the cymbal-happy squint of an ecstatic Drummond. The latter’s locomotive rolls opened a lyrical path for Swallow before kicking up a bit of dust as he exchanged jabs with Kuhn. His increasingly frenzied snare, along with Swallow’s leapfrogging bass, wound us into a state of high expectations. Thus did these gentle beginnings feed a dancing conflagration which, rather than brazenly overstepping those expectations, passed lithely through them like ghosts.

A milky intro stirred us into the coffee-like consistency of “Dark Glasses” (S. Swallow), resolving itself into a galactic swirl. With organic care, the music loosed ribbons of bass amid Drummond’s delicate knocking. Kuhn’s Möbius strip of a solo titillated (as a tongue, it would have rolled every “r”) and brought us ever closer to the filmic imagery lurking therein. Like its titular accessory, this joint at once clarified and obfuscated, cutting out the glare while hiding choice secrets.

“All the Things That…” (D. Liebman) marked its composer’s entrance to the stage. Inspired by the standard “All the Things You Are,” this smooth excursion was a prime vehicle for that oh-so-sweet soprano. With the magic of a mirage shimmering into shape, it showed us a level of tonal acuity that one can only dream of producing. Drummond provided sympathetic response, matching each of Liebman’s calls with joyful paroxysms of his own. Such were the beauties that awaited us also in “Adagio” (S. Kuhn). Here, Liebman’s slide into resplendence fogged our view with a long exhalation. Meanwhile, Kuhn tumbled in careful somersaults, marking the swaying rhythm that caught this listener from the get-go. Swallow traced a wide embrace with an engaging solo turn that seemed to welcome us all into its arc.

(photo by Manuel Cristaldi)

We were then treated to an unfailing rendition of “Village Blues” by John Coltrane, a “mentor to us all” as Kuhn so respectfully noted before its trio intro buttered our bread like nobody’s business. This proved a solid launching pad for a dramatic color shift as Liebman’s tenor awoke from its slumber. It, too, spoke in wooden riddles and guttural dreams, but those gritty squeals layered on the sonic paint—Van Gogh to his soprano’s Monet—and added a new dimension to surrender. His blows were softened only somewhat by Kuhn’s detasseling pianism, diving instead into an epic exchange with Drummond.

For the standard, “My Funny Valentine” (the “romantic highlight” of the show, as Kuhn artfully quipped), we were back to the smoky grain of soprano. Here the pianist’s poetry shone at its brightest, dissolving into lute-like strains of bass, as if in watercolor.

(photo by Robert Lewis)

Liebman’s robust tenor then inscribed “A Likely Story” (S. Kuhn) onto the pages of our attention. Against a grounded bass line and deep piano digs, he was lively and on point. Kuhn held a steady clip across his tightropes, tethers to an inspiring synergy with Drummond, who dotted the sky with sparks as this log was cast onto the evening’s kindling. I couldn’t help but note how “keyed in” Liebman was as his fingers mimed on the sax during a sit-out before he dove back in for the final splash.

(photo courtesy of the Montréal Gazette)

Mastery revealed itself in many guises throughout the show, but chiefly by the adroit ways in which the group always held fast to the tightly wound spring that thrummed at the heart of every tune they played. Their thematic cohesion was due in no small part to Swallow, who electrified with his unparalleled anchorage and fluid anticipations. Kuhn, ever the picture of concentration, threaded each of his needles with mindful improvising, those unmistakable octave splits crying with such epic grace that captivation was our only option. With every run of his fingers he seemed to travel miles’ worth of emotional distance. Against such broad pointillism, Liebman’s richness came across as filamented, teetering on edge, and all the more visceral for it. He was every bit the vocal performer, untangling seemingly impossible knots in a fraction of the time it took to tie them. As for Drummond, he seemed to squeeze every last drop of soul from the most delicate gestures, treating each as a gig in and of itself. He positively stole the show in its final gasps.

(photo by Albert Brooks)

In short, the quartet put the “band” back in “abandon” and proved yet again what for me is the blessing of jazz, an art form that makes the immediate effects of improvisation feel as if they have been growing inside us all along.

Furthermore, I discovered that true mastery bleeds from art into one’s countenance, one’s approachability as a human being, one’s humility offstage. In other words, it is nothing without the light of graciousness that permeated each of these four men, their loved ones, and the fans in attendance. In the end, their performance might very well have been but a flash in New York City’s overcrowded pan, but their afterimages are safe with me.

Autographed CD of last year’s gig, purchased at the club

Dave Liebman: Drum Ode (ECM 1046)

ECM 1046 CD

Dave Liebman
Drum Ode

Dave Liebman soprano and tenor saxophones, alto flute
Richard Beirach electric piano
Gene Perla basses
John Abercrombie guitars
Jeff Williams drums
Bob Moses drums
Patato Valdez congas
Steven Satten percussion
Barry Altschul percussion
Badal Roy tablas
Collin Walcott tablas
Ray Armando bongos
Eleana Steinberg vocal
Recorded May 1974, Record Plant, New York
Engineer: Jay Messina
Produced by Manfred Eicher

“Drums and drummers. For me, they’ve been the moving force and inspiration, a reason to live, and celebrate life through playing music. Thanks to the men who play the drums. This music is dedicated to you.”
–Dave Liebman

It was the summer of 1997. I was fresh out of high school and settling into my new life at Goddard College (of Phish fame) in Plainfield, Vermont. The transition was sudden, but I was fortunate enough to have been placed in the music dorm, where dwelled lovers of all things audible. Late one night, during an emotionally exhausting orientation week, I was awoken by a sound coming from downstairs. Rubbing the sleep from my eyes, I descended to the common room to find my dorm mates deep in the throes of an impromptu drum circle. Congas, djembes, pots, tabletops, human bodies: everything was fair game. With nothing but a tin cup and a spoon at my disposal, I joined in with cathartic joy. I don’t think any of us remember how long the session went on after that (I’m not sure we even slept). Sadly, the school itself wasn’t what I had expected. After a long conversation with the group, I decided to return home and incubate for a year. Although this taxing decision eventually put me on a straighter academic path, I do think fondly of the profoundly attuned synergy we of the musical persuasion had forged in those dense seven days surrounded by the region’s denser foliage. Since coming across Dave Liebman’s seminal Drum Ode in reissued form, I have rediscovered something of that physical feeling of surrender one so rarely gets from a laser scanning a concealed silver disc.

Piggybacking on this success of Lookout Farm, Liebman surrounds himself with likeminded company. The rhythmic core of the 1973 joint remains intact, with a minus here and some additions there. The dedicatory introduction of “Goli Dance,” quoted above, leaves no mystery as to the album’s philosophical goals. “Loft Dance” comes closest to reenacting my anecdotal experience, and counts among its actors an animated Richard Beirach on electric piano, a lively John Abercrombie on guitar, and Liebman himself laying down some infectious rhythms of his own. The playing is baked to a crisp, and scathingly uplifting. Gene Perla deploys a heavy anchor, offset by the whimsy of whistles, all of which tethers the soloing to its immediate territory. “Oasis” is the odd one out for its vocal cameo, courtesy of Eleana Steinberg. A beautifully soulful sax solo is rendered all the more so for the songstress’s curious presence, her uneven edges and off-key honesty a sobering foil to the otherwise instrumental sound. Liebman lights a veritable box of matches in “The Call,” a revelatory pyramid with Bob Moses and Jeff Williams at its bottom corners. Its martial snares and echoing sax are the heart and soul of the album, hands down. “Your Lady” (an oft-neglected page from the Coltrane songbook) darkens the mood with a rain-drenched bass and nocturnal soprano sax. “The Iguana’s Ritual” continues in the same vein, save for the noticeable additions of electric guitar and the soothing grace of Collin Walcott’s tabla. Here, atmosphere becomes the primary melody. A trebly bass then ushers in a raunchier solo from Abercrombie and a kinetic finish from Liebman. A fluttering of guitar harmonics begins the end in “Satya Dhwani (True Sound).” Flute and tabla expand the sound further, carrying us out on an enigmatic path to stillness.

ECM 1046 LP
Original cover

The contrast in covers between the original vinyl and the CD could hardly be greater. The latter’s block list of names, while typographically pleasing, obscures the vibrant colors that said roster produces. One look at the former, however, reveals all in a single perusal: a brilliant sun, cradled in the arid landscape of its own desires, has found a voice where shadows intersect, and waits to share it with any in search of oasis.

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