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| music for body and soul |______________________|| |
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|| release infos |
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| |
| + artist ........... dale liebman & phil markowitz |
| + album ............ manhattan dialogues |
| + label ............ Zoho music |
| + cat .............. ZM 200508 |
| + year ............. 2005 |
| + genre ............ jazz |
| + source ........... cdda |
| + quality .......... VBRkbps / 44,1Khz / joint-stereo |
| + release date ..... 06.10.2005 |
| + size ............. 90,3 MB |
| + link ............. http://zohomusic.com/cds_detail.php?cds_id=27 |
.| |
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|| tracklist |
'| |
| |
| 01.teacher of our child 07:03 |
| 02.7- intro 01:54 |
| 03.7- 06:02 |
| 04.philippe under the green bridge 07:37 |
| 05.sno's peas 06:59 |
| 06.jung 08:50 |
| 07.off by one 04:34 |
| 08.mahoning 10:25 |
| 09.the night has 1000 eyes 08:56 |
| 10.'round midnight 06:55 |
| |
| |
| (t!) total 69:15 min |
| |
.| |
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|| release notes |
'| |
| |
| Dave Liebman - Soprano and tenor saxophones |
| Phil Markowitz - Piano |
| -------------------------------------------- |
| |
| Many other reviews here : |
| http://www.upbeat.com/lieb/Recent_Discography/manhattan-reviews.ht |
| m |
| -------------------------------------------- |
| |
| Since the early æ90s, pianist Phil Markowitz has been recording |
| and performing with sax titan David Liebman amid other stints. |
| Yet at the end of the day, it becomes quite obvious that the duoÆs |
| synergy, interaction and second-guessing abilities are aligned. |
| And years of shedding and rehearsals will do it folks, culminating |
| in sessions such as this sprightly little gem. |
| |
| ItÆs almost equal parts improvisation and structure as the |
| like-mindedness of these two artists span a wide-reaching musical |
| palate. Liebman û performing on tenor and soprano saxes û and |
| Markowitz are as tight as a glove. They expand and contract |
| themes, amid various swing vamps and structured unison choruses to |
| complement an assortment of subtle surprises. On LiebmanÆs |
| composition titled ôJung,ö Markowitz unleashes flailing arpeggios |
| with the grace and focus of a seasoned recital pianist. However, |
| the duo occasionally generates left-of-center motifs to coincide |
| with sublime lyricism and fervent call and response episodes. |
| Nonetheless, the musiciansÆ ability to combine disparate thematic |
| forays with generous doses of improvisation and off-kilter |
| deviations comes as no surprise. But the invigorating flows and |
| instinctive exchanges just add another dimension to the musicians |
| unifying approach. (Irrefutably recommendedà) |
| ----------------------------------> Glenn Astarita @jazzreview.com |
| |
| |
| Saxophonist Dave Liebman and pianist Phil Markowitz have had |
| something of a history together. So it comes as no surprise that |
| their latest recording, Manhattan Dialogues, is full of intense |
| and incredibly cohesive music. These guys hit the pocket with such |
| intelligence and force that they are truly one unit. |
| |
| Liebman has a history of stunning duet partners, most notably |
| pianist Richie Beirach, with whom he shared a 20-year |
| relationship. And Markowitz has joined Liebman on several |
| recordings before this, including his quintet exploration of |
| ColtraneÆs music. To have a musical partnership this tight is |
| truly rare and sets the foundation for some truly rare recordings. |
| |
| Manhattan Dialogues really does have that rare quality. The album |
| is a series of duets recorded at the Manhattan School of Music, |
| where both teach. The set consists of eight originals and two |
| standards, although the two standards are totally redefined. And |
| this recording is even more demanding and cohesive than what |
| Liebman and Markowitz did together in the quintet. |
| |
| The first cut on the record, ôTeacher of My Childö, starts out |
| with a late night blues edge to it. The notes are long and sappy, |
| in the best way possible. The tune basically stays this way, |
| despite its very Ornette Coleman-sounding title, until just before |
| the end where Liebman makes a few flourishes and deviates |
| harmonically a bit. ItÆs an amazingly tender introduction to a |
| darkish album. |
| |
| The original, ôOff by Oneö, is a rollicking number with Markowitz |
| starting out on piano, setting the pace. A lot of unison playing |
| between the two musicians lends to the feel of the tune. LiebmanÆs |
| post-bop style of improvisation throughout is a staple of this |
| track and the whole album. His flourishes are big, but in no way |
| frivolous. And MarkowitzÆs piano playing is in such tight sync |
| with LiebmanÆs horn that the two play an amazing game together. |
| |
| The duoÆs take on ôRound Midnightö is a daring one. I believe the |
| track is totally reharmonized. Liebman redefines the whole first |
| section of the tune with a stunning solo sax run. Markowitz |
| doesnÆt enter for a good two minutes and when he does it isnÆt in |
| a traditional Monk fashion. The whole track takes the standard and |
| totally reinterprets it. |
| |
| Like I said before, the key to this record is the duoÆs incredible |
| ability to read each other. They are one of the tightest duos |
| around and that is based a lot on their experience together. If |
| more musicians took the time to get to know each other in this |
| manner, music would be better for it. |
| --------------------------------> Ryan McDermott @onefinalnote.com |
| |
| |
| Most musicians are fortunate enough to find one musical partner |
| where such shared simpatico exists that they can evolve in perfect |
| tandem ù exploring a variety of contexts with the kind of comfort |
| level that ensures complete trust and an unfettered imagination |
| that makes no pursuit beyond reach. To find more than one is rare |
| indeed. Saxophonist Dave Liebman and pianist Richie BeirachÆs |
| 20-year-plus relationship, well-documented on last yearÆs Mosaic |
| Select 12 box of archival live recordings, saw them approach |
| everything from the early fusion-meets-world music of Lookout Farm |
| to the open-ended freedom of Quest and more intimate duets. |
| |
| But when the two parted companies in the early æ90s, it became |
| LiebmanÆs good fortune to cement a host of vital new partnerships, |
| including guitarist Vic Juris, percussionist Jamey Haddad, bassist |
| Tony Marino and pianist/keyboardist Phil Markowitz. LiebmanÆs |
| post-Beirach quintet became the core of projects ranging from |
| detailed exploration of the music of John Coltrane ù inarguably |
| LiebmanÆs biggest influence ù to its own diverse range of original |
| composition. |
| |
| Markowitz may have left the quintet in the late æ90s, but he |
| continues to be pianist of choice for Liebman, heard most recently |
| on last yearÆs Saxophone Summit featuring Joe Lovano and Michael |
| Brecker, and now on Manhattan Dialogues, a series of duets |
| recorded at the Manhattan School of Music, where both teach on a |
| regular basis. With a personal and deeply-shared musical language, |
| this set of eight originals and two radically-reharmonized |
| standards is arguably the most vivid document of Liebman and |
| MarkowitzÆs remarkable chemistry to date. |
| |
| For the most part pensive and darkly-hued, the common ground that |
| Liebman and Markowitz share may be on the cerebral side, but |
| LiebmanÆs ever-present expressionist tendencies give even the most |
| heady chromaticism of his own ôTeacher of Our Child,ö ôPhilippe |
| Under the Green Bridgeö and ôJungö a visceral edge. And while |
| neither LiebmanÆs or MarkowitzÆs material swings in any kind of |
| traditional way, leaning more towards a kind of abstract rhythmic |
| pulse, there is an inherently insistent groove on MarkowitzÆs more |
| uptempo ôOff By Oneö and ôSnoÆ Peasö ù the latter a tune that was |
| first recorded by Bill Evans and harmonica legend Toots |
| Thielemans, although in a far more conventional context than this |
| significantly outrΘ reading. |
| |
| Throughout, Liebman and Markowitz are so in each othersÆ pockets |
| as to consistently blur the line between form and freedom. In |
| fact, by the time the duo reaches the standards ù ôThe Night Has |
| 1000 Eyesö and ôÆRound Midnightö ù at the end of the programme, |
| the overall complexion has been so well-established as to largely |
| obfuscate the more recognizable characteristics of these |
| well-known tunes. |
| |
| And yet, while many of the setÆs compositions are born from |
| intellectual premises with challenging foundations, the 70-minute |
| programme remains completely compelling. More provocative than |
| evocative, Manhattan Dialogues demonstrates the power and subtlety |
| of improvisation in the hands of two artists who combine common |
| musical goals with an uncommon ability to find the most direct ù |
| if not necessarily the easiest ù paths to get to them. |
| -----------------------------------> John Kelman @allaboutjazz.com |
| |
.| |
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|| group notes |
'| |
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