Renowned Saxophonist Dave Liebman Vibrantly Leads The Generations Quartet With Their Debut Via ‘Invitation’ (ALBUM REVIEW)

In 2020 one of the most active musicians from a recording standpoint was NEA Jazz Master saxophonist Dave Liebman, which this writer covered at least four times, twice on these pages. In fact, this effort, Invitation, was originally slated for a 2020 release but was pushed back given last October’s Liebman Lovano co-led Kaleidoscope Quintet (covered herein) recorded near Liebman’s Pocono PA home at the famed Deer Head Inn. That venue is also the setting here for rehearsals and the live closing track of the Generations Quartet and figures prominently into the makeup of this unit, built upon mentorship, continuity, and three different generations conversing in the language of jazz standards. 

Liebman, whose reputation as a live performer and prolific recording artist may be eclipsed only by his longstanding career as an educator, plays both soprano and tenor saxophone here with three musicians who’ve become professionals due, in no small part, to his guidance: Ian Froman (drums), Evan Gregor (bass), and Billy Test (piano). Liebman, of course, is an astute student of the music of John Coltrane and played with Miles Davis and Trane’s drummer, Elvin Jones. Ian Froman, the drummer here, later studied under Jones and, soon after, formed a working relationship with Liebman that’s lasted over 30 years now. Froman, an educator himself, has taken those lessons to students at Berklee College of Music, where, among his students, was Generations Quartet bassist Evan Gregor, who arrived at Berklee already well versed in Liebman-style pedagogy. Gregor grew up near Liebman’s Pocono-area home, but he didn’t always intend to become a musician. He was thinking more along the lines of computer science before Liebman introduced him to jazz. One of the first live shows Gregor ever saw featured Liebman and Froman playing together. Billy Test, the group’s pianist, is the youngest quartet member, having studied with Liebman while pursuing his Master’s at Manhattan School of Music. Test first played with Gregor in a Liebman-led band in 2015, and, shortly after, began playing gigs with both Gregor and Froman.

So, it only makes sense that these four, never having shared a stage together, would eventually unite under Liebman, the linchpin, and begin performing at the Deer Head Inn. Those sessions led to this recording of familiar fare played with the requisite energy and passion that these classic tunes deserve. They begin with a bold take on the masterful Hancock composition “Maiden Voyage,” Liebman, long a leading voice of the soprano saxophone. is at once commanding and light, challenging the upper reaches of his instrument, pushed by Froman’s percussive beats. As much as hardened jazz fans have listened to this tune and can practically recite George Coleman’s tenor solo, Liebman breathes new life and brings a more spiritual element to the piece. Test takes his own inspired solo, careful to not mimic Hancock, but make his own improvisational journey. The pianist then takes us into more familiar territory with his introduction to the Red Garland version of “Bye Blackbird” with Leibman, again on soprano, becoming a more explorative version of Miles (re: Round About Midnight). On his second solo, he gets playful, quoting Leonard Bernstein while Test proves that he’s more than up for the challenge.

The title track, a tune originally composed by Bronislaw Kaper, whose writing credits also include “On Green Dolphin Street,” is the first of two cuts most associated with John Coltrane.   Liebman, again on soprano, is given plenty of space to soar, thanks in no small measure to the rocksteady backing from Gregor and Froman, who are particularly simpatico here. “Village Blues,” a tune that debuted on Coltrane’s 1961 release Coltrane Jazz, and later appeared on 2019’s Blue World, is reimagined here, led by Liebman’s soprano for a quicker, more percussive, more angular version than the smoky and deliberate original. In between we have the delicate Washington/Young ballad “My Foolish Heart’ with Liebman on soprano and especially sensitive, melodic plucking from Gregor on bass. Similarly, the group engages in what begins as a delicate reading of Jerome Kern’s “Yesterdays” that later evolves into some soaring bluesy Liebman statements.

The quartet’s take on Weill and Nash’s “Speak Low” may be the hardest swinger in the set, bookended cleverly by nods to Miles Davis’s “Milestones.” Liebman blows the tenor aggressively here in all registers with Test skittering all over the keys behind the propulsive rhythm section. A set like this one not surprisingly includes the chestnut “Summertime” again with Liebman on tenor. But the cut most meaningful to the foursome may well be the closer, a fiery rendition of “You and the Night and the Music,” the epic 12-minute tracks recorded live at the Deer Head Inn. It’s the lone live cut, the most explorative, and you can sense that little something extra energy that a live audience brings to a band. You can feel it in the controlled aggression of Liebman’s tenor and in the bounce of Gregor’s walking basslines.  

The liners are full of some great quotes and information and we’d be a bit remiss not to include this perspective from Liebman. “The well-worn vehicle of a standard jazz tune means direct and immediate musical interaction because the material is familiar, deep, evoking a common language and why not…audience friendly? For the younger generation, playing standards is their way of looking back, absorbing what the tradition means. For my generation it is like going home since most of us started out playing so-called standards. There is another meaning to the word ‘standard’ in this context. That is how Miles, Trane, Bill, etc.  set such a high ‘standard’ when they recorded this repertoire. Our job is to bring this music into present time without much thinking, just reacting with abundant spontaneity, trying to reach that ‘standard’ of excellence we are so familiar with.”

This is clearly a standout straight-ahead session not only due to the three generations of musicians playing but also because it’s unusual to find the adventurous Liebman in this vein as he’s often heard in edgier, even avant-garde settings.  Oh, and yes, some of that explorative style finds its way in here too. It has some of the most fervent playing you’ve heard in any setting from the jazz “senior” as he dubbed himself.