{"id":3750,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/david-liebman-the-elements-water\/"},"modified":"2018-10-26T09:18:50","modified_gmt":"2018-10-26T16:18:50","slug":"david-liebman-the-elements-water","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=3750","title":{"rendered":"David Liebman &#8211; The Elements: Water"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/jazzusa.com\/storypix\/water.JPG\" alt=\"The Elements: Water\" width=\"150\" height=\"142\" align=\"right\" border=\"0\" \/><span style=\"color: blue; font-family: Verdana, Helvetica; font-size: large;\">David Liebman<\/span><br \/>\n<span style=\"color: blue; font-family: Verdana, Helvetica; font-size: small;\"><strong>The Elements: Water<\/strong><\/span><br \/>\n<span style=\"font-size: xx-small; color: #000000; font-family: Verdana, Helvetica;\"> by J. Barrett<\/span><\/p>\n<p align=\"left\"><span style=\"font-size: small; color: maroon; font-family: Verdana;\"> It&#8217;s an old idea with new ambition. In 1973, Joe Henderson made an album called THE ELEMENTS. With a varied palette and impressive density, Henderson took 40 minutes to paint the sounds of earth, air, fire, and water. A quarter century later, Dave Liebman has the same idea, only his story is told in 4 CDs! This is the first in this long-term endeavor, showing water in all its faces (&#8220;Storm Surge&#8221;, &#8220;Reflecting Pool&#8221;, &#8220;Baptismal Font&#8221;), with detail Henderson didn&#8217;t have time to explore. And the sound is different: Liebman&#8217;s group is a quartet, with Pat Metheny bringing variety on his many guitars. The sound crashes, boils, and flies, but it also flows &#8211; and this is very fitting for what Liebman calls &#8220;The Giver of Life.&#8221; <\/span><span style=\"font-size: small; font-family: Verdana;\"> <a name=\"more\"><\/a><\/span><\/p>\n<p>The whole suite is based on the opening theme, stated by Metheny. It&#8217;s a simple ascending line, with gentle strums and a hint of dissonance &#8211; and the source of all which follows. Liebman now restates the theme, and Metheny joins Cecil McBee in some tangy comping. Billy Hart shines the cymbals; maybe it&#8217;s spray hitting the rocks. Liebman wails a bit at the end, which is a sign of the storm to come.<\/p>\n<p>McBee opens &#8220;White Caps&#8221; with some ominous sliding, which keeps getting faster. Metheny, on guitar-synth, keeps the riff going with a nasty tone. Liebman rushes in with a honking tenor, screaming it up as the dirty-toned synth gets louder and harder. At times Metheny becomes a second horn, shouting in unison with Liebman. The tone subsides, and we&#8217;re in a fusion vein for &#8220;Heaven&#8217;s Gift&#8221;, a feature for Metheny&#8217;s clean electric. Liebman is slightly raucous when he comes in; he&#8217;s celebrating the gift. A hint of the &#8220;Water Theme&#8221; comes in a great unison bit at the end.<\/p>\n<p>A pensive bass solo suddenly gets an edge; McBee runs up the stairs and looks around corners before the calm returns. This sets stage for the deep bliss of &#8220;Reflecting Pool&#8221;. Hart rings bells, Metheny strums a 48-string guitar (sounds like an autoharp) while Liebman plays wooden flute with a touch of Japan. Metheny then makes like a koto, and the echo makes ripples in the pool. Liebman&#8217;s soprano makes a different impression; it&#8217;s light and hopeful as guitar tinkles behind him.<\/p>\n<p>A good-natured Liebman starts &#8220;Storm Surge&#8221; alone. Hart gets soft and intense (a little of that Elvin Jones feeling), and the theme comes high and cheerful. Not the storm you expected; Metheny is subdued in what is Liebman&#8217;s show. Hart gets a long solo; when the cymbals arrive, there is thunderation!<\/p>\n<p>Metheny begins a gentle theme turning into &#8220;Baptismal Font&#8221;, and here Liebman gains muscle. Taking the tenor, going full-bore, Liebman shouts to the sky as Metheny rings pretty. &#8220;Ebb and Flow&#8221; is the loudest, with wailing and skronking, Metheny again on the synth. Most of the way it&#8217;s a two-horn section part, McBee putting vigorous strum on the bottom. The bass\/drums duet works better for me than the two stars &#8211; their part is too noisy. The &#8220;Water Theme&#8221; returns, helped by much echo &#8211; making it warmer. This is my favorite version: perhaps this should been the opener. There&#8217;s also an interview with Dave, talking about the creation of this piece. It&#8217;s a neat tidbit to have, but not essential to your enjoyment.<\/p>\n<p><strong>Rating:<\/strong> *** \u00bc. It meanders in points, but it&#8217;s an enjoyable mood piece. Metheny is at his best when gentle, as in &#8220;Reflecting Pool&#8221;; Liebman shines when he&#8217;s forceful, as in &#8220;Baptismal Font.&#8221; The scope is ambitious, and the tunes do a good job of showing the aspects of water. I&#8217;m looking forward to the others.<\/p>\n<p><strong>Songs:<\/strong> Water: Giver of Life; White Caps; Heaven&#8217;s Gift; Bass Interlude; Reflecting Pool; Storm Surge; Guitar Interlude; Baptismal Font; Ebb and Flow; Water Theme (reprise); Dave Liebman&#8217;s Reflections on &#8220;Water&#8221;.<\/p>\n<p><strong>Musicians:<\/strong> David Liebman (soprano and tenor saxes, wood flute); Pat Metheny (guitars); Cecil McBee (bass); Billy Hart (drums).<\/p>\n<p>&nbsp;<\/p>\n<div align=\"center\">For more info visit the <a href=\"http:\/\/www.view.com\/arkadia\/liebman-home.htm\"> David Liebman home page<\/a> at Arkadia Records.<\/div>\n","protected":false},"excerpt":{"rendered":"<p>David Liebman The Elements: Water by J. Barrett It&#8217;s an<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-3750","post","type-post","status-publish","format-standard","hentry","category-interviews"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3750","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3750"}],"version-history":[{"count":3,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3750\/revisions"}],"predecessor-version":[{"id":11144,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3750\/revisions\/11144"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3750"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3750"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3750"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}