David Liebman

Review

By Doug Ramsey, Arts Journal
Opening the album, Liebman launches the familiar opening phrases of “Nardis” from his tenor saxophone, toying with them, letting each note fall away. The rhythm section soon joins him. Within seconds the toying is over and the album’s muscles are rippling in a show of strength that for more than an hour does not recede, regardless of tempo. The energy is in great part due to Liebman’s intensity on tenor and soprano saxophones, but drummer Stephans, pianist Copland and bassist Gress are in league with him through every track. The quartet’s responses to one another are instantaneous. Their empathy is deep, almost palpable. The audience at the Deer Head Inn in Pennsylvania’s Poconos Mountains is so attentive that the quality of their listening becomes a part of the room’s atmosphere.
The album rewards close listening to its two Miles Davis pieces, “Nardis” and “So What,” but also to the late guitarist John Abercrombie’s “Vertigo,” and Duke Ellington’s “In a Sentimental Mood.” Gress enhances the contemplativeness of his composition “Vesper” with a bass solo that elevates the thoughtful mood. Copland’s shimmering piano on the piece melds into Liebman’s quiet, deep, improvisation on tenor, as opposed to the controlled frenzy that he generates on tenor and soprano sax elsewhere in this rewarding album. Nowhere is he more contained or, by contrast, more expansive, than in Dietz and Schwartz’s imperishable 84-year-old “You And The Night And The Music.” The piece highlights a quartet album that is itself a highlight.
By Mel Mintner, Musically Speaking
The folks who gathered at the Deer Head Inn in Delaware Water Gap, PA, on June 3, 2017, certainly got their money’s worth. Quartette Oblique—Dave Liebman (tenor and soprano saxes); Marc Copland (piano); Drew Gress(bass); and Michael Stephans (drums), the one responsible for pulling this aggregation together—delivered scintillating sets that stretched the possibilities of the tunes while honoring their provenance. With this live eponymous recording, the rest of us can enjoy this mainstream adventure. Drawing their inspiration from ancestors such as Coltrane, Davis, and Blakey, the quartet reimagines Davis’s “Nardis,” the burning opener on which the rhythm section prods Liebman into tenor gymnastics, “All Blues,” and a rapturous “So What.” Ellington’s “In a Sentimental Mood” gets a translucent treatment, opening with a Ravel-esque piano. Shards of the head appears like sunlight through trees, with beautiful solos from Liebman on soprano, Copland, and Gress gracing the track. John Abercrombie’s “Vertigo” benefits from a dense forest of harmonies from Copland and Stephans’ insistent propulsion. A giddy, intoxicated take on “You and the Night and the Music” and the subdued benediction of Gress’s “Vesper” round out the offerings. The quartet does not break new ground, but it thoroughly opens up familiar territory with a real zest for the project.
by Marco Cangiano, New York City Jazz
Is jazz becoming a repertory business of well-known standards? Quartette Oblique, brought together by
drummer Michael Stephans with Dave Liebman (saxophones), Marc Copland (piano) and Drew Gress (bass) for this live date from The Deer Head Inn, provides the answer: not quite. The well-known tunes revisited by the Quartette confirm that jazz continues to be in the business of redefining itself indefinitely. While reflecting its members’ individualities the group denotes its own sound and liberal approach.
Most of the tunes start with the well-known melodies but then proceed to dissection. “So What” is a case in point: Gress states the theme and follows up with a solo walking along the theme whereas Copland slowly takes off in a different direction; as the trio reaches a climax Liebman enters forcefully on tenor to shift progressively back toward the tune’s basic structure. As Liebman runs through the full range, Copland lays out for an intense tenor-drum dialogue. The program begins with “Nardis”, sustained by
the burning rhythm section. The pace slows down marginally for Copland’s solo, complemented by Gress and Stephans’ tight and yet subtle accompaniment. The late John Abercrombie’s lovely “Vertigo” showcases introspective piano building toward nimble soprano saxophone. Arthur Schwartz-Howard Dietz’ “You and the Night and the Music” is subjected to a somewhat surreal reinterpretation in what Stephans’ eloquent liner notes define as mizeweyaa—a Native American expression for the “coming together of different elements to form a unification”. “All Blues” receives similar treatment, with fleeting soprano and a thoughtful drum solo. Gress’ “Vesper” is a lovely ballad featuring the bassist’s only solo. On a less enthusiastic note, a particularly heartfelt and suspenseful interpretation of “In a Sentimental Mood” is unfortunately marred by excessive noise of plates and cutlery.

by George Harris, Jazz Weekly
The team of Dave Liebman/ts-ss, Marc Copland/p, Drew Gress/b and Michael Stephans join together at the Deer Head Inn in PA for a concert performance that shows the glory of intuitive cohesiveness. The band leans towards vintage Davis/Coltrane material of their youth, and the years of it creeping into their collective dna has drawn dividends. Liebman’s breathy tenor floats over the shifting rhythmic sands of a soft “Nardis” with his soprano floating over Copland’s piano and Stephans’ gentle pulse on a stretched out “All Blues.” Gress is given a chance on the lead line of a peppy “So What” with Stephans’ ride cymbal suavely pushing things forward. The team sounds like gentle water lilies as Liebman’s soprano caresses the melody of “In a Sentimental Mood’ while he creates a sonic sunset on a dreamy “Vertigo.” Sublime, subtle and sophisticatedly swinging. This is jazz by pros.