Dave Liebman, Adam Rudolph, Hamid Drake - Chi

Label: RareNoise, 2019

Personnel - Dave Liebman: tenor and soprano saxophones, piano, wooden recorder; Adam Rudolph: handrumset, piano, sinter, percussion, electronics; Hamid Drake: drumset, vocals, frame drum, percussion.

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Combining the mysticism of ancient traditions and the sonic aesthetics of today’s music, Chi is an album of spontaneous music, matching saxophonist Dave Liebman with two top-class percussionists and kindred spirits, Adam Rudolph and Hamid Drake. The latter collaborates with the saxophonist for the very first time, giving precious help in the rhythmic layout of a record that shares the same conception as The Unknowable, another RareNoise release that featured Liebman, Rudolph and Japanese percussionist Tatsuya Nakatani.

The short-lived opener, “Becoming”, shapes slowly, creating a whispery electronic settlement that gains further mystery with the addition of Rudolph’s jolting intervals on the piano. Liebman infuses some spirituality at the last minute, making us wanting more.

The simpatico rhythmic tide of “Flux” upholds the alacritous, coiled phrases from tenor saxophone. This turbo-charged firepower settles down into a calm passage that, nonetheless, comes loaded with Liebman’s virtuosic language, which echoes on soprano sax with delay effect. Behind the drum kit, Drake responds accordingly, while Rudolph creates a densely propulsive flux through expeditious hand-drum bombardments.

If “Continuum” generates tension by departing from long howling cries and landing into pungently accented phrases, “Formless Form” mixes sweet piano delineations with chirping sounds, attaining a delicate equilibrium between nature and spirit. Liebman plays the piano with dexterity and unchained abandon, and, for an instant, Drake uses his voice, before diffusing an exhilarating percussion tapestry alongside Rudolph.

After the shifting, energetic, and expertly rendered “Emergence”, the longest piece on the record, “Whirl” brings the recording to a conclusion, proliferating a sort of groovy mantra implanted by Rudolph’s sintir and featuring Drake’s frame drum and vocals, as well as Liebman’s penetrating soprano exclamations.

The trio immerses us into their creative sonic bubble where fearless sounds may whether anchor you to Earth’s foundations or make you travel well above the clouds.

Grade  B+

Grade B+

Favorite Tracks:
02 - Flux ► 04 - Formless Form ► 06 - Whirl


Dave Liebman / Tatsuya Nakatani / Adam Rudolph - The Unknowable

Label: RareNoise Records, 2018

Personnel - Dave Liebman: tenor and soprano saxophones, flutes, piri, Fender Rhodes; Tatsuya Nakatani: drum kit, gongs, percussion; Adam Rudolph: handrumset, percussion, sintir, mbuti harp, overtone flutes, Fender Rhodes, electronics.

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Prolific saxophonist/bandleader Dave Liebman, a living jazz legend and one of the most influential musicians and educators of our times, joins an imaginative duo of percussionists, Tatsuya Nakatani and Adam Rudolph. Together, they create a variety of spontaneous conversations where the reaction to stimulus is a must. Hence, communication plays an essential role throughout The Unknowable, the result of their experimental meeting.

The first and last tracks on the album are static and share the same title, “Benediction”. Both versions comprise uncanny electronics and a saxophone story recited over drones and additional atmospheric noises, yet, the opening variant adds far more percussive elements to the intriguing scenario. By the way, it was Rudolph who came up with the track titles in a post-recording phase.

The Simple Truth” thrives with hand drumming forays, diverse metal collisions, and Liebman’s cartoonish sketches formed with brief stabs of notes on soprano. He often centers his playing in the rhythmic axis, but some melodic incursions are also discernible.

Echoing brisk phrases through a delay effect and resorting to heavy electronic manipulation, the title track is filled with tremors and high-pitched clamors let loose by Liebman’s spiraling soprano. While the posture is active here, it changes to passive on the following piece, “Skyway Dream”, where the rhythm is thoroughly marked and the flute notes hang in the air.
 
Hand drums and metal percussion become the dominant elements on “Transmutations”, which includes a panoply of grating sounds, clashes, and creaks. It ends up in a sort of African exultation that also can be felt on “Present Time”, although the pulse here almost touches the Brazilian samba. Commanding the tenor with an impressive sense of liberty, Liebman embarks on a more familiar language, inclining his sayings toward bebop zones. Yet, the crashingly noisy assaults in the background remain active until the end.

The saxophonist’s disposition shifts again on “Premonition”, which serves as a vehicle for his timbral explorations and extended techniques. This urgency of speech combined with fragmented rhythms takes us to free jazz territory.

Flirtations with non-Western music translate into a pair of nomadic pieces, “The Turning” and “Distant Twilight”. With self-restraint, the trio resorts to meditative phrases taken from exotic scales as well as simple yet catchy grooves meticulously designed by sintir or thumb piano.

Both Liebman and Rudolph play the Fender Rhodes in one tune each, searching for the enigmatic and the atmospheric. “Cosmogram”, unpleasantly piercing at first, is a good example of how a musical piece can sound simultaneously acrid and dulcet.

The record sounds quite distinctive from what Liebman has done before and defies any categorization beyond the experimental. Abstraction they fear not, and you’ll find the adventurous threesome attempting to squeeze their individual sounds into a compact, organic whole. In some ways, they succeed.

        Grade  B

        Grade B

Favorite Tracks: 
07 - The Turning ► 08 - Present Time ► 12 – Premonition