Label: Dot Time Records, 2020

Personnel - Joe Lovano: tenor saxophone; Dave Liebman: tenor and soprano saxophones; Judi Silvano: voice; Tony Marino: bass; Michael Stephans: drums.

The Kaleidoscope Quintet, a stellar collaborative project co-led by master saxophonists Dave Liebman and Joe Lovano (also co-leaders of Saxophone Summit), includes vocalist Judi Silvano, bassist Tony Marino and drummer Michael Stephans. A memorable, effusive live performance occurred at Pennsylvania's Deer Head Inn in 2013 is immortalized by Dancing on the Edge, a recording comprising five exciting compositions - two from each saxophonist and one beloved jazz standard - delivered in celebratory mode.

The enthusiastic enjoyment of the group is on display in Lovano’s “Topsy Turvy”, a wonderful piece culled from his 1995 album Rush Hour. Silvano’s vocal integration with the reeds definitely adds extra melodic fuel to the fire, in a piece that relies on the post-bop expertise of Lovano, the ebullient note sequences of Liebman, and stuttering rhythmic figures approved by these three soloists. They trade fours with the drummer, before joining again with the purpose of re-establishing the theme.

Their majestic on-the-fly creativity comes to our attention again on “Blackwell’s Message”, another Lovano composition (written for the late drummer Ed Blackwell in 1993) that starts off with communicative flutes in consonance before exposing rich unisons over a simple bass pedal. There’s an excellent vocal solo, a change of pace suggested by Lovano, and curious punctuations in Liebman’s expressionistic shrieks. All delivered with a phenomenal energy.

The set’s only standard here is “There Is No Greater Love”, a trio effort with Liebman leaning on the avant-garde side over the typical progression laid down by Marino and rhythmically uphold by Stephans. However, “Day and Night” is in fact a Liebman-penned contrafact of “Night and Day”. Wielding his soprano, the saxophonist revolves around the melody while the rhythm section encourages him to expand with well-coordinated movements and occasional arrhythmic provocations. For a while, we have Lovano’s tenor over bass only, and it’s Stephans who finishes things off with elaborate drum sketches.

The conclusion comes with Liebman’s “Get Me Back to the Apple”, an old tune that serves as a glorious display for the reedmen’s soloing skills. Lovano suggests the melody of “Sentimental Journey” in his discourse, and during the animated conversation with Liebman, a jaw-dropping show of multiphonics and powerful intonations occur.

Providing such pleasurable moments, this live recording carries that exhilaration present in the old classics, and is to be cherished.