[TR24][OF] Dave Liebman - Ceremony - 2014 (Contemporary Jazz, Latin)

The National Endowment of the Arts’ Jazz Master, Dave Liebman, was born in New York City on September 4th, 1946 during a period of change in jazz, one that has yet to be properly documented by even its most noted musicians, writers, filmmakers, and serious academics. It was a time when Afro-Cuban based dance music and its driving polyrhythms were taking the city, and eventually the country, by storm. At its epicenter was the Machito Afro-Cubans, a big band led by the amazing multi-instrumentalist (clarinet, alto sax, lead trumpet) Mario Bauzá and his brother-in- law Frank Grillo (Machito). Thus Afro-Cuban jazz, the first form of Latin jazz, was born and Afro-Cuban percussion would become part of mainstream jazz in America.
With Ceremony, Dave has added to that history and joined the continuum of New York-based musicians that have contributed to the Apple’s rich Afro-Latin music culture. Dave’s beautiful flute, tenor, and soprano sax lines soar over the rhythms played by young virtuosic percussionists throughout this beautifully haunting record. They provide a cultural context evoking the spirit of John Coltrane, particularly in the three opening pieces which were penned by Trane and arranged by Lieb. Along with the Coltrane cuts, the pieces “Danza” and the traditional “Tardes”, also featured are three “Ceremony” pieces Dave calls “Morning” “Afternoon” “Evening” which center around one theme adjusted for each of the chosen modes encased in odd meter bass and drum lines.
This exciting new album returns to the haunting evocative beauty of the origins of jazz rhythms but has a contemporary feeling infused into it by very sophisticated players of contemporary jazz and Latin music who give the album a special shine. While jazz matured within an eclectic mix of American music ranging from marching bands to gospel to ragtime, vaudeville, and musical theater, it is firmly rooted in its rhythmic intensity in the rituals and ceremonies of Africa and the Caribbean. This album returns to those roots.
Ceremonies consists of an unusual grouping of just one horn player, four percussionists and electric bass. It features the brilliant saxophone and flute playing of Dave Liebman backed by the legendary Oscar Stagnaro's electric bass and a team of outstanding percussionists playing a variety of drums, mostly of Cuban origin but harking back to the tribal rituals of the African continent. To capture the ceremonial effect, the album was recorded in a naturalistic way, with one binaural microphone in a church which provided richer resonance than a recording studio. The result is an ear- satisfying "living presence" in which the natural sonorities and timbres of the drums and reeds can be vividly heard.
The music itself is stripped of many of the trappings of modern jazz such as the standard swing syncopation, AABA choruses, and familiar tunes. Neither is it "avant-garde" nor is it by any means primitive. Headed up by Liebman's extraordinary mastery of and lasting contribution to the jazz syntax, the music is infused with modernity. The obvious influence in that respect is John Coltrane, two of whose compositions ("The Drum Thing" and "Tunji") are represented and who briefly experimented with Afro-Cuban sources. However, the hidden tribal chieftains whose spirits hover over the musical inventiveness articulated here are Duke Ellington, who transformed jazz into serious expression beyond entertainment, and the classical composer Bela Bartok, who developed the modal approach to music based on the naturally occurring sounds of folk music. Like much of Ellington's and Bartok's work, this album possesses an aesthetic purity that has a hypnotic effect on the listener, a conjuring of past lives of other times and places while fully alive and unique in the present moment of creation.
Two features of this album provide it with its special magic. One is the presence of several drummers, truly a "drum section" if you will. It is a rare pleasure to hear superb percussionists exchange well-crafted sonorities and rhythmic virtuosity with one another. They evoke both African and Cuban rhythms, with the emphasis shifting in the course of the album from the former to the latter. The drums are underpinned by Stagnaro's distinctly Afro-Cuban "tumbao" bass lines that also coincidentally carry some of Jaco Pastorius' lineage with them. Stagnaro's repetitive chants (which came to be called "riffs" during the swing era) establish a trance-like ostinato that evokes ancestral spirits.
Over and against this rhythmic intensity, Liebman weaves melody lines that "tell stories" that range from lamentations to ecstatic conversations. By using an imaginative "vocabulary" that has flavors of Coltrane, as well as Afro-Cuban melodies and European impressionism (think of Debussy and Ravel) with occasional modal alterations attributable to Bartok, Liebman achieves a compositional complexity and beauty that is spontaneous yet magnificently structured. --All About Jazz

foobar2000 1.2.2 / Dynamic Range Meter 1.1.1
log date: 2015-01-08 12:20:15
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Analyzed: Dave Liebman / Ceremony
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DR         Peak         RMS     Duration Track
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DR14       0.00 dB   -19.66 dB      2:53 ?-The Drum Thing
DR13       0.00 dB   -16.69 dB      8:27 ?-Tunji
DR15       0.00 dB   -17.82 dB      7:41 ?-Kulu Sé Mama (Juno Sé Mama)
DR15       0.00 dB   -16.80 dB      5:08 ?-Ceremony: Morning
DR14       0.00 dB   -16.83 dB      7:10 ?-Ceremony: Afternoon
DR16       0.00 dB   -18.83 dB      6:57 ?-Ceremony: Evening
DR12       0.00 dB   -15.89 dB      4:04 ?-Tardes de Lindoia
DR15       0.00 dB   -17.70 dB      5:29 ?-Danza del Pájaro
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Number of tracks:  8
Official DR value: DR14
Samplerate:        192000 Hz
Channels:          2
Bits per sample:   24
Bitrate:           6396 kbps
Codec:             FLAC
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