On first inspection, teaming up saxophonists Dave Liebman and Ellery Eskelin might seem to have the potential for an acute dose of musical schizophrenia. But closer consideration reveals that there is indeed a meeting point. Eskelin may have a reputation as a free player, but he's equally concerned with bringing more traditional aspects into his wildly exploratory work. Liebman, on the other hand, may come from a stronger background in the mainstream jazz tradition, though he is by no means a straight-ahead player, and he's certainly no stranger to the greater extremes offered by free improvisation.
And so, on Different But the Same, we find two saxophonists converging on a middle ground that somehow incorporates both elements into a surprisingly cogent blend. And while they find common turf, there is no compromise in sight. With each saxophonist bringing along one player with a longstanding association—in Liebman's case it's bassist Tony Marino, who has been a part of Liebman's groups of the past few years; Eskelin brings along the ever-versatile drummer Jim Black, whose shared relationship dates back over a decade—the meeting is certainly democratic. It's fascinating to hear Black in a more traditional arena than his usual, and to find Marino playing with a greater sense of freedom.
With a set containing originals from both, but also reaching back with interpretations of material by Tadd Dameron, Lee Konitz, Wayne Shorter, and Cole Porter, Different But the Same demonstrates that Liebman and Eskelin share far more than they differ. In fact, the two approach the music with such a similar sensibility that, according to Liebman, "I can't always tell the difference myself," with Eskelin indicating that this was "the result of natural musical choices and the joy in speaking a shared language." Fortunately, the recording places Liebman on the left channel and Eskelin on the right, so despite remarkably simpatico approaches, it's not difficult to identify each player.
Even compositionally there are more similarities than differences. Liebman's "The Gun Wars" begins with a furious drum solo from Black, only to be joined by Marino, Liebman, and Eskelin in one of the most extreme segments of free playing of the set, before settling into an out-of-time unison theme that helps provide some form, albeit couched in a purely unstructured rhythmic backdrop. Eskelin's "How Do I Know" is no less outré, but less intense in nature. And Shorter's "Vonetta" is treated with a more open approach than the original.
Dameron's "Gnid," with its more defined pulse and traditional harmonies, is the most mainstream piece of the set, while Liebman's "Tie Those Laces" combines open-ended improvisation with a humorously idiosyncratic theme. Eskelin's "You Call It" revolves around a three-note phrase, but it demonstrates just how far such a simple conceit can be taken.
Rather than being a dichotomous curiosity, Different But the Same instead reveals how even if two players share a common goal, the route each one takes to get there can be very different indeed.
By John Kelman
April 25, 2005
https://www.allaboutjazz.com/different-but-the-same-dave-liebman-hatology-review-by-john-kelman
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A primera vista, la colaboración de los saxofonistas Dave Liebman y Ellery Eskelin podría parecer tener el potencial de provocar una dosis aguda de esquizofrenia musical. Pero un examen más detenido revela que efectivamente existe un punto de encuentro. Puede que Eskelin tenga reputación de jugador libre, pero está igualmente preocupado por incorporar aspectos más tradicionales a su trabajo tremendamente exploratorio. Liebman, por otro lado, puede tener una formación más sólida en la tradición del jazz convencional, aunque de ninguna manera es un intérprete directo, y ciertamente no es ajeno a los mayores extremos que ofrece la improvisación libre.
Y así, en Different But the Same, encontramos a dos saxofonistas convergiendo en un término medio que de alguna manera incorpora ambos elementos en una mezcla sorprendentemente coherente. Y aunque encuentran terreno común, no hay ningún compromiso a la vista. Cada saxofonista trae consigo a un músico con una asociación de larga data; en el caso de Liebman, es el bajista Tony Marino, quien ha sido parte de los grupos de Liebman en los últimos años; Eskelin trae consigo al siempre versátil baterista Jim Black, cuya relación compartida se remonta a más de una década; la reunión es ciertamente democrática. Es fascinante escuchar a Black en un escenario más tradicional que el habitual y encontrar a Marino jugando con una mayor sensación de libertad.
Con un conjunto que contiene originales de ambos, pero que también se remonta a interpretaciones de material de Tadd Dameron, Lee Konitz, Wayne Shorter y Cole Porter, Different But the Same demuestra que Liebman y Eskelin comparten mucho más de lo que difieren. De hecho, los dos abordan la música con una sensibilidad tan similar que, según Liebman, "no siempre puedo notar la diferencia", y Eskelin indicó que esto fue "el resultado de elecciones musicales naturales y la alegría de hablar una lenguaje compartido." Afortunadamente, la grabación sitúa a Liebman en el canal izquierdo y a Eskelin en el derecho, por lo que, a pesar de los acercamientos notablemente comprensivos, no es difícil identificar a cada jugador.
Incluso compositivamente hay más similitudes que diferencias. "The Gun Wars" de Liebman comienza con un furioso solo de batería de Black, al que se unen Marino, Liebman y Eskelin en uno de los segmentos más extremos de interpretación libre del set, antes de establecerse en un unísono fuera de tiempo. tema que ayuda a proporcionar cierta forma, aunque expresado en un fondo rítmico puramente desestructurado. "How Do I Know" de Eskelin no es menos extravagante, pero sí de naturaleza menos intensa. Y "Vonetta" de Shorter se trata con un enfoque más abierto que el original.
"Gnid" de Dameron, con su pulso más definido y armonías tradicionales, es la pieza más convencional del conjunto, mientras que "Tie These Laces" de Liebman combina improvisación abierta con un tema humorísticamente idiosincrásico. "You Call It" de Eskelin gira en torno a una frase de tres notas, pero demuestra hasta dónde se puede llevar un concepto tan simple.
En lugar de ser una curiosidad dicotómica, Diferentes pero iguales revela cómo incluso si dos jugadores comparten un objetivo común, la ruta que cada uno toma para llegar allí puede ser muy diferente.
Por John Kelman
25 de abril de 2005
https://www.allaboutjazz.com/diferente-pero-el-same-dave-liebman-hatology-review-by-john-kelman
1 - Tie Those Laces
Composed By – David Liebman 6:46
2 - Gnid
Composed By – Tadd Dameron 7:24
3 - You Call It
Composed By – Ellery Eskelin 7:47
4 - Different But The Same
Composed By – David Liebman 6:47
5 - What Is This Thing: Subconscious-Lee / Hot House / What Is This Thing Called Love
Composed By [Hot House] – Tadd Dameron
Composed By [Subconscious-Lee] – Lee Konitz
Composed By [What Is This Thing Called Love] – Cole Porter 5:44
6 - How Do I Know
Composed By – Ellery Eskelin 6:03
7 - Vonetta
Composed By – Wayne Shorter 7:41
8 - The Gun Wars
Composed By – David Liebman 10:10
Credits:
Design Concept [Graphic Concept] – fuhrer vienna
Double Bass – Tony Marino
Drums, Percussion – Jim Black
Executive-Producer [Executive Production] – Werner X. Uehlinger
Liner Notes – Bob Blumenthal
Mixed By [Mix By], Mastered By [CD-master By] – Peter Pfister
Photography By [Cover Photo By] – Bob Kessler (2)
Producer [Produced By] – Art Lange
Recorded By – Jon Rosenberg
Tenor Saxophone – David Liebman, Ellery Eskelin
Recorded May 30, 2004 at Systems Two, New York N.Y.
Label: hatOLOGY – hatOLOGY 615
Country: Switzerland
Released: 2005
Genre: Jazz
Style: Contemporary Jazz, Free Improvisation
https://www.discogs.com/release/2758192-David-Liebman-Ellery-Eskelin-Tony-Marino-Jim-Black-Different-But-The-Same
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