Drum Ode - Dave Liebman

Sep

9

Drum Ode - Dave Liebman

≡ Category: 1970s, Essential, Fusion, Jazz Funk, Jazz Rock, Music Reviews, Post Bop |
≅ Written by: Michael Kydonieus

JAZZBO NOTES ESSENTIAL RECORDING

Rating:

Drum Ode (released on the ECM label) isn’t really Lookout Farm, Dave Liebman’s fantastic fusion outfit from the 70s, but it might as well be. With the exception of bassist Frank Tusa, here replaced by Gene Perla, the core of the band is there. They’re augmented by a dizzying plethora of percussionists, including Bob Moses, Patato Valdez, Barry Altschul, Collin Walcott, and Ray Armando.

Clearly, Drum Ode was inspired by the music played in the New York lofts where so many great musicians lived in the late 60s and early 70s. Guys like Chick Corea, Steve Grossman, Gene Perla, Jan Hammer, and many others would hang out and jam. It didn’t matter how many drummers or saxophonists or bassists might be on hand. It was all good.

So, how is the music on Drum Ode? It kicks ass.

Goli Dance and Loft Dance are obviously directly inspired by the loft days. Loft Dance starts out with a brief cadenza from Richie Beirach on Fender Rhodes. A team of percussionists lay out the groove unaccompanied for a few bars before Beirach joins them, outlining the dancelike structure of the tune. When the solo section starts, it falls to the percussionists to keep the groove going. Dave Liebman starts in a lyrical mode with Beirach merging with him in that uncanny symbiosis that’s unique to these two players. John Abercrombie adds color on electric guitar. Liebman gradually heats up and then Beirach, Abercrombie, and Perla lay out. The percussionists go nuts while Liebman burns on tenor. After the climax of Liebman’s solo, the band joins in and now it’s Beirach’s turn. His solo is intensely rhythmic and melodic at once. It’s the sort of solo you want to sing along with, until you try and you realize how harmonically advanced it is. Then we get a percussion free for all, dominated by the congas of Patato Valdez, that great Cuban conguero. Finally we get a reprise of the theme and a fadeout. It’s a great tune.

Oasis isn’t as clear cut. It’s a ballad with an intriguing harmonic scheme. The opening chords are given a dominant 7th, augmented 4th feel. The problem is the vocal by Eleana Steinberg. Sorry, but there’s no way around this one, folks. She’s just not up to the level of the rest of the musicians, and that’s the kindest I can be. For some reason, jazz musicians from this period couldn’t seem to find decent vocalists. Liebman is predictably fine in his solo, muscular and biting, but also tender. It’s a shame. Oasis is a fine tune, but it’s ruined by Steinberg. Ignore her if you can.

With The Call, we’re back to the lofts. It’s a trio, with drummers Bob Moses and Jeff Williams facing off against Dave Liebman. Liebman declaims the chant-like head while the drummers accompany him with martial rhythms. Then Liebman’s off to the races, playing pentatonic riffs in an echo chamber while the drummers groove behind him. It’s exhilarating stuff.

With the tune Your Lady, Liebman reinterprets John’s Coltrane little known composition as a rubato ballad with bass player Gene Perla, Richie Beirach and assorted percussionists freely commenting behind him. It’s lovely.

The Iguana’s Ritual is built on a lazy repeating bass pattern that goes from the tonic to a half tone above. There is an enigmatic melody, doubled by Liebman and Abercrombie on guitar. Then Gene Perla switches to electric bass and using the same basic harmonic structure, introduces a funk section reminiscent of Miles, but not as dark and nasty. Abercrombie takes the solo and it must be said that he’s not impressive. For Liebman’s solo, the bass pattern gets heavier, almost a rock pattern. Then we’re back to the funk section, with Liebman and Abercrombie soloing at will, although Abercrombie thankfully takes a subordinate role.

On Satya Dhwani (True Sound), John Abercrombie has the introduction on acoustic guitar, an extended rubato wanking. It’s underwhelming although not actually unpleasant. Fortunately, the tune improves. Badal Roy and Collin Walcott take over on tablas and eventually Liebman comes in on alto flute. His modally based solo is thoughtful and lyrical and his tone is like velvet. Abercrombie contributes color comment on acoustic guitar. He doesn’t really add anything of value, but doesn’t annoy either.

It’s an odd choice to end Drum Ode on such a pensive, spiritual note, but consistent with the spirit of the times. In those days, record producers didn’t insist that all of your music fit into one style. Experimentation was still possible, even encouraged. Oh, well.

To sum up, Drum Ode is a fantastic album, even considering Eleana Steinberg’s sorry vocals. I’ll take off a half star for that, but Drum Ode is still an essential release.

Shamefully, Drum Ode is unavailable in the U.S., but you can get a copy from Amazon in Germany. Here is the link.