David Liebman/Randy Brecker/Richie Beirach/Frank Tusa/Al Foster
Pendulum
Mosaic Select 32
By George W. Harris

First of all, it needs to be acknowleged that saxist David Liebman is
slowly become the most represented artist in the Mosaic catalogue,
which says a lot about both the label and the artist. He's featured on
a previous Mosaic Select, the major sideman on the Elvin Jones set, and
is prominent on the Miles Davis vinyl releases. This one is the one
that shows him for all that he's worth, in a setting with some
formidable musicians heavily influenced by the Coltrane/Miles legacy.

Back in February of 1978, saxist Dave Liebman put together this hard
hitting band for a one week gig at the Village Vanguard. While that was
the duration of the band (ah, the jazz life!), engineer David Baker
recorded the band the last two nights of it's run. A single LP came
out, which makes up the first of the marvelous and inspiring 3 cd set..

This is Post Bop acoustic jazz at it's most hard hitting. Except for
the two takes of "Picadilly Lilly", which features some volcanic work
by Liebman on tenor, all of the songs are over fifteen minutes, and
give everyone a chance to stretch out and explore the music to it's
outer reaches. The music, such as Beirach's Pendulum", Cole Porter's
"Night and Day", and Miles Davis' "Solar", features assertive
propulsions, with moods shifting from wistful to frantic at the blink
of an eye. Liebman, who is mostly on tenor on these recordings, goes
spry and boppish on "There Is No Greater Love", as well as combustive
during his dialogue with drummer Al Foster on "Well, You Needn't".
Foster himself takes no prisoners; his incessant high hat work,
particularly on "Night and day", but also during the trio sections, and
his solo work on "Impressions" and "Footprints" will leave you in a
cold sweat. Trumpeter Randy Brecker is able to play in the pocket,
(...Greater Love), and can swing the melody like "Well, You Needn't"
like a hammer throw, while pianist Beirach adds some monstrous chops to
this digression as well. "Blue Bossa" given an extra sprig of Cayenne
pepper, is taken as a samba, with Liebman tearing apart the melody for
almost six minutes like a dog ravaging a bone. The 22 minute closing
"Impressions" is a justifying and fitting homage to Coltrane's legacy
and influence, with the band almost spontaneously combusting towards
the end. The band took no prisoners on this gig, and the pendulum swung
the right way this week at the Vanguard. As always, this one's a
limited edition,and it is absolutely sure to sell out, so get it quick
at www.mosaicrecords.com