Music Review: Dave Liebman - Back On The Corner - Page 2

For this session, Liebman used his regular band of Tony Marino on bass, Vic Juris on guitar and Marko Marchinko on drums --- and supplemented it with an extra bass (Anthony Jackson) and fellow Miles alumnus Mike Stern on second guitar. The additional bass and guitar was taking a page from the old boss's playbook; Miles loved to double up on some instruments if it helped him to achieve a thicker, knotty sound. The extra coordination involved demands especially attentive musicians, which is why Liebman started with guys who were used to playing with him and supplemented them with guys who are used to playing with anybody.

The proceedings begin with a bassline that heralds the main melody of "5th Street", a brooding but cool number that was no doubt intended evoke the character of the honoree. Liebman picks up the tenor for this one and is followed by one of Mike Stern's signature soaring solos. In fact, Stern is heard prominently throughout, which is generally the only way Stern is heard. If you crave his guitar work like I do, consider this a treat.

Aside from the theme, "Ife" bares little resemblance to Miles' version, but the slowed down beat anchored by Jackson's ultra-low contrabass actually makes it sound more menacing than the original. Vic Juris takes his turn as the guitar lead and does a nice job, evoking a little bit of Pete Cosey's blues bent. The only other Miles original here, "Black Satin," immediately follows after a bass interlude. It's much more recognizable than the impenetrable "Ife", but lacks the chance-taking of the original; that wiggy drum/bass interplay and the inspired insertion of the Indian tablas on the 1972 version have no equal on the contemporary rendering, although Stern's over-the-top wailing makes for a valiant effort.

"Bela" is a change-up tune, with a programmed synth providing an atmospheric background for a lyrical acoustic bass workout by Tony Marino before he gives way to some gentle phrasing by both guitarists.

After a ninety second drum interlude comes "New Mambo". Here, Liebman switches back to a tenor for his solo instrument in a very Michael Brecker-sounding track, both in Liebman's solo approach and in the melodic structure. Since Stern had worked extensively with Brecker as a sideman, his presence here gives this all the more appearance of being an unintended Brecker tribute (this record was recorded seven months prior to Brecker's passing).

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