A handy-to-use pocket size pamphlet lists the daily routine a saxophonist should include in his practicing. Topics include: assembling the horn, correct posture, breathing, overtone exercises and more.
Using established standard songs from previous Aebersold Play-Alongs, Lieb uses one superimposition technique per tune as described in his Chromatic Approach to Jazz Melody and Harmony to demonstrate how common progressions can be interpreted in a chromatic manner. Several transcriptions of the solos are included, done by Matt Vashlishan, as well as a CD with all of Lieb's solos.
Here is a masterful collection of articles and papers David has written over the years summarizing thoughts on various topics related to jazz and education. Each article is a worthy testament unto itself, but as a collection, they form an enlightening and insightful tool for every music educator and player in search of new ideas and fresh perspectives on teaching for the next century.
"A collection of articles and papers written over the years, this collection
is a great resource representing a wealth of important contributions made by the
author through his jazz education pursuits. I particularly like the author's
treatises on tone, breathing, transciribing, time and jazz rhythms. It is more
than just technical information. The author really gets into basic conepts for
the beginning saxophonist by analyzing essential ideas that are a must for jazz
education instruction. Going beyond the basics, the author also gets into
scales, articulation, listening, imitation, sound, breathing, physical warm ups,
ear training, reading and philosophy. The collection is strongly recommended for
both saxiphonists and music educators. The articles and papers are very relevant
for today's jazz education market." -- IAJE Journal
2CDs
Two CDs worth of inspiring interviews of Lieb from the Manchester Craft Guild in Pittsburgh done during the mid 90s, covering a wide variety of subjects including: the Coltrane effect, teaching an art form, musical demonstrations of his harmonic, rhythmic and melodic concepts, the artistic process, art vs. craft, Miles Davis, Elvin Jones and much more.
A new twist on old standards which include: Nica's Dream, All Blues, Maiden Voyage and Green Dolphin Street. There are also original compositions in different genres including free form. David's challenging, inventive arrangements of well known tunes are welcome additions to the library of every musician looking for a fresh perspective! David has substituted his own unique harmonies and grooves (odd meter, fusion, waltz, Modal, etc...) over the "Standard" forms and harmonies to create something really special. The musicians on this play-a-long have been David's regular recording and touring group, adding an extra dimension of "tightness" and authenticity to every measure.
There is no question that Volume 81 is a challenging collection of music. First
of all, there is the particular rhythm section which has played quite a bit
together under my leadership since 1991. Some of the tunes have only been played
for recording sessions; others have been developed more consistently in live
performance; and several were never played by this particular group. But the
point is that they are familiar with my musical language.
There is also the matter of extensive use of vamps. When playing on these
sections, one of the crucial aspects is the conversational element between
soloist and rhythm section which obviously can't occur on a play-along. But I
still felt that it was important to include vamps under any conditions. For me,
they provide relief from the ongoing chord changes and a chance to further build
a story as well as excitement.
I chose not to play along with the tracks at the original recording session
because I didn’t want the rhythm section to react in ways that we have built
up over the years. This might detract from the obvious rationale for
play-a-longs which is for you to be able to easily take part. However, a short
time after the session bassist Tony Marino suggested that it would be
interesting and instructive to hear me play on the tunes. So you have that
opportunity here as well as the chance to accompany me since I am on both
channels.
(Play-Along)
2 CDs with booklet
With David Liebman, soprano sax and Jamey Aebersold, piano. For ALL levels; instrumentalists and vocalists. Hear David Liebman solo over every scale listed in the Scale Syllabus. David solos on two versions of each scale. First is slow/simple and second is more complex/fast. Stereo separation allows you to practice and improvise, too! Piano or guitar players can accompany or solo. Not only can you hear the different scales, you can practice or solo with them by turning off the sax or piano channel. There is an excellent list of suggested piano voicings in the supplement. This is a great way to learn new scales and chords. Enjoy as you would any jazz record and let your ears get accustomed to exciting new scales.
Original Compositions of David Liebman
(Play-Along)
CD with booklet
Intermediate/Advanced Level. This set is unusual because it contains no II/V7's. The tunes are fresh and the chord progressions are not the usual found in standard songs. The rhythm section is Richie Bierach, piano; Frank Tusa, bass; and Al Foster on drums, recorded after they had just played a week at the Village Vanguard in New York City, so they were a tight rhythm section and it comes off in this recording. The songs include Picadilly Lilly which is a straight-ahead tune with a mixture of quick root movements and stable pedal points. A very Coltrane-flavored song is Slumber. Oasis is a major altered blues. Four scales are used in Loft Dance and the tempo is brisk. Brite Piece incorporates major, lydian and lydian dominant scales. Bonnie's Blue is a straight-ahead blues with some harmonic variation. Tomorrow's Expectations is a very contemporary ballad in its use of some uncommon harmonic movements mixed with more unusual chord progressions. Pedal point modality around the key of C is used in Lookout Farm in 8 and 16 bar phrases...up tempo. These songs are not typical bebop tunes.
(CD)
This CD contains the original 1982 and 1985 tracks recorded at the play-along session in which Liebman played tenor along with the rhythm section. This collections features six Coltrane and five Shorter tunes. Stereo mix allows keyboard, guitar or bass to play-along and accompany Liebman.
Booklet
All of the solos and examples transcribed off Volume 26, the Scale Syllabus, exactly as played by David on soprano in B key.
Booklet & CD
A concise description of David's approach to playing over the stated tonality using chromatics, polychords and non-diatonic scales. Includes a CD of David playing examples over selected piano chords.
(vol. 19 Play-Along)
Book/CD
Transcriptions of what Liebman actually played for the recording session of Volume 19 Play-Along with Richie Beirach, Al Foster and Frank Tusa from 1978.
Booklet
David provides not just the usual technical information but also a wealth of practical no-nonsense tips and advice based on his years in the recording industry as both a leader and sideman. An essential guide on how to approach and prepare for your recording session.
Booklet
After many years of traveling as a leader and a sideman with such greats as Elvin Jones and Miles David, David Liebman has codified his vast experience of playing "On the road" into this important survival manual for all musicians. Covers air, sea and ground travel, preparation, food, contracts, getting paid, dressing, packing, dealing with foreign customs, relating to clients and fellow musicians and much, much more. Learn all you need to know to protect yourself and make your trip as successful as possible. An indispensable guide for all traveling musicians and a revealing insight.
Booklet & CD
This collection of original compostions clearly demonstrates the use of Liebman's chromatic concepts. The CD features the soprano and piano on separate tracks for play-a-long purposes. This is a very advanced collection meant for the serious improviser/composer.
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