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JOE LOVANO, DAVE LIEBMAN AND RAVI COLTRANE RECONVENE AT THE SAXOPHONE SUMMIT

Seraphic Light explores the music of late Coltrane; dedicated to Michael Brecker

When Michael Brecker, Dave Liebman and Joe Lovano – arguably the greatest jazz saxophonists of their time – first assembled in the mid-1990s as Saxophone Summit, their mission was to explore the outermost edges of jazz, most notably through the experimental avenues originally paved by saxophonist John Coltrane a few decades earlier. When Saxophone Summit released their debut album, Gathering of Spirits, in 2004, the critics raved. JazzTimes called the recording “ridiculously good,” while Amazon.com suggested that the album invoked “the collective vision and apocalyptic energies of John Coltrane’s 1960s meetings with…Eric Dolphy and Pharoah Sanders…”

Unfortunately, with the death of Michael Brecker in early 2007, a followup album featuring these three titans was never to be. But in keeping with the forward-thinking and forward-moving spirit that both Brecker and Coltrane embodied – not just in jazz but across the entire musical landscape – Saxophone Summit reconvenes with the June 3, 2008, release of Seraphic Light, an album that continues to celebrate and explore Coltrane’s later body of work. Liebman and Lovano return for the followup recording, while saxophonist Ravi Coltrane – heir to the elder Coltrane’s incalculable legacy – steps in and more than fills the void created by Brecker’s passing.

Seraphic Light, dedicated to Brecker, is in many ways two different projects in a single recording, says Liebman. “The original idea was to follow up where Gathering of Spirits left off,” he explains, referring to the previous album’s emphasis on some of the characteristics of Coltrane’s later period: simultaneous solos, abandonment of specific tempo and melodies and harmonies that ranged from diatonicism to dissonance. “The Coltrane compositions we chose for Seraphic Light reflect those directions… On the other hand, we wanted everyone in the group to have a compositional voice represented. So in essence we have two albums in one. The original tunes are, to my ears, quite accessible and compact in their performances, offering a needed contrast to the weightier Coltrane material.”

By tragic coincidence, Alice Coltrane – Ravi’s mother and John’s widow – passed away within 24 hours of Brecker’s death in January 2007, a turn of events that adds another layer of emotional resonance to Seraphic Light, says Lovano. “In the wake of Mike’s untimely passing and also with the loss of one of our spiritual leaders and inspirations, Alice Coltrane, this project took on a very personal life of its own,” he says. “Ravi Coltrane’s voice and presence gave us all a solid, warm feeling, and the music speaks for itself.”

“Dave and Joe both inspire me greatly, and it’s a thrill to play with them,” says Coltrane. “I admire Dave’s commitment and passionate drive in bringing the late period of Coltrane’s music to people’s attention. His scholarly exploration of these compositions is so important. And Joe’s expressive, elegant spirit emanates through everything he does. I simply look forward to any opportunity to play music with him.”

Each track on Seraphic Light is a journey into the limitless potential of jazz. The set opens with “Transitions,” a piece that is both melodic and yet sonically challenging at the same time. Further in, “Message To Mike” is written and arranged by guest trumpeter Randy Brecker as a way of reaching out across the void to his late brother. “Having Randy’s contribution on this recording brought Mike’s energy, inspiration and aura into the room in a real way,” says Lovano. The surviving Brecker reappears with additional solo work in the closing track, John Coltrane’s “Expression.”

In keeping with the original Saxophone Summit philosophy, the three final tracks – “Cosmos,” “Seraphic Light” and “Expression” – all focus heavily on Coltrane’s later period. “There are some tunes on this record that are a little more accessible than the last record,” Liebman explains. “But at the same time, we’re not getting too far from the core aesthetic or the founding principles of the group. That’s why we bunched the late Trane tunes in the last three tracks. When you get to that final part of the record, you know you’re in that part of the voyage that reflects his later years. There’s nothing more that needs to be said after that.”

The title Seraphic Light is a reference to angels of the highest order who stand in the presence of God. Like the angels, great artists enter the world and then leave it all too quickly to ascend to a higher plane, but their immortality lies in their ability to inspire those they leave behind.

“Michael would have wanted us to keep moving and play the music,” says Liebman. “This project certainly was different without him, but Ravi more than filled in. We’ve been able to keep this project alive after ten years, two recordings and the loss of one of its founding members. I think the music itself reflects the commitment by the surviving members to keeping Saxophone Summit special in the world of jazz.”

Stand in the Seraphic Light and catch a glimpse of the divine.

BIOGRAPHIES

Ravi Coltrane

Tenor and soprano saxophonist, bandleader and composer Ravi Coltrane has fronted a variety of jazz lineups, recorded critically acclaimed albums as a leader, produced recordings by other artists and worked as a a sideman for numerous jazz luminaries. Born to John and Alice Coltrane in Long Island, NY, in 1965, Ravi may have been destined for a life in music from the outset.

Coltrane began playing clarinet in middle school while growing up in a house filled with every imaginable genre of recorded music – jazz, classical, R&B, soul, pop, and of course, the highly influential LPs pressed by his revered father. In 1986, he entered the California Institute of the Arts to pursue musical studies, focusing on the saxophone.

By the early ‘90s, he was back in New York, playing with a variety of notable jazz figures: Jack DeJohnnette, Wallace Roney, Geri Allen, Kenny Barron, Joe Lovano, Joanne Brackeen, Steve Coleman and many others.

After performing on more than thirty recordings as a sideman, he cut Moving Pictures, his first album as a leader, in 1997. The album served as the impetus for Coltrane to assemble a touring group that canvassed North America and Europe. His second album, the critically praised From the Round Box (2002), revealed a growing sense of self-challenge, balancing esoteric covers with compelling originals.

Coltrane launched his own label, RKM Music, in 2002. His early projects included albums by trumpeter Ralph Alessi and saxophonist Michael McGinnis. However, despite the demands of running a successful record label, he has remained committed to developing his discography as a leader with Mad 6 (2003) and In Flux (2005).

He joined the Saxophone Summit lineup following the death of Michael Brecker in January 2007. His first recording with the saxophone trio is Seraphic Light, released on Telarc in 2008.


Dave Liebman

Dave Liebman is a uniquely idiosyncratic and explorative musician with a commitment to creative excellence that has been the catalyst for a life of perpetual performance and teaching.

Born in Brooklyn, NY, in 1946, Liebman developed an interest in jazz after seeing John Coltrane perform live. Following studies with Lennie Tristano and Charles Lloyd, he organized a musical cooperative, Free Life Communication of New York, part of the lively "loft" jazz scene of the era. After a brief stint with jazz fusion pioneers Ten Wheel Drive, Liebman served his apprenticeships in the early 1970s with two masters, Elvin Jones and Miles Davis.

Like other Miles’ sidemen, he left Miles to lead his own groups, including the Open Sky Trio, with Bob Moses, and Lookout Farm with Richie Beirach. Following a world tour with Chick Corea, he reunited with Beirach in the early 1980s and formed Qwest.

He formed the Dave Liebman Group in the 1990s, and has since recorded extensively. His latest release, “In A Mellow Tone,” includes his long-time musical teammate, guitarist Vic Juris.

As an educator and activist, Liebman has written and published articles, books, instructional videos, play-along-CDs, and chamber music. He is also the founder and artistic director of the International Association of Schools of Jazz, an organization dedicated to sharing the joy of jazz worldwide.

Since his musical arrival in the late ‘60s, Dave Liebman’s artistic output has ranged from straight ahead to chamber jazz; from fusion to avant garde. This diversity has always been marked by its conviction, singular approach and a sense of adventure core elements of his creative aesthetic.


Joe Lovano

At the heart of Joe Lovano’s musical quest is a heroic pursuit to persistently challenge and propel his conceptual and thematic choices. No two Lovano recordings are alike.

Lovano was born in Cleveland in 1952. His father, Cleveland saxophonist, Tony “Big T” Lovano, taught his son the alto and introduced him to Dizzy Gillespie, James Moody and Sonny Stitt. By the time he was a teenager, he was playing tenor in local jam sessions. Deeply rooted in bebop, Joe explored modal harmony and musical freedom while at Berklee.

Joe's first professional gigs were with organist Lonnie Smith and Brother Jack McDuff. After three years on the road with Woody Herman’s Thundering Herd in the late ‘70s, he joined the Mel Lewis Orchestra and began hosting regular jam sessions at his Manhattan loft. As word of Joe’s prowess as a soloist spread, he became a member of guitarist John Scofield’s Quartet. He gained further exposure and renown, particularly in Europe, through his work in Paul Motian’s Trio, which featured former Berklee classmate, guitarist Bill Frisell.

Since his recording debut as leader in 1985, Joe Lovano has released more than 25 CDs, featuring such musicians as Michel Petrucciani, Dave Holland, and Elvin Jones. Experimenting with different ensembles, Joe’s discography includes trios, quartets, nonets and his tenor saxophone with voice, string and woodwind ensembles.

Regarding his unique musical journey, Joe Lovano believes that his career as a soloist “has been one of developing conceptions in my playing to fit into varied contexts so I'm free to react within different kinds of moods and energies of different musicians.”