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David Liebman
Ellery Eskelin
Jim Black
Non Sequiturs

jazz/impro
Hat Hut, 2012

total time: 54:21

aver. mark: -    mark it!

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CD:18,04€
in stock
cat. no: OGY710
format : CD
number of discs : 1
packaging : ecopack


no. title play mp3
1 New Breed 6:20
2 In The Mean Time 11:20
3 Ghosts 8:08
Second set - Non Sequiturs
4 No Opening 2:28
5 Low Visibility 4:16
6 Main North 1:21
7 Uncertain Speech 1:42
8 Vertical Prose 2:08
9 Intended Poem 4:08
10 Tin Baroque 4:42
11 Adjusted Scatter 7:35


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David Liebman: tenor saxophone
Ellery Eskelin: tenor saxophone
Tony Marino: bass
Jim Black: drums

Non Sequiturs is a suite written expressly for this group in which the band's musical energy is altered by various com- positional progressions (and impediments) much like the flow of a river or stream over varied geographical terrain. The form is episodic, based on elemental balance rather than narrative logic. The composed portions provide ballast against which we as improvisors make our choices elaborating upon (or more often contrasting) the given material, resulting in a compositional and group oriented approach rather than soloistic one (even as there remain some overtly soloistic passages). Often I have provided rhythms upon which we spontaneously choose our own notes.
by Ellery Eskelin

All About Jazz
Non Sequiturs is the third Hatology release from the cooperative quartet co-led by saxophonist's David Liebman and Ellery Eskelin, following 2008's Renewal and their 2005 debut, Different But The Same. Although the pairing initially seemed surprising (Liebman is Eskelin's former teacher), the two tenors have since demonstrated an innate kinship; each is a fearless improviser, well-versed in the tradition, but unafraid to venture into uncharted territory.

Throughout the album, they alternate probing cadences and lyrical motifs with an uncanny synchronicity that belies their respective reputations-Liebman as the venerable traditionalist, Eskelin as the bold avant-gardist. Yet in fact, the saxophonists are so simpatico that it is occasionally difficult to tell them apart; Liebman himself once stated, "I can't always tell the difference myself."

Enriching their congenial rapport is the dynamic interplay of Liebman's longstanding bassist Tony Marino and Eskelin's steadfast drummer Jim Black. Their intimate familiarity with the nuances of each co-leader's approach imbues the proceedings with supple precision, even during the most abstract excursions. In contrast to the group's previous date, neither Marino nor
.......
more

Non Sequiturs is a suite written expressly for this group in which the band's musical energy is altered by various com- positional progressions (and impediments) much like the flow of a river or stream over varied geographical terrain. The form is episodic, based on elemental balance rather than narrative logic. The composed portions provide ballast against which we as improvisors make our choices elaborating upon (or more often contrasting) the given material, resulting in a compositional and group oriented approach rather than soloistic one (even as there remain some overtly soloistic passages). Often I have provided rhythms upon which we spontaneously choose our own notes.
by Ellery Eskelin

All About Jazz
Non Sequiturs is the third Hatology release from the cooperative quartet co-led by saxophonist's David Liebman and Ellery Eskelin, following 2008's Renewal and their 2005 debut, Different But The Same. Although the pairing initially seemed surprising (Liebman is Eskelin's former teacher), the two tenors have since demonstrated an innate kinship; each is a fearless improviser, well-versed in the tradition, but unafraid to venture into uncharted territory.

Throughout the album, they alternate probing cadences and lyrical motifs with an uncanny synchronicity that belies their respective reputations-Liebman as the venerable traditionalist, Eskelin as the bold avant-gardist. Yet in fact, the saxophonists are so simpatico that it is occasionally difficult to tell them apart; Liebman himself once stated, "I can't always tell the difference myself."

Enriching their congenial rapport is the dynamic interplay of Liebman's longstanding bassist Tony Marino and Eskelin's steadfast drummer Jim Black. Their intimate familiarity with the nuances of each co-leader's approach imbues the proceedings with supple precision, even during the most abstract excursions. In contrast to the group's previous date, neither Marino nor
.......
more

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