Review Summary: Preserve, fuse... evolve.
There's an unwritten tradition - an ongoing ritual regarding jazz, with roots reaching back to the conception of improvisational music. Fundamentally, the term "sideman-ship" tackles instillment of tradition and experience, not eventual dots in one's CV. In our case, David Liebman was selected by former Coltrane drummer Elvin Jones; the next step for the up and coming sax player was to replace Wayne Shorter in Miles' fusion outfit. These accomplishments should be enough even for the most rigid appraiser of Jazz checking for credentials; yet as I said - the decree reads apprenticeship, the passing of knowledge... a form of continuity. In essence though, a blessing that yearns assimilation with ones own character; evolution - to do so in your own way.
The formation of Lookout Farm took place and the concord materialised in 1974 under the ECM label. David Liebman, as band leader met in studio John Abercrombie, on guitar; Richard Beirach, on piano; Frank Tusa, on bass; Jeff Williams, on drums; plus a plethora of percussionists (Armen Halburian, Don Alias, Badal Roy, Steve Sattan). That session, fused the aforementioned bob with later Miles influences providing three original tunes. The classical guitar intro of "Pablo's Story" or the wooden flute and sax colorings up to the first Beirach solo, might bring to mind Chick Corea. In time though, these latin strokes will give way to Liebman's improvisations -departing from structural safety by way of crafty chromaticism around the melody; providing almost instantaneous release to whichever dissonant ventures.
"Sam's Float" is the most fusiony of the three frameworks present. Eleana Sternberg allots vocal melodies; the bass walks a more modern approach, while Abercrombie goes for the semi-distortion, before Liebman proves in articulation - why the drummer of Trane chose him a few years prior. Moreover, there's an underlying appreciation of free jazz throughout this album, yet not in a nonstructural or inaccessible way; this collaboration values composition and interplay as well as traditional improvisational turns. The kernel finally cracks its husk on "M.D./Lookout Farm" where the ensemble truly has the space to project its own identity; the piano and sax warrant a more ethereal interplay, occasionally venturing into avant-garde. Beirach, will continue into the second part of the 23 minute structure, showcasing his classical background, then, fusion they pitch once more. On a side note, knowing what M.D. stands for (according to Liebman's comments), this transition might strike an analogy of Miles' musical endeavors. On balance, the latter part provides an amalgam of trad bop with free improv; taking chances, full of risk - this is what will come to be Liebman's and Abercrombie's trademark style in the posterior years. Ultimately, this album comes full circle honoring its influences, while cultivating an identity of its own - priding jazz tradition.
As such, lookout farm is a gem polished by a generation that wasn't disheartened of being born too late - for to gain vast popular recognition. Liebman and Co, carried on to evolve the art, and achieved prominent status within the ever-diminishing community of jazz appreciators. They provided an abundance of outings in the years to follow; besides, most of them turned out well esteemed teachers and instructors - passing knowledge while surveying for those able and willing to carry the torch. This --currently out of print-- 1974 LP is what branded their solid foundation... their own Lookout.
