“In this extraordinary album, we witness the combination of the spontaneous creative impulses and actions of the two artists with aesthetic enthusiasm. Sound vibrations, which usually shine and disappear for a short time during the live performance, are like the handsome corpses of the jazz cemetery, but this recording is like a sacred treasure saved from rotting and destruction; it is waiting to be discovered once again.” – Dark Blue Notes

The National Endowment of the Arts’ Jazz Master, Dave Liebman, was born in New York City on September 4th, 1946 during a period of change in jazz, one that has yet to be properly documented by even its most noted musicians, writers, filmmakers, and serious academics. It was a time when Afro-Cuban based dance music and its driving polyrhythms were taking the city, and eventually the country, by storm. At its epicenter was the Machito Afro-Cubans, a big band led by the amazing multi-instrumentalist (clarinet, alto sax, lead trumpet) Mario Bauzá and his brother-in- law Frank Grillo (Machito). Thus Afro-Cuban jazz, the first form of Latin jazz, was born and Afro-Cuban percussion would become part of mainstream jazz in America.

When Get Up with It was released in 1974, critics – let alone fans – had a tough time with it. The package was a – by then customary – double LP, with sessions ranging from 1970-1974 and a large host of musicians who had indeed played on late-'60s and early-'70s recordings, including but not limited to Al Foster, Airto, John McLaughlin, Reggie Lucas, Pete Cosey, James Mtume, David Liebman, Billy Cobham, Michael Henderson, Herbie Hancock, Keith Jarrett, Sonny Fortune, Steve Grossman, and others. In The Rolling Stone Album Guide (2004), J.D. Considine described the compilation's music as "worldbeat fusion".

"Live at the Lighthouse" is a live album by jazz drummer Elvin Jones featuring performances recorded in 1972 at the Lighthouse Café in California, and released on the Blue Note label.

Prolific saxophonist/bandleader Dave Liebman, a living jazz legend and one of the most influential musicians and educators of our times, joins an imaginative duo of percussionists, Tatsuya Nakatani and Adam Rudolph. Together, they create a variety of spontaneous conversations where the reaction to stimulus is a must. Hence, communication plays an essential role throughout "The Unknowable", the result of their experimental meeting.

"On the Corner" is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released in 1974 on Columbia Records. Drawing on funk and rock music, the work of experimental composer Karlheinz Stockhausen, and electronic recording techniques, it was in part an attempt by Davis to reach a younger African American audience. Instead, it became one of his worst-selling recordings and was scorned by establishment jazz critics at the time of its release. It was also his last studio album of the 1970s; for the remainder of the decade he recorded haphazardly and focused instead on live performance before temporarily retiring from music in 1975.

On the Corner is a studio album by American jazz trumpeter, bandleader, and composer Miles Davis. It was recorded in June and July 1972 and originally released on October 11 of the same year by Columbia Records. The album continued Davis's exploration of jazz fusion, and explicitly drew on the influence of funk musicians Sly Stone and James Brown, the experimental music of Karlheinz Stockhausen, ideas by composer Paul Buckmaster, and the free jazz of Ornette Coleman.

On the Corner is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released in 1974 on Columbia Records. Drawing on funk and rock music, the work of experimental composer Karlheinz Stockhausen, and electronic recording techniques, it was in part an attempt by Davis to reach a younger African American audience. Instead, it became one of his worst-selling recordings and was scorned by establishment jazz critics at the time of its release. It was also his last studio album of the 1970s; for the remainder of the decade he recorded haphazardly and focused instead on live performance before temporarily retiring from music in 1975.

With a red hot three horn front line of Dave Liebman, Frank Foster and Joe Farrell, drummer Elvin Jones pushes some limits on this overlooked 1971 session. Equally noteworthy is newcomer (at the time) Gene Perla on bass and electric bass, while Jones himself propels the set with his trademark powerful drumming.

"Distant Song" (subtitled as "Fred Farell sings the music of Dave Liebman and Richie Beirach") is a contemporary jazz album consisting of jazz infused with gospel messaging. Featuring jazz singer Fred Farell, this album provides listeners with a compilation of easy-listening. Farell's passion can be heard in tracks like Sunday Song, Places, and Forgotten Fantasie.

Saxophonist John Coltrane was among the most important and most controversial figures in jazz, recognized as one of the great jazz artists of our time. Recorded June 22, 2007 by the virtuoso saxophonists Dave Liebman and Joe Lovano almost 40 years to the day after Coltrane’s death, this album brilliantly gives homage to the breadth of John Coltrane’s relatively short but momentous musical legacy, featuring pianist Phil Markowitz, bassist Ron McClure and drummer Billy Hart.

Ryo Kawasaki chose a career as a jazz fusion guitarist after spending some years studying as a scientist. During the 60s he played with various Japanese jazz groups and also formed his own bands. In the early 70s he came to New York where he settled and found steady work in very distinguished company, including the bands of Gil Evans, Elvin Jones, Chico Hamilton, Ted Curson and Joanne Brackeen. In the mid-80s, Kawasaki drifted out of performing music in favour of writing music software programmes for computers. He also produced several techno dance singles, forming his own company, Satellites Records, for their release.

Saxophonist and composer Samuel Blais, awarded the 2011/12 Jazz Revelation by Radio Canada, completed a Bachelors degree in Jazz Performance at Canadas McGill University, which led him on to complete his Masters in same at the Manhattan School of Music in NYC. While in New York, he performed with many jazz notables, including veteran saxophonist and former Miles Davis band mate Dave Liebman. "Cycling", featuring Mr. Liebman, won a Prix Opus for Best Jazz Album, 2010/11.

As a teenager, when he first caught sight (and sound) of John Coltrane playing at New York’s famous Birdland Club, David Liebman fell instantly in love with jazz. A virtuoso on the soprano sax, and an innovative composer, Lieb’s attachment to jazz has always been something more than musical. The spirit behind the music and the community of musicians and listeners all figure into his life in jazz.

David Liebman is considered a renaissance man in contemporary music with a career stretching over fifty years. He has played with masters including Miles Davis, Elvin Jones, Chick Corea, John McLaughlin, McCoy Tyner and others; authored books and instructional DVDs which are acknowledged as classics in the jazz field; recorded as a leader in styles ranging from classical to rock to free jazz. He has performed on over 500 recordings with over 200 as a leader/co-leader featuring several hundred original compositions.