The Squid's Ear Magazine

Evans, Charles / Liebman / Marino / Stabinsky: On Beauty (More Is More)

NY baritone saxophonist Charles Evans wrote this through-composed 9 part work for soprano saxophone great David Liebman, who joins Evans in a quartet with pianist Ron Stabinsky and bassist Tony Marino, performing a chamber jazz work of strong melody and subtle allure.

Price: $11.95


Out of Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 2.00 units

Sample The Album:

product information:


Charles Evans-baritone saxophone

David Liebman-soprano saxophone

Ron Stabinsky-piano

Tony Marino-bass

Click an artist name above to see in-stock items for that artist.

UPC: 888295222204

Label: More Is More
Catalog ID: MIM152
Squidco Product Code: 20769

Format: CD
Condition: New
Released: 2015
Country: USA
Packaging: Digipack
Recorded at Spectra Sound Recording in Nazareth, Pennsylvannia, on june 24th, 2014 y Jim McGee.

Descriptions, Reviews, &c.

"Charles Evans' On Beauty presents the seasoned baritone saxophone artist as a unique voice in the creative music community. On this audacious new project, written specifically for soprano saxophone great David Liebman, Evans has devised methods of combining chromatic harmony with improvisation, employing the rare combination of the baritone and soprano saxophones.

Evans and Liebman celebrate the CD in a special concert on Friday, June 19 at Greenwich House Music's Sound it Out Series in NYC. Joining them are Ron Stabinsky on piano and Tony Marino on bass. Evans also celebrates with two dates in Brooklyn: May 14 with Stabinsky, Marino and Dan Blake on soprano at Shapeshifter Lab and May 23 in a solo gig at The Firehouse Space.

Liebman put down the tenor saxophone for fifteen years to fully actualize his desire for a personal soprano voice. Evans, the apprentice, has followed Liebman's lead in many ways. Specifically, the exclusive devotion to the soprano's distant lower relative, the baritone, for nearly twenty years has rendered him ready for profound creation with the premiere living soprano master.

Each subsequent recording shows that Evans is continuing to go deeper into the development of a very personal approach both to playing his instrument and composing music perfectly suited to his playing style. As his work progresses, even the very open term "jazz" is beginning to seem too confining a term to describe his music. He has arrived at the point of simply sounding like Charles Evans. His work is highly expressive and often complex, but not in a way that aims to overwhelm. He achieves all through the subtlety and control that comes from years of single-minded pursuit of ideals without compromise.

The baritonist has worked diligently to broaden the expressive range of his instrument, with specific care towards the difficult altissimo register (featured very lyrically and eloquently here) as well as the application of chromatic improvisation/composition on the big horn. The music is strengthened by the use of freely associated triads, intervals, and chromatic lines in polyphonic improvisation with the other members of the group. The quartet members truly leave their egos at the door, beautifully expressing and understanding the composer's musical vision.

Accompanying the saxophonists are two musicians that are masters in their own right. Bassist Tony Marino, through his longtime tenure in various Liebman groups, brings a level of artistry on the upright that is rarely matched. His experience, and ability to adapt to the challenges of both the improvisational and written material, was indispensable in this undertaking. Pianist Ron Stabinsky can be heard in a variety of creative musical settings, from his new role in Mostly Other People Do the Killing to his recent work with trumpet virtuoso Peter Evans. Stabinsky proves to be the glue to the ensemble, bringing an incredible precision to the notation, along with a creative versatility to each movement of the piece.

Evans' music is genre nonspecific and avoids employing the traditional jazz vocabulary. The combination of jazz instruments, 20th-century classical techniques and harmonies, and free improvisation demonstrate Evans' refusal to be limited or allow his music to be pigeonholed. A preference for the subtle and delicate is often demonstrated, vs. traditional jazz virtuosity. Compositionally, the music grew from the successes of the quartet's first CD Subliminal Leaps. The baritonist's intent is to deepen the most beautiful attributes from the first record, thereby reaching further avenues of artistic expression.

"On Beauty," a composition written for Liebman's specific instrumental voice, utilizes devices with him in mind, many of which were cultivated and refined in past years by the innovative saxophonist. Evans contemplates beauty by taking a very close look at the finest musical qualities in the quartet's repertoire. Several polychord progressions are featured in the piece. Thematic melodies (at times appearing in variation such as retrograde) are derived from the harmonic material, and vice versa. These melodies are thoroughly exhausted throughout the work and reimagined, from the subtle eloquence of Movement I to the lively polytonal march of Movement II. Writing for two independent simultaneous duos takes precedence in Movement III and IV, where the quartet reaches a healthy balance of improvised vs. written material. Surprise is a virtue throughout, as the composition is varied by interruptions that lead the music to unexpected places. The use of the baritonist's virtuosic altissimo register is fully explored in tasteful ways, stating melodies both in duo with the soprano and also in support of Liebman's masterful polychordal improvisations. Ending Beauty brings back the themes, this time reharmonized, leading to a surprising up-tempo trading section and ending with the saxophone pair in duo at their introspective finest. This compositional cohesion is a fine example of the actualization of Evans' writing within Liebman's personal unique language, with all parties demonstrating profound and heartfelt improvisations.

Charles Evans was raised in a small town named Factoryville, Pennsylvania. He began intensive baritone saxophone study with the late Bill Zaccagni at the University of the Arts in Philadelphia. During this time he also studied with David Liebman, who instilled an artistic mindset in the young baritonist and inspired him to pursue music to his fullest potential. Following Liebman's cue, Evans moved to New York, where he received a master's degree in jazz performance while studying with Antonio Hart. Shortly thereafter, he completed the Music Education program at Queens College for state certification.

Among Evans' seven releases is his March 2009 multi-layered solo baritone saxophone release, The King of All Instruments, which earned wide praise including 5 stars in DownBeat Magazine and helped enable Evans to consistently place in the DownBeat Annual Critics Poll on baritone saxophone. As Hank Shteamer said in his Time Out New York review: "Evans is dead serious about getting the most out of his regal horn. Hypnotic and, in spots, powerfully creepy, it's a singular statement from a composer expressing profound art." He continued to develop his non-tonal writing and playing with Live at St. Stephens (2009) receiving "Best New Release, 2010-Honorable Mention" in All About Jazz magazine. In 2013 Evans placed 4th in the "Rising Star Baritone Saxophone" category of DownBeat. As Michael Jackson noted in his 5 Star DownBeat review, "My highest marks are for originality and audacity, but there is a more profound inner communion here."

Perhaps it could be said that the baritone saxophone has a new leader, one who sees possibilities previously unexplored. Uniquely, Evans places composition on an equal level of importance to his playing, a quality that has proven instrumental in reaching sincere, personal, depth and expression. As Alain Drouot of DownBeat Magazine said about Subliminal Leaps, "The exchange on the opener shows that the saxophonists did not need much time to get acquainted. The unusual marriage (of baritone and soprano saxes) bears some impressive fruit on this outstanding new album." Subtle, dissonant, and emotional, Charles Evans has used the very same lineup and musical language to create a unique and expressive work of art once again, with the release of On Beauty"-More Is More

"Baritone sax phenom and jazz composer Charles Evans has been giving us much to like with his consistently worthwhile albums, more than a few by now, and he shows no signs of letting up. If there is such as thing as sophomore jinx in jazz, and I am not sure there is, he is not one prone to it. Quite the opposite. The new one delves deeply into an avant chamber jazz that consists of a multi-part composition-improvisational platform called On Beauty (More is More 152). It is a through composed suite by Charles featuring himself of course on baritone, his mentor David Liebman on soprano, Ron Stabinsky on piano and Tony Marino on bass. Evans and Liebman have a very inspired improvisational presence, both separately and collectively, as they weave improv with the compositional material. Ron Stabinsky plays his very modern harmonically extended parts and adds some brilliant improvisations as well. And bassist Tony Marino brings up the bottom with a full tone and good ideas. This is music that plays structure against freedom in ways that may remind you of early AACM or even Jimmy Giuffre in his more outside period when Paul Bley and Steve Swallow were key members in his ensemble. But that only covers precedents, not things imitated, for Charles comes through once again as a determined and eloquent musical personality, a baritone of stature but also a music composer-director who has direction and purpose, who succeeds in carving out his own new jazz turf in ways that make you listen and appreciate. It is one more landmark-signifying notch in the musical belt of Mr. Charles Evans. It is more-or-less required listening for anyone who wants to explore the newness to be had out there today. Formidable music!"-Grego Applegate Edwards,

Artist Biographies

"Charles Evans is an American baritone saxophonist based in New York, who specializes in chromatic improvisation/composition and traditional jazz. Evans has been a member of the New York City creative music community since 2002, when he moved to the city after graduation from the University of the Arts in Philadelphia. He then went on to earn a Master's in Jazz Performance from Queens College, as well as NYS teacher certification. He has studied with David Liebman, Julian Sparacino, Jim Buckley, the late Bill Zaccagni, Chris Farr, Ron Kerber, John Swana, Tony Miceli, George Garzone, Hamiet Bluiett, and Antonio Hart.

Charles has received rave reviews with five albums as a leader, including an all-baritone multi-layered record entitled, "The King of All Instruments," which received a 5 star review in Downbeat Magazine. He has also been included in both the Critics' and Readers' polls in the aforementioned magazine, in both the Rising Star and Baritone Saxophone categories. Live at St. Stephens received "Best New Release 2010 - Honorable Mention," in All About Jazz magazine. His upcoming CD will feature an original composition written for collaboration with his mentor David Liebman.

The baritonist has worked diligently to broaden the expressive range of his instrument, with specific care towards the difficult altissimo register as well as the application of chromatic improvisation/composition on the big horn. Musical projects include a chromatic/improvisational quartet with his mentor David Liebman, Ron Stabinsky, and Tony Marino; micro-tonal bebop in The Language Of with Peter Evans, Moppa Elliott, and Jan Roth, (It Needs It, No Relation) introspective duos with Neil Shah (Live at St. Stephens,) Erik Dutko (Ballads,) and Ron Stabinsky; and straight-ahead jazz with a former prized student in The David Jimenez Quintet.

Evans has been steadfast in his commitment to non-compromising music. To solve the obvious financial burden, he started a highly successful high school band program in Queens, NY. He places his teaching on equal footing with his artistic pursuits, and has learned that sharing his passion is just as meaningful as expressing personal music."

-Charles Evans Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"NEA Jazz Master (2011) David Liebman's career has spanned nearly five decades, beginning in the early 1970s as the saxophone/flautist in both the Elvin Jones and Miles Davis Groups, continuing as a bandleader since. He has played on over five hundred recordings with nearly two hundred under his leadership and co-leadership. In jazz education he is a renowned lecturer and author of several milestone books: Self Portrait Of A Jazz Artist, A Chromatic Approach To Jazz Harmony And Melody, Developing A Personal Saxophone Sound (translated into multiple languages), in addition to teaching DVDs, journalistic contributions to periodicals and published chamber music. Lieb's autobiography What It Is-The Life Of A Jazz Artist (Scarecrow Press) is a fascinating look into Lieb's career. His bands over the years have included noted musicians such as John Scofield, Richie Beirach, Bob Moses, Billy Hart and others. The current group Expansions features some of the best of the younger generation. Lieb is the Founder and Artistic Director of the International Association of Schools of Jazz (IASJ) existing since 1989, which is a worldwide network of schools from nearly 40 countries. Liebman's awards, besides the NEA honor include the Jazz Educators Network (JEN) Legends of Jazz (2013); the Order of Arts and Letters (France 2009); Jazz Journalist's award for Soprano Saxophone (2007); Grammy nomination for Best Jazz Solo (1998); Honorary Doctorate from the Sibelius Academy (Finland-1997). He is currently teaching at the Manhattan School of Music and a guest lecturer at Berklee College of Music. Dave has consistently placed in the top positions for Soprano Saxophone in the Downbeat, Jazz Times and JazzEd polls since 1973."

-David Liebman Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Ron Stabinsky recently released his debut album, Free for One, the culmination of more than a decade of evolving his improvised solo language. In addition to continuing to pursue his ongoing interest in solo piano improvisation, he enjoys working on music in a stylistically diverse array of situations throughout the United States and Europe with many other musicians and ensembles, including free-improvising saxophonist Jack Wright, bass trombone virtuoso David Taylor, Meat Puppets bassist Cris Kirkwood, and NEA Jazz Master David Liebman. Recent festival appearances include Newport Jazz Festival, North Sea Jazz Festival (Netherlands), Moers Festival (Germany), Jazzfestival Saalfelden (Austria), Outreach Festival (Austria), and Jazz and More Festival Sibiu (Romania). He is currently a regular member of the band Mostly Other People Do the Killing, the new music ensemble Relâche, the Charles Evans Quartet, and the Peter Evans Quintet."

-Ron Stabinsky 4/10/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Track Listing:

1. Introduction 5:10

2. Movement I 6:07

3. Interlude I 1:12

4. Movement II 5:08

5. Movement III 7:23

6. Movement IV 10:49

7. Movement V 5:40

8. Interlude II 1:02

9. Ending Beauty 5:06

Related Categories of Interest:

Improvised Music
NY Downtown & Metropolitan Jazz/Improv
Quartet Recordings
Melodic and Lyrical Jazz
Chamber Jazz

Search for other titles on the label:
More Is More.

Recommended & Related Releases:
Other Recommended Releases:
Mincek, Alex
(Sound American/Pleasure of the Text Records)
NY Composer and Zs founder Alex Mincek's first release since 2011 also launches Sound American's Young Composer Portrait series, presenting 4 chamber works--"Pendulum VII"; selected movements from "Harmonielehre"; "Pneuma"; and "Torrent"--performed by Wet Ink Ensemble, Mivos Quartet, and Yarn/Wire, in a deluxe hardcover book package with interviews and notes.
Evans, Peter Quintet
Destination: Void
(More Is More)
The second release from NY trumpeter Peter Evans Quintet with Ron Stabinsky on piano, Tom Blancarte on bass, Sam Pluta on live electronics, and Jim Black on drums, an epic and amazingly sophisticated album based on Frank Herbert's novel of the same name.
Liebman, David
Colors - Solo Tenor Saxophone
Liebman, David
The Distance Runner

Customers Who Bought This Item Also Bought:
Koch, Hans / Paul Lovens
Nephlokokkygia 1992
(ezz-thetics by Hat Hut Records Ltd)
1992 live performances demonstrating masterful freedom in improvisation, recorded while on their first tour as a duo after working together in larger ensembles, from Hans Koch on clarinet, bass clarinet and tenor & soprano saxophones, and Paul Lovens on drums, cymbals, gongs & musical saw, in four live improvisations from Bulgaria presented in the order recorded.
Hawkins, Chester
Cops Need Serial Numbers [USB mp3 & wav + pdf]
(Intangible Arts)
DC electronic explorer Chester Hawkins releases this limited edition album of 50 copies shaped in a metal bullet that unscrews to reveal a USB drive with more than 4 hours of extended forays into psychedelic electronics, synth and tabletop guitar, journeys of hard drone & abstract concrete elements, in mp3 & wav format with a pdf, housed in a handsome black case.
Feldman, Morton (Philip Thomas)
Piano [5 CD BOX SET]
(Another Timbre)
Containing the majority of minimalist composer Morton Feldman's compositions for solo piano, 3 CDs of short works and 2 for the magnificent "For Bunita Marcus" and "Triadic Memories", performed by one of the foremost interpreters of Feldman's work, Philip Thomas, and presented in a sturdy 5-CD box set with a 52 page booklet of notes from the performer and artwork.
Brighton, Ian
Marsh Gas [REISSUE]
Reissuing the 1977 album from UK guitarist Ian Brighton, written as an instrumental story for children, apparently very sophisticated children, in a mix of composed and freely improvised passages, using non-idiomatic approaches with unusual and extended techniques, open atmospheric passages and strange transitions, a peculiar and wonderful album of imaginative playing.
Wachsmann / Taylor / Mattos / Brighton
Three strings, percussion and electronics from the quartet of Phillip Wachsmann on violin, electronics, Trevor Taylor on percussion, electronics, Marcio Mattos on bass, cello, electronics, and Ian Brighton on electric guitar, which grew out of the 2016 return of guitarist Ian Brighton and his String Thing, released on FMR as "Reunion: Live From Cafe Oto".
Ikeda / Prevost
The Whole Moon Rests in a Dewdrop on the Grass
Performing live at Cafe OTO in London, 2018, Japanese sound artist and composer Ken Ikeda comes together with percussionist and Matchless label-leader Eddie Prevost for a concert of resonant, rich improvisation, Ikeda's electronics complementing Prevost's bowed cymbals as the duo builds to a diverse offering of powerful yet controlled sonic uproar; stunning.
Coleman's, Steve Natal Eclipse
(Pi Recordings)
Steve Coleman's Natal Eclipse brings together 9 musicians in a chamber jazz setting without a drum set--Jonathan Finlayson (trumpet), Jen Shyu (vocals), Matt Mitchell (piano), Mara Grand (tenor sax), Rane Moore (clarinet), Kristin Lee (violin), Greg Chudzik (bass), and Neeraj Mehta (percussion)--performing 9 of Coleman's sophisticated original compositions.
Laubrock, Ingrid / Tom Rainey
(Relative Pitch)
After their 2016 tour of the US West Coast, husband and wife free improvising duo Ingrid Laubrock (tenor & soprano sax) and Tom Rainey (drums) entered a Brooklyn studio with a set of co-written compositions, which they weave together with free improv, relying on cues that can trigger a given composition at any time, adding a unique layer of communication to their exuberant playing.
Rempis, Dave / Jasper Stadhouders / Frank Rosaly
With long-time Chicago partners saxophonist Dave Rempis and drummer Frank Rosaly, plus Dutch guitarist and electric bassist Jasper Stadhouders (Cactus Truck, Made to Break), this new trio plays assertive and energetic free jazz that shreds melodic riffs and raw power, decelerating for contemplative moments, as heard in two large improvisations named by digital sequences.
Fish-Scale Sunrise (Ab Baars / Kaja Draksler / Joe Williamson
No Queen Rises
(Relative Pitch)
Their name taken from a poem by Wallace Stevens, the Netherlands-based trio of Ab Baars on sax and clarinet, Kaja Draksler on piano, and Joe Williamson on bass represent the spirit of the poem in seven compositions from Ab Baars plus two collective improvs, a great mix of serious and playful performance that diverts from detailed interaction to spacious reflectiveness.
Rogers, Paul / Olaf Rupp / Frank Paul Schubert
Three Stories About Rain, Sunlight And The Hidden Soil
(Relative Pitch)
A unique merging of free improvisation and chamber jazz, the trio of UK bassist Paul Rogers with German guitarist Olaf Rupp and soprano saxophonist Frank Paul Schubert using stunning technique in sensible ways as they present three extended works, energetic yet never frenetic, stretching their concepts through tight and enthralling dialog, a great achievement.
Richards, Stephanie
Full Moon
(Relative Pitch)
An extremely interesting experimental record of free improvisation and electronics from the duo of Dino J.A. Deane and trumpeter Stephanie Richards, whose work with Henry Threadgill and Butch Morris is felt in these pieces where Richards explores resonance in brass and percussion as Deane samples and manipulates her playing live; an inventive and effusive album.
Threadgill, Henry 14 or 15 Kestra: Agg
Dirt... And More Dirt
(Pi Recordings)
Composer, saxophonist and flutist Henry Threadgill presents 2 full-length works for his 15 piece band "14 or 15 Kestra: Agg", as he explores new ways of integrating composition with group improvisation, here using an entirely new system of improvisation based on preconceived series of intervals realized in multi-layered counterpoint, rigorous polyphony, and timbral contrasts.
Lacy, Steve
Stamps [2 CDs]
(Corbett vs. Dempsey)
Originally released on the Hat Hut label in 1979, this 2-CD set of saxophonist Steve Lacy's quintet with Steve Potts on saxophone, Irene Aebi on cello, voice & violin, Kent Carter on bass, and Oliver Johnson on drums, are heard live in two tour-de-force concerts, first at the 1977 Jazz Festival, in Willisau, Switzerland, then in 1978 at Jazz Au Totem in Paris, France.
Monniot, Christophe & Grand Orchestre du Tricot
Jericho Sinfonia
A unique ensemble performing a long-form composition by French saxophonist Christophe Monniot with the 12-piece Grand Orchestre du Tricot, 12 movements that are punctuated by layered spoken words, a subtle and sophisticated work realized with performers including Roberto Negro, Florian Satche, Quentin Biardeau, Jean-Baptiste Lacou, &c.
Blaser, Samuel / Gerry Hemingway
Oostum [VINYL]
A fantastic album of free improvisation between two creative and versatile players captured live at Kerkje van Oostum, Groningen, The Netherlands in 2015--percussionist Gerry Hemingway and trombonist Samuel Blaser--both using immense talent and unorthodox approaches to their instruments as they shift from unexpected atmospheres to lyrical richness.
Munich Rat Pack (Schindler / Kolb / Tramontana)
Hell Dunkel: Sound Notes For Wind Trio Plus
Live recordings from Pollat-Pavillion in Munich, Germany in 2015 from this seriously fun spontaneous collective improvising trio of Udo Schindler on reeds, cornet, euphonium, and monophonic analogue synthesizer, Philipp Kolb on trumpet, tuba and live electronics, and Sebastiano Tramontana on trombone, voice and whistling; expect the unexpected!
Orfeo 5 (Blezard / Bourne / Jafrate with Prince / Oliver / Kane)
In The Green Castle
Orfeo 5 are Shaun Blezard on electronics, Keith Jafrate on saxophone, Matt Bourne on keyboards & cello, Tamlin Cook on guitar, Mary Oliver presenting spoken word, and Simon Prince on saxophone & flutes, blending jazz, improv, folk, dub, sound art and electronica to create evolving, improvised narrative music that create a sense of place and journey.
Deep Tide Quartet (Archer / Macari / Cole / Shaw)
See One, Do One, Teach One
Originally a studio project, The UK Deep Tide Trio of Martin Archer on sax, Kim Macari on trumpet, Laura Cole on piano and Walt Shaw on percussion & live electronics evolved into a performing organization based on the strength of their open-ended approach to free jazz and improvisation, heard here balancing melody and structure in well-paced and thoughtful improv.
Duthoit, Isabelle / Franz Hautzinger
(Relative Pitch)
French free vocalist Isabelle Duthoit met world traveling improviser and Zeitkratzer trumpeter Franz Hautzinger in New York City to record these highly unusual duos, using extreme techniques and inexplicable intent to create 9 uniquely aberrant accompaniments to your most subtle and strange dreams; reference Phil Minton, Axel Dorner, Freddie Kruger.
Thollem / Mazurek
Blind Curves and Box Canyons
(Relative Pitch)
Recorded at an exhibition of visual works by Chicago trumpeter Rob Mazurek in Texas, this was the first meeting with pianist Thollem McDonas, in an ardent session of explorative improvisation using electric and analog piano, sythn, samplers, cornet, voice, bells and effects; inquisitive and cathartic music of great drive.
Uchihashi, Kazuhisa / Richard Scott
Awesome Entities
Japanese guitarist and daxophone player Kazuhisa Uchihashi joins forces with Berlin-based composer and free improvising analogue modular synthesizer player Richard Scott for an album of unique orchestration, the daxophone "humanizing" the playing with unusual voicing.

The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC