Dave Liebman has played jazz saxophone with greats like Miles Davis and Elvin Jones. He has two Grammy nominations and almost 300 recordings to his name and was inducted into the Hall of Fame of the International Association of Jazz Educators.

But Liebman says he still has a long way to go.

“In music, you can continually refine your skills,” he says. “We’re always learning from those around us.”

Liebman’s learning odyssey will continue when the Pennsylvania-based saxophonist joins Northwestern’s annual Jazz Fest Saturday at Pick-Staiger Concert Hall. Conducted by Don Owens and Daniel J. Farris, the concert features Liebman with performances by NU’s Jazz Ensemble, Jazz Band and jazz combos.

“We’re not sure what’s going to happen,” Liebman says. “That’s part of the charm of jazz. It’s not a perfect product.”

To add to the unpredictability of his music, Liebman tries to stretch the limits of what he can do with his saxophone.

“Sometimes it works, sometimes it doesn’t,” Liebman says. “That’s the essence of this music, pushing the bounds of your instrument and the music you’re playing.”

But what Liebman says he loves most about jazz is the freedom to be himself and have his own voice, as well as the camaraderie and communication with other musicians. According to Liebman, jazz musicians have to be open, honest and talented.

“You can’t hide in this music,” he says.

Liebman surely was unable to hide early on in his career, when he played as a sideman with Miles Davis and Elvin Jones, two of the most prominent names in jazz. He attributes his own success to his lucky breaks playing with these legends.

“I became part of the tradition,” Liebman says. “Playing with them, I got some notoriety and learned what it was like to be that great. It set my life up for what I wanted to do.”

The voice that Liebman has since developed is unique in the world of jazz, says Joel Spencer, jazz combo coordinator and lecturer in Jazz Studies and Pedagogy.

“He has a highly personalized tone,” says Spencer, who will also be playing with Liebman on Friday at the Green Mill. “You can tell it’s Dave if you were to put on his record.”

Before Liebman developed his voice, his love of the saxophone started in the ’50s, when it was one of the primary instruments in rock ‘n’ roll.

“My attraction had nothing to do with jazz,” he says. “The saxophone was strong and clear, and it had a lot of life and character. It’s very human, very vocal.”

Liebman has taught this same vocal nature to others as an instructor. A Manhattan School of Music faculty member, Liebman says he enjoys spreading his love of the saxophone by teaching clinics around the world, imparting his jazz philosophies to students and listening to them play.

“I try to get the students to recognize the history and tradition of jazz and, to some degree, be able to duplicate the tradition,” he says. “That’s the basis for finding your own voice.”

Liebman, who will be holding a master class on Friday at NU, will impart many basic principles to the students, Spencer says.

“They’re going to learn the theoretical principals of jazz, the communication of jazz improvisation and learn some interesting things about becoming a professional musician,” Spencer says.

Liebman makes it clear that you can’t just pick up a saxophone and expect to replicate Charlie Parker.

“It takes some years to do this,” he says. “It’s not a short study.”

Jazz instructors must teach their students how to learn on their own, Liebman wrote in his article “Philosophy of Education.” According to Liebman, the teacher imparts tools and techniques, but the student must go deeper with the art.

“The voice can’t be taught,” he says. “If there’s something students want to say, it will come through.”

Liebman says he tells students to look outside music and study other arts, people, cultures and the humanities. He feels that a broad base of knowledge shows in students’ music and helps them find their musical voice.

“Creativity is part magic and part discipline,” Liebman says.

Spencer says Liebman is able to teach musical discipline while making students feel comfortable.

“He has a very natural and gracious manner of working with any young musician,” Spencer says. “People don’t feel they’re being unfairly critiqued.”

This critique is necessary for aspiring jazz professionals, as the jazz world is quite different from other musical genres where people like Britney Spears can become overnight sensations.

“Students have to be in for the long haul,” Liebman says. “They have to be serious, disciplined and respectful of the tradition.”

Music sophomore Rebecca Huval is a PLAY writer. She can be reached at [email protected].