frescalalto
Lee Konitz
Kenny Barron Pete eterr Washin Washingto gton n Kenn ennyy Washin Washingto gton n
1.
STELLA BY STARLIGHT 9:35 (Ned Washington / Victor Young) Sony ATV Harmony / ASCAP
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THINGIN 6:25 (Lee Konitz) Jilmar Music / BMI
3.
DARN THAT DREAM 5:17 (Eddie DeLange / James Van Heusen) Jerry Leiber Music / Range Road Music Inc. / ASCAP
4.
KARY’S TRANCE 4:57 (Lee Konitz) Jilmar Music / BMI
5.
OUT OF NOWHERE 7:26 (Johnny Green / Edward Heyman / Robert Sour) Druropetal Music / BMI
6.
GUNDULA 3:25 (Lee Konitz) Konitz Music / BMI
7.
INVITATION 9:19 (Kaper Bronislaw / Paul Francis Webster) Primary Wave Songs / Webster Music Co. / ASCAP
8.
CHEROKEE 3:57 (Ray Noble) Shapiro Bernstein & Co Inc. / ASCAP
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2016, John Abbott
L
ee Konitz has long achieved jazz legend status. He came on the jazz scene in the 1940s as a student of pianist Lennie Tristano, leading some to label him strictly as a cool school alto saxophonist, and while he did take part in Miles Davis’s influential Birth of the Cool sessions and other seminal recordings with Tristano, it would be a mistake to limit him to any one school of jazz.
Now in his eighth decade of recording, Konitz’ has amassed an extraordinarily varied discography. Among its many highlights was the saxophonist’s swinging nonet that recorded in 1977 for Hank O’Neal’s Chiaroscuro label. Making his recording debut on that date was the producer of this CD drummer Kenny Washington. He was recommended to Konitz by trombonist Jimmy Knepper as a replacement for Jimmy Lovelace and the rest is history. Mr. Washington has a pretty decent discography of his own. He has played and recorded with almost everybody, including Johnny Griffin, Benny Carter, Betty Carter, Ahmad Jamal, etc. He is also a jazz historian, teacher, radio personality and serious record collector.
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2016, JohnAbbott
hen asked about the inspiration for this session, Kenny replied, “I always wanted to record Lee with a New York rhythm section.” You can’t get more “New York” than Kenny Barron on piano, Peter Washington on bass and Kenny on drums. Wash chose Barron because, “he swings, has great time, and knows how to comp behind soloists.” Kenny and Peter have known each other and have played together since the mid-80s, notably as longtime members of Bill Charlap’s trio. When asked “What do you like about Peter?” Kenny’s reply was, “Everything! He plays the right notes at the right time. His educated choice of bass notes in unbelievable. He keeps great time and has a great sound and he always contributes something to the proceedings.” When asked about Lee Konitz, Washington responded with, “He is always coming up with new things to say!” and “He is still a badass!”
The standard Stella by Starlight is the first number and it starts out with Konitz playing sans accompaniment. His tone on alto sax has an odd sweet and sour quality about it quite unlike the saccharine sweet tone of his Tristano days. It’s always tricky comparing mature musicians to their younger selves. Time generally takes some toll on every musician in some form and to some degree. The great ones tend to continue to make vital music using whatever the aging process has left them. Konitz shows throughout this recording that no matter time has wrought, he still is a creative force to be reckoned with. After his initial a cappella statement, Kenny Barron takes over with a tasty unaccompanied solo of his own, followed by short unaccompanied statements by Peter Washington and Kenny Washington. The quartet finally gets down to some serious swinging as a unit with solos from Konitz, Barron, P. Washington and K. Washington.
� 2016, John Abbott
Thingin is Konitz’s line over the changes of Jerome Kern’s 1939 All the Things You Are. The first soloist is Barron, who demonstrates why he continues to maintain his preeminent position among contemporary pianists. He is as swinging and tasteful as he’s ever been. Peter Washington has a wonderful tone on bass and great ideas in his solo. Konitz and Kenny Washington trade eights followed by Barron and Washington.
Darn That Dream is a Barron/Konitz duet that features the first of the saxophonist’s wordless (not completely as he does actually intone the title) vocals. Probably a holdover from his days as a student of Lennie Tristano who often had his students learn to sing and play the improvised solos of some of the best-known names in jazz. Here his vocal is very much a reflection of his instrumental style as is evident when he does put horn to lips at the tune’s bridge and finishes the chorus on alto. Barron solos for 16 bars and turns in another gem. His work as accompanist is equally brilliant. Konitz, the singer, returns at the bridge to conclude a very charming performance of this Jimmy Van Heusen standard.
The quartet returns for a swinging rendition of Play, Fiddle, Play/Kary’s Trance. that finds Konitz in great form. His lines are stimulating, enhanced by his tone that is both mature and fragile. Barron turns in another fine solo effort, even managing to quote a little “Bei Mir Bist Du Schoen.” Konitz returns and trades eights with the two Kennys. Konitz probes every nuance of the changes to Johnny Green’s Out of Nowhere in a way that shows he’s played this one a lot. It’s as if he encountering an old and familiar friend, and it elicits a highly creative performance of great drive. Barron also likes this one and solos admirably followed by a very melodic statement by bassist Washington. Konitz sings again, quoting Fats Navarro’s “Nostalgia” elody. Kenny Washington’s focused and complimentary drum statement leads to Konitz returning on alto to finish the tune.
Gundula is a Lee Konitz composition that first appeared on his Sound of Surprise album from 1999. It has a beautifully haunting quality to it and is a testament to Konitz’s abilities as a composer as well as the rhythm section’s ability to capture the essence of the piece.
Konitz’s alto sings the melody to Bronislau Kaper’s Invitation leading to two driving choruses by Barron. One can easily run out of superlatives trying to describe what Barron brings to the proceedings. He is just the consummate professional as both soloist and accompanist. Konitz is intriguing as he continues to explore the upper ranges of his horn. Peter Washington gets to solo and does not disappoint. Kenny Washington and Konitz trade eights before the two Kennys go at it in inspired fashion. Washington (a.k.a. The Jazz Maniac) is superb throughout this session--truly one of the sterling drummers on the jazz scene today.
Cherokee is taken at a nice moderate tempo with Konitz spinning attractive, lyrical lines while never once stating Ray Noble’s melody. Suddenly the tempo increases and Barron fleetly flies through his solo before K. Washington takes over briefly and brings things back to the opening tempo for the close.
Body and Soul is the tune Konitz performed at the 2008 ceremony in which he was honored as a 2009 NEA Jazz Master. His performance that night was described by the New York Times as “a quiet astonishment, both inventive and respectful.” Those adjectives apply equally to this duet version, beginning with the piano intro by 2010 NEA Jazz Master Kenny Barron. Konitz does his wordless vocal improvisation before switching to the alto for a loving and tender solo, beautifully supported by the piano. Konitz, the vocalist, returns before Barron plays a simply lovely, understated solo with Konitz returning to bring it home, his ethereal alto cushioned by the gentle chords of Barron’s piano. A perfect performance by two jazz masters.
K
enny Washington stated that after the session, he and recording engineer, James Farber, listened to the playback and Kenny proclaimed afterward, “That’s Lee!” The listeners to this album will agree and possibly echo Kenny’s earlier statement that Konitz is indeed “still a badass!” Vincent Pelote Director of Operations, Institute of Jazz Studies, Rutgers University-Newark
� 2016, John Abbott
Recorded on November 30 & December 1st 2015 at Avatar Studios , NY Recording & Mixing Engineer: James Farber Assistant Recording Engineer: Tyler Hartman Mastered by Mark Wilder at Battery Studios, NY Produced by Kenny Washington A&R: Jean-Philippe Allard Executive Producer: Farida Bachir Liner Notes: Vincent Pelote Liner Photography: John Abbott Cover Painting photographed by Philippe Levy-Stab Cover Painting: Patrice Beauséjour Design: Marielle Costosèque, CB Graphic www.impulse-label.com � & � 2017 impulse! A division of Universal
Music France
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2016, John Abbott
Lee Konitz alto saxophone, vocals, Kenny Barron piano Peter Washington double bass, Kenny Washington drums
