The New Look JazzWrap

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The JazzWrap Staff

Lee Konitz: Live At The Village Vanguard

Lee Konitz & Minsarah (sax; b. 1937)
Live At The Village Vanguard (Enja Records)
Jeff Denson (bass)
Florian Weber (piano)
Ziv Ravitz (drums)

Lee Konitz has been one of the most prolific saxophonists of the last two decades. He has performed with fellow luminaries as Miles Davis (on the legendary Birth Of The Cool album), Gerry Mulligan, Jimmy Giuffre, Lenny Tristano and widely known for his partnership with fellow sax great, Wayne Marsh. He has also worked a wide range of new jazz greats such as Brad Mehldau and Mark Turner. The Chicago native was originally influenced by Benny Goodman (clarinet) before turning his sights on playing saxophone.

Lee Konitz is one those few musicians who can play flawlessly in any setting (ensemble, orchestra, small group, solo). His style has always been describe by the often overused moniker " the Cool" referring to the smooth style that Miles Davis is associated with on the aforementioned album. But Konitz was more than that. He can play it "Cool" but he can also distribute blistering attacks on the horn is very subtle ways. His ability to improvise The essential Konitz album is Motion (Verve; 1961) with Elvin Jones and Sonny Dallas. Motion is a killer set of originals and improvising mastery.

More recently his has recorded with some new up and coming European artists such as guitarist, Jakob Bro and Konitz's new quartet consisting of the trio Minsarah.

Konitz recorded a 2008 debut with Minsarah entitled Deep-Lee (Enja) which is a truly sublime and another must. The quartets most recent set is Live At The Village Vanguard (Enja) as it also doesn't disappoint. In Minsarah, Konitz has found a European trio and complements and integrate smoothly with his ability shifting tempos. Live At The Village Vanguard is definitely a group is prime form. Konitz allows the group to really stretch out on Johnny Mercer standard "I Remember You" which Denson and Weber are smokin' to high appreciation of the audience.

Lee show is subtle bebop touch on the self-penned "Subconscious-Lee" with expert interplay from he rhythm section. Konitz again allows the group free reign on Florian Weber's piece "Color" which is a mid-tempo number that builds to joyous conclusion. Konitz rejoins the groups on "Kary's Trance" an original which builds slowly into some fierce phrasing from Konitz and Weber that really tells you this group gets along so well.

Live At The Village Vanguard is definitely a new chapter for Konitz. I personally hope this quartet stays together for awhile because I think they can reach some new heights and really stamp a significant mark on today's scene. Highly Recommended.

The Intersection: Skyphone

The Intersection is an ongoing feature on JazzWrap that looks at artists that have blended jazz and electronics in new and highly creative ways.

Skyphone (group; formed 2004)
Keld Dam Schmidt (guitars, electronics) Mads Bødker (keyboards) Thomas Holst (bass, electronics)

As jazz, electronica and ambient continue to merge and blur the traditional fabric of our conception of any particular genre, some groups are slowing bringing these influences into focus. One such band is the Danish trio, Skyphone. Skyphone have only released two albums so far, but they have quickly developed into a trio with a panache for acoustic and electronic framework that takes the listener on a journey through territory laid out by such innovators as Michael Brook, Steve Riech or Brian Eno. Atmospherics are part of the program here but also melody and themes.

On their debut, Fabula (Rune Grammofon; 2004) the group explored ice cold and emotional aspects consistently associated with other artists from the Scandinavian region (Alog, Supersilent, Food, et. al.) but Skyphone seem to force through enough gentle melodies reminiscent of early Kraftwerk that make this outing slightly different. "In Our Time" and "Mengpaneel" feature the right balance of acoustic and electronics mixed with various tape loops that show an increasing sign of improvisational thinking amongst the trio. "Kinamands Chance" and "Gossamer" are the real standouts for me; with touches of Marilyn Crispell tweaks, blip and pings at the keys and then delicate percussive instrumentation. Fabula is a foundation record with various enlightening themes.

Their second and most recent album, Avellaneda (Rune Grammofon; 2008) is the "fully operational Death Star" so-to-speak. Avellaneda is an album of new found soundscapes that starts with the sprightly "Cloudpanic" an electronic and guitar driven piece that is the perfect transition from Fabula's experimental moments. "All is Wood" has a Spring Heel Jack, Spiritualized, far Eastern ethos about it that is compelling as well as inviting. "Schweizerhalle" and "Quetzal Cubicle" both utilized some nice acoustic guitar work making these two piece feel almost folksy, like instrumental Beth Orton tracks. The atmospheric remain throughout but are tightly layered with the acoustic instrumentation especially on the two closing tracks "Leafchisel" and "Yetispor" in the a manipulated accordion seems to used with great hypnotic effect.

Skyphone are amongst a multi-handful of artists that are exploring what can be done with live instruments and electronics from a jazz/worldly perspective. It's great to know all of them have various different ideas on what to do, making this almost un-categorizable genre fun and interesting and diverse.

John Coltrane: Coltrane's Sound

John Coltrane (sax)

Coltrane's Sound (Warner Brothers; 1964)

Steve Davis (bass)
McCoy Tyner (piano)
Elvin Jones (drums)

In the winter of 1960, John Coltrane record a quick succession of material that would eventually span over three albums (My Favourite Things, Coltrane Plays The Blues and one of my personal favourites Coltrane's Sound). Coltrane's Sound (released in 1964) I feel is a highly overshadowed album compared to his other Warner Brothers albums (e.g Giant Steps, Avant Garde and My Favourite Things) but it is a fantastic and deeply moving album that really stands apart in Warner Brothers years.

Coltrane's Sound is a fully matured and confident John Coltrane in complete command of his new quartet. Coltrane's playing very bold and vibrant. Elvin Jones, McCoy Tyner and Steve Davis all demonstrate a solidarity that is effortless throughout this particular session. Coltrane's writing is in superior form at this time. Only two of the original six tracks are covers (The Night Has A Thousand Eyes and Body & Soul).

John Coltrane really sets forth with the blistering opener, "The Night Has A Thousand Eyes" and carries that through to the now Coltrane standard "Central Park West". which has some lovely interplay between Tyner and 'Trane. "Liberia" and "Body and Soul" but jump and flow with the steady timing of the always emphatic Jones challenge Trane on the pace. The dark, densely paced blues of "Equinox" is intense and almost spiritual. "Equinox" too would become a standard Coltrane piece for generations to come.

Coltrane's Sound is a masterpiece from start to finish and includes a richly textured path of ideas and themes that would eventually get fleshed out further on his Impulse releases. This one of those Coltrane albums you really need to add into your collection. It's beautiful, inventive and reflective. Coltrane's Sound is the perfect album for anyone new to Coltrane and those who are Coltrane fans who don't own it--what's wrong with you!