The Dutch piano trio led by Guss Jenssen adds alto saxophonist and countryman Jorrit Dijkstra for
this tribute to Lee Konitz. Actually, to be precise, this is a tribute to the music of Lee Konitz.
Not the Lee Konitz of this century, with his polished elder statesman tone, nor the cool leanings
of his collaborations with Miles Davis and Gil Evans. This live recording from 2001 is both a
backwards look to Konitz’s collaboration with pianist Lennie Tristano and a forward prediction of
what might happen if Lennie were still around for a reunion gig.
Tristano’s craftsmanship (while Konitz was a disciple) was a perfect foil to the openly emotional
bop revolution that was occurring in the 1940s and '50s. Jenssen and Dijkstra make this their
jumping off point. They turn five Konitz, one Tristano, and one Dijkstra composition into a
"back to the future" 21st-century jazz quartet sitting in on a 1950’s jazz club.
”Progression” opens the disc with a mid-tempo junket allowing room to stretch out sax, drum
and piano solos. Jenssen incorporates two-handed rhythms and speed into an impressive
statement. The follow-the-leader by way the odd note of “Hi Beck” is a perfect jumping off point for
Dijkstra to both align himself with Konitz and touch on Desmond and Dolphy.
Jenssen’s piano, well-informed by Tristano, doesn’t ignore the innovations of Thelonious Monk
and Elmo Hope, while touching on Teddy Wilson and Art Tatum. Stride is played alongside the
coolness these tunes were written for, almost as if Jenssen thought “play early Cecil Taylor” while
setting up for this gig. Both “Palo Alto” and “Ablution” display a breakneck bebop style without
stepping into the realm of hard bop. They preserve the politeness of Konitz and Charlie Parker with
speed instead of harshness.
Dijkstra is an experienced avant gardist, evidenced on the recent solo recording 30
Micro-Stems
(BVHaast) and Humming, with the Canadian band Talking Pictures (Songlines). His prior
musical efforts have displayed a fertile imagination and a strong sense of the music of Ornette
Coleman and John Zorn. This outing has Dijkstra walking the same free path, but beginning with
Lee Konitz circa 1950.
The cool tone of “Kary’s Trance” is also not without its quick-witted intricacies. Dijkstra weaves a
bit
of Ornette through the Konitz original, tempting an outward path as Konitz was know to do. Jenssen
reenters with two-handed elegance a la John Lewis before himself venturing a bit out.
It seems to be more enjoyable for out cats to play in straighter settings these days; their
control adds to the excitement.
The quartet proves the truly hip music of Konitz & Tristano played today loses none of its
downtown swank, even in translation.
~ Mark Corroto
