Lee Konitz KnowingLee (OutNote Records)
by Alex Henderson
Very few of the musicians who played on Miles Davis’ seminal Birth of the Cool sessions and were part of the ‘50s Cool School are still alive, but thankfully Lee Konitz is still going strong. And if one needs a vivid demonstration of the veteran alto saxophonist’s longevity, try listening to Birth of the Cool and KnowingLee side by side. The latter was recorded about 60 years after the former yet Konitz hasn’t lost anything in the chops department; his cool-toned alto is as distinctive in the early 2010s as it was when Harry S. Truman was president.
KnowingLee finds Konitz forming a cohesive trio with tenor/soprano saxophonist Dave Liebman and the lyrical pianist Richie Beirach. Konitz and Liebman are two very different players. In contrast to Konitz’ Cool School background, the inside/outside Liebman came out of John Coltrane’s postbop and the ‘60s avant garde. But they have no problem finding common ground on either original material or memorable performances of familiar standards such as Howard Dietz-Arthur Schwartz’ “Alone Together”, Dave Brubeck’s “In Your Own Sweet Way” and Miles Davis’ “Solar”. Liebman is as inspired on tenor as he is on soprano and Konitz switches to soprano on three selections: Konitz and Beirach’s melancholy “Universal Lament”, Liebman and Konitz’ probing “Migration” and the standard “Body and Soul”. As usual, Konitz’ playing is recognizable whatever the instrument.
On occasion, KnowingLee detours into the avant garde realm. The abstract “Trinity”, for example, includes some outside improvisation of the AACM variety, a more spacious type of playing that gives the listener more breathing room than the ferocious density of, say, Cecil Taylor. But inside playing dominates KnowingLee, which underscores the fact that Konitz is still on top of his game.
For more information, visit outhere-music.com/outnote. Konitz is at Blue Note Aug. 15th-19th. See Calendar.
