New disc by the humble jazz giant, Lee Konitz, supported by the Minsarah (Hebrew for 'prism') trio which features German pianist Florian Weber, Israeli drummer Ziv Ravitz, and California's Jeff Denson on the bass. Last year, German jazz label Enja released 'Deep Lee', the group's debut; the album presented a live performance from 2007. 'Live at the Village Vanguard' follows suit with a spring 2009 date at the legendary Greenwich Village club.
The saxophonist's career has spanned well over a half-century, and he's done a great deal to advance the jazz tradition. His early career is marked by an association with the brilliant composer/pianist and architect of many of modern jazz's conventions, Lennie Tristano. Their planted in Konitz an appetite for the more explorative realms of the form, and continues to shape the work of Konitz to this day(his repertoire includes several Tristano tunes). Moving forward, the saxophonist, along with bandmates Miles Davis and Gerry Mulligan, helped codify and popularize cool jazz in the late 1940s. The next several decades saw Konitz confident, exhaustively traversing the ever-expanding genre. The name 'Lee Konitz' may be the sole link between records such as the Derek Bailey-led Company's 'Once' [Incus, 1987] and his session work for the fusion-minded Manhattan Transfer or Chick Corea.
By now the 82 year old is obviously not so prolific but, unlike so many of his peers (see Mr. Shorter), his creative energy is still very strong. With Minsarah Konitz has surrounded himself with a crisp trio of younger musicians who bring a lively, capable vigor to the table. As has been the case for most of Lee Konitz's career as a leader the band's relationship is one reliant on reciprocation: Minsarah fuels his creativity and provides a suitable platform for his distinct alto style, and in turn he wrings the most out of his bandmates. They're not the most fiery or adventurous bunch to be caught with Konitz, but the Minsarah collaboration works well. The New Quartet takes the Lee Konitz road, flirting with bop and cool, through three standards, an original by Florian Weber, and three Konitz pieces (including the oft-heard Subconscious-Lee). The band plays at an appropriately relaxed pace and at times summon some of Konitz's wandering romanticism. Elsewhere, Konitz is quick to fill a few scattered holes with a dose of wit. I find the performances from bass and drums a bit dry -- not quite lagging behind, just a bit too flat too often. Apart from the intriguing saxophonist up front, pianist Florian Weber and his composition, Color, are especially noteworthy. He's well-equipped wherever the group treads, flashing his frenetic ace from time to time, not once spoiling his hand -- and his is strong.
For L.K. fans and the like, I'll recommend 'Live at the Village Vanguard' as a solid recording in the notable altoist's vast career. It's much stronger than the too-quaint first meeting of Minsarah and Konitz ('Deep Lee') and, next to his records of the last 20 years, this falls right in the middle of stylistic extremes and is a bonafide slice of primo-Lee.
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