frescalalto

Lee Konitz

Kenny Barron Peter Washington Kenny Washington

1. STELLA BY STARLIGHT 9:35
(Ned Washington / Victor Young)
Sony ATV Harmony / ASCAP

2. 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. KARYS 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
C 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 Len-
nie Tristano, leading some to label him
strictly as a cool school alto saxophonist,
and while he did take part in Miles Daviss
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 disco-
graphy. Among its many highlights was the
saxophonists swinging nonet that recorded
in 1977 for Hank ONeals 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 Grif-
fin, Benny Carter, Betty Carter, Ahmad Jamal,
etc. He is also a jazz historian, teacher, radio
personality and serious record collector.
 W hen asked about the inspiration
for this session, Kenny replied,
I always wanted to record Lee
with a New York rhythm section.
You cant 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 Charlaps
trio. When asked What do you like about
Peter? Kennys 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
C 2016, John Abbott

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. Its 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. C 2016, John Abbott

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, Washington trade eights followed by Barron
Barron, P. Washington and K. Washington.
Thingin is Konitzs line over the changes of
Jerome Kerns 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 hes ever been.
Peter Washington has a wonderful tone on bass
and great ideas in his solo. Konitz and Kenny
and Washington.
 The quartet returns for a swinging rendition
of Play, Fiddle, Play/Karys 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
Darn That Dream is a Barron/Konitz duet that the two Kennys.
features the first of the saxophonists wordless
(not completely as he does actually intone Konitz probes every nuance of the changes
the title) vocals. Probably a holdover from his to Johnny Greens Out of Nowhere in a way
days as a student of Lennie Tristano who often that shows hes played this one a lot. Its as if
had his students learn to sing and play the he encountering an old and familiar friend,
improvised solos of some of the best-known and it elicits a highly creative performance
names in jazz. Here his vocal is very much of great drive. Barron also likes this one and
a reflection of his instrumental style as is solos admirably followed by a very melodic
evident when he does put horn to lips at the statement by bassist Washington. Konitz sings
tunes bridge and finishes the chorus on alto. again, quoting Fats Navarros Nostalgia elody.
Barron solos for 16 bars and turns in another Kenny Washingtons focused and complimentary
gem. His work as accompanist is equally drum statement leads to Konitz returning on
brilliant. Konitz, the singer, returns at the bridge alto to finish the tune.
to conclude a very charming performance of
this Jimmy Van Heusen standard. 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 Konitzs abilities as a
composer as well as the rhythm sections
ability to capture the essence of the piece.
Konitzs alto sings the melody to Bronislau Body and Soul is the tune Konitz performed at
Kapers Invitation leading to two driving choruses the 2008 ceremony in which he was honored
by Barron. One can easily run out of superla- as a 2009 NEA Jazz Master. His performance
tives trying to describe what Barron brings to that night was described by the New York
the proceedings. He is just the consummate Times as a quiet astonishment, both inventive
professional as both soloist and accompanist. and respectful. Those adjectives apply equally
Konitz is intriguing as he continues to explore to this duet version, beginning with the piano
the upper ranges of his horn. Peter Washington intro by 2010 NEA Jazz Master Kenny Barron.
gets to solo and does not disappoint. Kenny Konitz does his wordless vocal improvisa-
Washington and Konitz trade eights before tion before switching to the alto for a loving
the two Kennys go at it in inspired fashion. and tender solo, beautifully supported by the
Washington (a.k.a. The Jazz Maniac) is superb piano. Konitz, the vocalist, returns before
throughout this session--truly one of the sterling Barron plays a simply lovely, understated solo
drummers on the jazz scene today. with Konitz returning to bring it home, his
ethereal alto cushioned by the gentle chords
Cherokee is taken at a nice moderate tempo of Barrons piano. A perfect performance by
with Konitz spinning attractive, lyrical lines two jazz masters.
while never once stating Ray Nobles 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.
 K enny Washington sta-
ted that after the ses-
sion, he and recording
engineer, James Farber,
listened to the play-
back and Kenny proclai-
med afterward, Thats
Lee! The listeners to this album
will agree and possibly echo Kennys
earlier statement that Konitz is indeed
still a badass!

Vincent Pelote
Director of Operations, Institute of Jazz Studies, Rutgers
University-Newark

C 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 Beausjour

Design: Marielle Costosque, CB Graphic

www.impulse-label.com
P & C 2017 impulse! A division of Universal Music France
C 2016, John Abbott

Lee Konitz alto saxophone, vocals, Kenny Barron piano

Peter Washington double bass, Kenny Washington drums