No wonder that when they first met in 1968 on an LP entitled ZO-KO-MA ("ZO" being Hungarian guitarist Attila Zoller) to play mostly Tristano-inspired music, they felt like brothers who'd had the same teacher. Fifteen years later, Konitz and Mangelsdorff dig even deeper into their common bag and tackle an Ellington tune of the "jungle" period. And what can better do the jungle thing than Manglesdorff's trombone, with its deep, ever-melodic growls stuffed with his trademark multiphonics?
Konitz's alto flies like a bird over the trombone's thick carpet of sound. He phrases the melody in a totally relaxed way, clustering notes or playing long ones without ever giving the impression that he quickens or slows down. When Mangelsdorff gets hold of the melody, he presents it in a slightly more extroverted way, putting forward its blues aspects, while Konitz plays a quiet descant. In other words, this interpretation is based on an intelligent use of their instrumental differences, building on the contrast between their sound, phrasing, timbre and approach. Just like some haute cuisine dish mixing hot and cold, rough and soft, sweet and sour … to the utter delight of our aural taste buds.
February 12, 2009 · 0 commentsTags: creole love call
Previous Page | Next Page