Roberto Magris Europlane: I Remember You

Right from the opening sax duet by Tony Lakatos and Michael Erian, you know you're in for no ordinary rendering of the 1941 classic "I Remember You." The two tenormen display a familiarity that is both joyful and entertainingly competitive. These guys mesh as flawlessly as two brothers who have been playing in tandem for years. Hungarian-born Lakatos, a player who inspires further listening, has an especially vibrant sound, with improvisations both fresh and passionate. Italian-born Magris, a talented pianist, composer and leader active on the European jazz scene, here wisely lets his front line take the lead, accompanying them in a sparse but effective way. When he does solo, his sound has a touch of Tristano, with sparing but purposeful dissonance. The rhythm section is also top notch, demonstrating skill, love and obvious respect for the music. This is a great addition to my mainstream collection. I look forward to hearing more from these talented musicians.

August 02, 2008 · 0 comments


Lee Konitz: I Remember You

Motion is a unique offering in Lee Konitz’s discography. It’s his first official trio record, and he chose to do it with fellow Tristano-ite Sonny Dallas, and with a musician that few people would have imagined him playing with at the time: Elvin Jones. Konitz himself admits that he was somewhat apprehensive at the idea of Coltrane’s drummer being associated with his own rather thin alto sound. He even rehearsed at length with Dallas and Nick Stabulas as a “sparring partner” (and these side sessions are more than satisfying, as shown on the 3-record edition of Motion) before facing Jones himself. In fact, the alchemy worked fantastically between Konitz, Dallas and Jones, and Motion is definitely one of Konitz’s major achievements. It’s also the first steps toward individual freedom for a soloist who was basically considered “cool” so far. From then on, Konitz was never afraid to confront his extraordinary improvising ability with any other musician, provided he thought good music would come out of the meeting.

January 21, 2008 · 0 comments


Marcus Roberts: I Remember You (1991)

There is something about a beautiful melody played with economy, empathy and respect that snaps me to attention more than any other sound in jazz. This Mercer/Schertzinger song saw its premiere in the Dorothy Lamour/Bob Eberly movie The Fleet’s In (1942). Roberts’s treatment borders on a playful reverence that neither showboats nor enshrines this classic. His use of space and harp-like embellishments make this sound improvised without overly altering the basic structure of the piece. It could bring a wistful tear to the eyes of some saps I know.

October 25, 2007 · 0 comments


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