Lee Konitz & Franco D'Andrea: Love for Sale

Playing a moody, meditative paraphrase on the famous Cole Porter tune, Lee Konitz is alone for nearly 1˝ minutes before Franco D'Andrea joins in. Once the pianist does enter, it is he who maintains the strongest connection with the theme through a highly rhythmic comping that lets the melody trickle through block chords or bits of single lines. Meanwhile, Konitz drifts apart, though never too far, as he often does in a strange and familiar way, like one who knows the melody and the harmonies so well that he can play anything inside or outside of them. With such a complete pianist as D'Andrea, whose strong touch and rich chords are at times evocative of Thelonious Monk for the former and Art Tatum for the latter, Konitz can wander anywhere without getting lost. All the same, the listener can follow him without ever losing track of the harmonic and melodic progression of the tune. This diving into the improvising process by one of the greatest melodic "drifters" of all time, coaxed by one of Europe's best masters of harmony, is fascinating. Inside Cole Porter? Inside Lee Konitz's art, too.

February 16, 2009 · 0 comments


Dianne Reeves: Love for Sale

On this live track the interaction between Dianne Reeves and her rhythm section is tremendous. They shift speed without notice, the singer goes from words to scat with an incredible ease, and she lets her pianist and drummer improvise in a way that seems to flow naturally in the course of the performance, far from some of those formally announced solos. Above all, though they are tackling a song with meaningful words, their interpretation is based on rhythm more than on meaning. Yet their incredible rhythmic drive fits the re-harmonized melody like a glove, and makes sense too.

January 29, 2008 · 0 comments


Dexter Gordon: Love for Sale

The man called “Long Tall Dexter” possessed a tone as striking and unforgettable as his 6’5” frame. He commanded the tenor saxophone; once his robust, metallic, authoritative tone is heard, listeners will know exactly what the instrument is supposed to sound like. Gordon’s swing is remarkable. His time is rock-solid—consistently behind the beat but never sluggish. His self-assured yet understated take on the head of “Love for Sale” and melodically inventive, long-phrased improvisation prove him to be the master bebop tenorman. This performance also demonstrates how he inspired and influenced all of those who unjustly overshadowed him in the 1960s. Essential to any collection.

November 16, 2007 · 0 comments


Cannonball Adderley: Love for Sale

Cannonball Adderley joined Miles Davis’s band a few months before this session, and Davis played a major part in the recording, often assuming the role of leader. On “Love For Sale,” Davis merely plays the melody and leaves the improvisation to Adderley. After a florid piano introduction, a two-bar Latin interlude leads into Davis’s two-beat exposition of the tune. Davis’s statement is followed by a return of the interlude, which then sets up a driving four-four where Adderley pulls out all the stops and demonstrates why he was one of the most gifted and individualistic of the disciples of Charlie Parker.

October 22, 2007 · 0 comments


Previous Page | Next Page