The great alto saxophone master
Lee Konitz joins Portugal's
Orquestra Jazz de Matosinhos directed by
Ohad Talmor for this studio session of progressive big band music that is consistently surprising and original.
Konitz is given quite a bit of solo space, surrounded by an expansive-sounding band that is clearly influenced by the precepts of
Oliver Nelson,
Gil Evans, and their European counterparts and disciples. There are four stand-alone compositions and two large suites, all written and arranged by
Talmor save
Konitz's famous hard bop piece "Sound Lee." The three-part medley tribute to
Ornette Coleman, "Ornetty," is rhythmically spastic, up and down dynamically, and skittish melodically, and it has a somber middle section in remembrance of the 9/11 attack on the World Trade Center. The five-section "Rhythm Sweet" is split into short snippets in a mainstream jazz style, ranging from straight to easy swinging, with "To Be or Not To" sounding similar to the standard "Mean to Me." A darker, stealth guitar-fed motif, film noir section punctuated by the piquant, tart-sweet alto of
Konitz, and back-to-bop finale show a wide range of latter jazz tradition for the remaining three fragments. "June '05" is the most atmospheric composition of the date, slightly suggestive of a waltz and featuring a
Gil Evans-like style, while the lengthy "Relative Major" has a distinct classical European flavor, introduced by clarion calls merging into light blues and a late-night street-smart aesthetic. High and low woodwinds and brass contrast moodily for the pensively beautiful "A New Ballad," a standout piece for those who enjoy the lower sonic range of a jazz orchestra. The consistent electric guitar of
André Fernandes is a unique voice aside from the 14-piece horn section. This musically strong recording, which will be an obscurity for even the staunchest jazz listener or fan of
Konitz, should be paid attention to as one of the more remarkable recordings released in 2007. ~ Michael G. Nastos