When Miles Davis led the 1948-50 sessions that became jazz’s Birth of the Cool releases, the most bewitching solo voice apart from his own trumpet was that of a little-known 21-year-old called Lee Konitz. The alto saxophonist’s quietly captivating work still shimmers as a central feature of Danish guitarist Jakob Bro’s Taking Turns, also recorded in New York but more than 60 years later, and strangely consigned to ECM’s vaults from 2014 until now.

Bro’s reputation grew when he succeeded Bill Frisell in drum master Paul Motian’s band in 2006, the connection that first introduced him to Konitz, who can instantly invent fresh lines to any composition put in front of him. Bro credits this ability with his own understanding of how to lead an improviser’s band that plays composed music with looseness and flow.

Here, alongside Bro and Konitz, is a subtle supergroup comprising sound-painting guitarist Frisell, pianist Jason Moran, double-bassist Thomas Morgan, and former Cecil Taylor drummer Andrew Cyrille. Black is All Colors at Once arrives in delicate guitar chimes, before the then 86-year-old Konitz (still six inventive years away from his Covid-related death in 2020) purrs deep pensive sounds and breathes gleaming upper tones, which he sustains without a moment’s repetition over the harmonising guitars and Morgan’s quietly fast-moving bass. Haiti, a delicious slow shuffle, features a rare Konitz appearance on soprano sax; Milford Sound is a nod to Cyrille’s famous free-drums contemporary Milford Graves that releases a seductively under-the-radar swing. Pearl River is a brooding free-rhythmic swirl for all the players, while the hornless Mar Del Plata is a lovely songlike waltz that could seamlessly fit on the best Frisell albums.

For its superb lineup, understated themes, and spontaneously ensemble-engendered ideas, Taking Turns is a little masterpiece.

from www.theguardian.com