LENNIE TRISTANO - The Duo Sessions
DOT Time Records DT 8016
Lennie Tristano (piano) with Lenny Popkin (tenor saxophone), Connie Crothers (piano) Roger Mancuso (drums)
I am in awe of Lennie Tristano, always have been. Lennie would approve of that: he liked disciples or acolytes. For some reason, he has never really been given his due. In the 1940s he was admired by Charlie Parker and Dizzy Gillespie. He went on through his teaching to influence Warne Marsh and Lee Konitz. His piano technique was remarkable. His uncompromising view of the way that jazz should be played was clear. Emotion in playing should be eschewed. He was austere, cool before cool, believed in improvisation and maybe that is the reason why much of the ideas that he advocated were ignored. Real improvisation is quite rare in jazz.
Tristano can claim, justifiably, that he created one of the first free jazz records in 1949: ‘Intuition’ and ‘Digression’ (Capitol records). His prodigious technique is difficult to appreciate because he does not set out to dazzle. One critic made the point that: ‘Tristano came from jazz but he stayed apart from jazz. He will always be inspiring for those looking for something fresh and different.’
Eventually, Tristano stopped playing in clubs and on concerts. He concentrated on his teaching. Although Rollins’ sabbaticals cemented his legend, Tristano’s even longer absences from the scene did not have the same effect. Some argue that Tristano’s time is yet to come.
The duo with Lennie Popkin recorded in 1970 is valuable because it is comparatively late in the Tristano discography. It was widely believed that Tristano’s last recording was made in 1966. Popkin plays the tenor as if his main influence was Warne Marsh. The tenor player and pianist work well together, both listening to each other and gaining inspiration from each other. ‘Ballad’ is the highlight of their tracks. The sheer oblique beauty of the cliché free improvisation from both men is absorbing to listen to.
The piano duet with pianist Connie Crothers recorded even later in 1976 is not as successful because often it is difficult to disentangle who is playing. Crothers has absorbed Tristano’s teachings so completely that it is difficult to tell them apart and the recording does not always help. I assume that it is Crothers who inserts the drama into her playing.
The session with drummer Roger Mancuso is surprising because received wisdom about Tristano is that he preferred drummers who were unobtrusive, did not get in the way. Mancuso is not like that; he is an assertive percussionist. Most of the pieces are based on standards such as ‘Back Home in Indiana’, ‘You Stepped Out Of A Dream’ ‘That Old Feeling’. The change of titles is merely saying that the melody is unimportant, just a way of reaching the improvisation. The pleasure is observing what the pianist accomplishes.
There are better Tristano albums but these recordings are more than historic, they fill in gaps and show that the elusive, idiosyncratic pianist continued to follow his vision of pure improvisation. Tristano continues to illustrate one of the paths that jazz could have taken.
Reviewed by Jack Kenny
DOT Time Records DT 8016
Lennie Tristano (piano) with Lenny Popkin (tenor saxophone), Connie Crothers (piano) Roger Mancuso (drums)
I am in awe of Lennie Tristano, always have been. Lennie would approve of that: he liked disciples or acolytes. For some reason, he has never really been given his due. In the 1940s he was admired by Charlie Parker and Dizzy Gillespie. He went on through his teaching to influence Warne Marsh and Lee Konitz. His piano technique was remarkable. His uncompromising view of the way that jazz should be played was clear. Emotion in playing should be eschewed. He was austere, cool before cool, believed in improvisation and maybe that is the reason why much of the ideas that he advocated were ignored. Real improvisation is quite rare in jazz.
Tristano can claim, justifiably, that he created one of the first free jazz records in 1949: ‘Intuition’ and ‘Digression’ (Capitol records). His prodigious technique is difficult to appreciate because he does not set out to dazzle. One critic made the point that: ‘Tristano came from jazz but he stayed apart from jazz. He will always be inspiring for those looking for something fresh and different.’
Eventually, Tristano stopped playing in clubs and on concerts. He concentrated on his teaching. Although Rollins’ sabbaticals cemented his legend, Tristano’s even longer absences from the scene did not have the same effect. Some argue that Tristano’s time is yet to come.
The duo with Lennie Popkin recorded in 1970 is valuable because it is comparatively late in the Tristano discography. It was widely believed that Tristano’s last recording was made in 1966. Popkin plays the tenor as if his main influence was Warne Marsh. The tenor player and pianist work well together, both listening to each other and gaining inspiration from each other. ‘Ballad’ is the highlight of their tracks. The sheer oblique beauty of the cliché free improvisation from both men is absorbing to listen to.
The piano duet with pianist Connie Crothers recorded even later in 1976 is not as successful because often it is difficult to disentangle who is playing. Crothers has absorbed Tristano’s teachings so completely that it is difficult to tell them apart and the recording does not always help. I assume that it is Crothers who inserts the drama into her playing.
The session with drummer Roger Mancuso is surprising because received wisdom about Tristano is that he preferred drummers who were unobtrusive, did not get in the way. Mancuso is not like that; he is an assertive percussionist. Most of the pieces are based on standards such as ‘Back Home in Indiana’, ‘You Stepped Out Of A Dream’ ‘That Old Feeling’. The change of titles is merely saying that the melody is unimportant, just a way of reaching the improvisation. The pleasure is observing what the pianist accomplishes.
There are better Tristano albums but these recordings are more than historic, they fill in gaps and show that the elusive, idiosyncratic pianist continued to follow his vision of pure improvisation. Tristano continues to illustrate one of the paths that jazz could have taken.
Reviewed by Jack Kenny
