Jacob Bro, Lee Konitz, Bill Frisell, Jason Moran, Thomas Morgan, Andrew Cyrille

Taking Turns

ECM

Any one of these names alone, never mind collectively, should grab your attention. As you may have guessed with the late saxophonist Lee Konitz aboard who passed in 2020 and was 86 at the time, this qualifies as an archival album, recorded a decade ago in March of 2014 at New York’s Avatar Studios. From a personal standpoint, that’s unfortunate as having just learned about it, it did not make my ten choice archival albums for Black Friday, published in another outlet. Otherwise, it would have. But, let’s dispense with the ‘woe is me’ and get on with the review.

This is the fourth and last of Danish guitarist Jacob Bro’s collaborations with Konitz who plays alto and soprano here. Previously the two had contributed to a trilogy of albums – Balladeering, Time, and December Song – issued on Bro’s own label. Taking Turns is a snapshot of Bro’s music in a period of transition, following Gefion, his debut for ECM, by a few months.  While the title might imply a cutting session with each elite musician trying to outdo one another, the sound is completely the opposite in this super group of guitarists Bro and Bill Frisell, Konitz, pianist Jason Moran, bassist Thomas Morgan and drummer Andrew Cyrille. Instead they go for gorgeous, atmospheric and ethereal textures in a blended sound where it is difficult to separate the two guitarists. Egos were clearly left at the door.  Yet, it is Bro, the composer of all seven pieces who points to clear influences. One is the trio of drummer Paul Motian with Bill Frisell and Joe Lovano, which treated often familiar tunes with spaciousness and and unhurried approach. The other is the presence of the legendary Lee Konitz, evoking the old school cool era and even the pioneering work of Lennie Tristano.

This is music that just washes over the listener like a cool breeze wafting through a prairie. Also, as the title implies soloing, that too is sublimated to the goal of producing this beautiful group soundscape. Slip on your headphones and head for dreamland.  The album should be consumed in its entirely. It’s not long and the compositions flow seamlessly into the next. It’s rather timeless and sounds every bit as contemporary as anything heard these days.

On the opener, “Black Is All Colors At Once” the intermingling chiming guitars set the mood for Konitz’s explorative, reaching alto solo, a study in masterful lyricism. (And, as a reference point, much like Charles Lloyd’s work with Frisell).  “Haiti” gives us the rare opportunity of hearing Konitz playing soprano sax. The tune is set against a very West African-sounding rhythmic backing, a nod to the versatility and the unobtrusive, often subtle as opposed to driving support of the bass-drum tandem on Morgan and Cyrille. The latter becomes a larger focus on “Milford Sound,” which is inspired by Cyrille’s Dialogue of the Drums with the late percussionist Milford Graves. The title also applies to the fjord of the same name on New Zealand’s South Island,  , with this sextet replicating the surreal beauty of one of Bro’s favorite locales.

“Aerhus” is the shortest piece, and bears some similarity to the opener with the guitarists jangling chording and judiciously placed notes from Moran who is the most subtle contributor here, framing Konitz’s breathy alto. “Pearl River’ is a touch of nostalgia, referencing the frequent trips to the Asian emporium in New York’s Chinatown, where Bro would shop for items for his apartment during his college years. Konitz delivers a soft, soaring solo after which the guitars mingle with the rhythm section, Moran taking a rare but more prominent role in the last minute. Being new to Bro, perhaps Moran was being overly cautious in the session. On the other hand, both Bro and his hero, the older Frisell, worked with Paul  Motian and this piece was one played live when Bro was a member of Motian’s group.

“Peninsula” is another of the visually evocative and languorous tunes, calling to mind seascapes and inspiring scenery as it just seems suspended in the ether. Morgan, a mainstay for both Bro and Frisell, takes on more prominence in the closing “Mar del Plata,” based on touring through Argentina. He is by most accounts, this generations bassist equivalent of the late inventive bassist Charlie Haden. The effect driven atmospherics, a trademark of Frisell’s, are best heard on this track, the two guitars blending seamlessly such that it’s impossible to differentiate the two.

That’s the idea – one collective gorgeous and unduly relaxing soundscape. When played as purely background music it could come off as tedious and unexciting. However, if you delve into the sound, especially with headphones, you’ll emerge refreshed and impressed with the journey.

– Jim Hynes

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