This review appears in the August 2013 issue of The New York City Jazz Record.
Ethan Iverson/Lee Konitz/Larry Grenadier/Jorge Rossy
Costumes Are Mandatory
By David R. Adler
The smartest thing a younger jazz player can do is to seek wisdom from established masters of the music. Pianist Ethan Iverson has done this again and again, gigging with the likes of Charlie Haden, Paul Motian, Albert “Tootie” Heath and Billy Hart. On Costumes Are Mandatory he joins alto saxophone great Lee Konitz in a session full of idiosyncrasy and varied repertoire, from “What’s New” to “Try a Little Tenderness” to “317 East 32nd Street,” the Lennie Tristano classic (miscredited to Konitz on the back sleeve, though not in Iverson’s liner notes).
Bassist Larry Grenadier and drummer Jorge Rossy, who worked together for years in Brad Mehldau’s trio, provide just the right feel — relaxed but deeply swinging. If anything Grenadier is more the timekeeper, while Rossy blurs and deepens the textures. Grenadier’s bowing on the abstract piano-bass duet “Mr. Bumi” (named for pianist Masabumi Kikuchi) is especially strong.
The spirit of Tristano, Konitz’s old teacher, hovers over the set. Iverson alludes to some of Tristano’s distinctive practices: using a metronome on the piano-drum duet “Bats,” overdubbing or tweaking the piano sounds on “It’s You (Tempo Complex)” and “My New Lovers All Seem So Tame” (the latter a short prelude to “My Old Flame,” on which Konitz scat-sings). The turbulent piano trio showcase “A Distant Bell” — based on “I Remember You” — also builds on Tristano’s (and Konitz’s) discipline of using standards as groundwork for new inventions.
Konitz remains warm and inescapably melodic on the horn, though he bows out on a number of tracks. He sails smoothly on “Blueberry Ice Cream,” Iverson’s hip midtempo blues in A, played in two takes that start and close the album. His duet with Grenadier on “Body and Soul” stands out as well — hard to believe Coleman Hawkins recorded his historic version two days before Konitz’s 12th birthday. There’s a logic and unhurried pace to Konitz’s phrases and the band’s outlook as a whole, a sense of old musical values underneath a commitment to the experimental.