Lee Konitz - Motion (1985 Japanese Verve Vinyl LP Gatefold)

Vinyl: EX
Sleeve: EX
Obi: EX

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Lee Konitz - Motion Vinyl LP - Japanese Verve Gatefold Reissue

A masterclass in melodic improvisation and trio interplay, Motion presents Lee Konitz in an unusual and revealing format: alto saxophone with bass and drums, no piano. Recorded in New York City on 29 August 1961 and reissued in Japan in 1985 on Verve through Polydor K.K., this album showcases Konitz's ability to create complete harmonic worlds with just his horn, supported by the exceptional rhythm team of bassist Sonny Dallas and drummer Elvin Jones.

The absence of piano is crucial to this album's character. Without chordal accompaniment, Konitz has complete harmonic freedom while also bearing sole responsibility for implying the chord changes through his melodic choices. This format reveals his deep understanding of harmony and his gift for melodic invention. His cool, understated tone and long, sinuous lines seem to float above the rhythm section's pulse, yet he always maintains clear awareness of the underlying structure.

The five standards chosen here are all well-worn jazz repertoire, but Konitz makes each feel freshly discovered. "I Remember You" opens the album with Konitz's immediately recognisable sound, his lines elegant and logical yet constantly surprising in their harmonic implications. "All Of Me" swings with deceptive ease, Konitz's relaxed phrasing belying the sophistication of his harmonic choices. "Foolin' Myself" showcases his ballad playing, tender without sentimentality.

Side two presents two longer explorations. "You'd Be So Nice To Come Home To" allows Konitz to stretch out over Cole Porter's harmonically rich changes, while "I'll Remember April" closes the album with a performance that balances structure and freedom perfectly. Throughout, Dallas provides melodic bass lines that engage in genuine conversation with the saxophone rather than merely outlining changes, while Elvin Jones, just months before joining John Coltrane's classic quartet, demonstrates the musical intelligence and sensitivity that made him one of jazz's greatest drummers.

Jones' drumming here is particularly interesting in retrospect. While he would soon become famous for his torrential polyrhythmic approach with Coltrane, on Motion he demonstrates remarkable restraint and subtlety, supporting Konitz's cool aesthetic with brushes, light cymbal work, and perfectly placed accents. The contrast between Jones' usual intensity and his sympathetic accompaniment here reveals his versatility.

This 1985 Japanese gatefold pressing offers excellent stereo sound that captures the intimacy of the trio format and the spatial relationship between the three musicians. For collectors of Lee Konitz's extensive discography or those interested in pianoless jazz trios, Motion represents an essential document.