Natalie Tenenbaum, Eitan Kenner: Duets/Solos

The late Abbey Simon, an outstanding classical pianist of the twentieth century, could play jazz. At least he said he did, although one searches in vain for a recorded example (other than a snatch on You Tube). A listener might think, "Well, Simon was of the old school, and Curtis-trained, so it would require some imagination." But then there is Natalie Tenenbaum, here paired with fellow Julliard product Eitan Kenner. Tenenbaum is a composer, player, and all around mistress of the mise-en-scene, so the hybrid scarcely seems implausible, even if serious updating might be required. Tenenbaum and Kenner are perfectly matched in this innovative and absorbing performance. Each is worth listening to individually. Together, as a duet, they complete each other's musical thoughts. So settle down for an arresting mix of moods, modes, genres and styles. Somewhere here, "Moonglow" and "After You're Gone" in stride style meet Ravel, with Tete Montoliu (among an array of others) smiling down. Here is a lot of fun, a lot of very good playing, and more than a few surprises.

Searching for a reassuring old standard? "Billie's Bounce" is safe enough; the intro, handled by Kenner, will not lose anyone, save a trailing octave thrown in here and there. But then the bridge, by both players maybe, goes into a kind of shuffle-stride walking left hand (not orthodox musical nomenclature, for sure) with contending ascending and descending figures which end up stomping and shouting before returning to the theme and ending on a resounding "so there!" tonic. Interested?

But wait, there is more. There are three tracks labelled "Rhythmalude." A clue. First rhythmalude is "Anthropology," just in case a listener gets lost in the rhythm changes (it happens). The next two are variations on the theme, one thinks. The final is concluded by a shared laugh, either of amusement or relief.

"Conventional" is not a great choice of words to describe anything here, but there are also some beautifully played standards such as "Waltz for Debby," "Body and Soul," and a Bach fugue (if it is a not a sacrilege to label a Bach fugue for four hands a standard).

Last but not least, there is what some might label "attitude." Both Kenner and Tenenbaum are really into this recording. The energy level simply gives it away; no-one is just going through the motions, which alone is worth hearing. Two young, extraordinary pianists with a wry sense of humor and a correspondingly deep sense of all the traditions on which they draw. They promise there will be vinyl available in the future, which should make some of their followers very happy.

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