Clearly a labor of love, each tune is meticulously reproduced with the fine attention to detail only a pet project can achieve. All three players are astute practitioners and their devotion to the trio form bleeds through, especially on pieces like "Night Train," All the Things You Are" and, "Matrix." Equally apparent is their own satisfaction in solving the difficult puzzle they crafted for themselvesfor it cannot be said that navigating the maze of notes and rhythmic inventiveness of the Oscar Peterson, Keith Jarrett, or Chick Corea trios was an easy task.
However, considering the wealth of recorded music available today and the plethora of opportunities to listen to modern jazz live, it remains a mystery precisely why trio mates Frederick Moyer (piano), Peter Tilloston (bass), and Peter Fraenkel (drums) launched their project to transcribe and reperform classic outings of some of jazz's most famous trios in the first place. While certainly a technical achievement and pleasantly listenable, the result leaves a nagging doubt as to the necessity of placing so much emphasis on resurrecting past performancesincluding those of musicians who are still performing today.
At the end of the day, Swing of Many Colors's appeal can be reduced to the archeological. And while the endeavor of converting improvisational jazz into a fully notated music does exhibit a certain cleverness, it may have been better confined to the classroom or the private musings of these three estimable players.
Track Listing: The Pershing Suite: But Not for me; The Surrey with the Fringe on Top; Moonlight in Vermont; Music! Music! Music!; There is No Greater Love; Poinciana; Woody ‘n You; What’s New; Billy Boy; Night Train; Fly Me to the Moon; All the Things You Are; For All We Know; Matrix.
Personnel: Frederick Moyer: piano; Peter Tillotson: bass; Peter Fraenkel: drums.
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total)
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total). He saw an alto sax on my neck and said: Hey, how about you there, would you like to play something for us? I played a piece with the piano. OK, said Lee, how about you play something unaccompanied? Oh yeah! I was deep into transcribing Sonny Stitt and pretty much into playing as fast as possible as many right notes as possible. So I played Oleo in about 300 beats per minute and was very proud of myself. Lee was tapping his foot all the way through. Hmm, he said, that was in time and all that... (I thought - yeah, of course, haha!) and then he said, You've got a lot of quantity, how about quality? It took me 15 years to realize what he meant.