Always Listening

Lee Konitz has his ear to the ground, to the sound, and it hasn't failed him yet

Those who have followed Lee Konitz throughout his long, distinguished career have generally noted that at points where many players would have taken conservative turns, Konitz - curious and bold- has done anything but.

On the phone from Cologne, Germany, the 81-year-old altoist credits his left-leaning growth to an attraction towards the distinctive, egoless dynamic that takes place between courteous players - most of it live, all of it free.

"I just enjoy, now more than ever, playing with others. I enjoy giving spaces, pauses, to let others in and let things happen. You have to listen to others. If you just listen, wonderful things come about," he says.

"Miles Davis once said, 'Two minutes on stage is worth six hours in the studio...'"

It's not only on stage that Konitz does a lot of listening (to his stage mates, who these days are Minsarah, an inspired, experimental American/German/Israeli trio). In fact, Konitz regularly documents his own shows and listens to himself, on playback, post-set. It's often then that the essence of his playing strikes most intensely.

"Every day it's different and most of the time I have no idea how I did it," he says. "I surprise myself all the time. I used to have to smoke pot to get that effect, but I don't do that anymore."

Other things he doesn't do? Listen to rock, folk or guitar music ("It's only valid to a degree and I don't have time for it"). For sure, Konitz has never been much of a purveyor of trend, and his oft-mentioned divergence from Charlie Parker's inimitable style of the '50s has distinguished not only his sound - elegant, austere and clear - but his integrity as a saxophonist. To wit, as Konitz continues to evolve as a player, he is reluctant to endorse a movement towards any set genre, suggesting that his improv tendencies are simply part of his artistic fabric.

"Don't forget, I did it with Lennie Tristano on record in 1949," he says in reference to the seminal Crosscurrents, which some have recognized as the first recorded example of free improvisation. "And anyway this... this is different. It's about embellishing the melody - and more."