Jazz Review : Superlative Lee Konitz at Noisy St. Mark’s

Lee Konitz is holding a virtual master class in improvisation at St. Mark’s in Venice this week. His opening performance Wednesday night included some solos that both defined and extended the substance of contemporary jazz.

Prospective auditors, however, may have difficulty keeping track of the alto saxophonist’s remarkable playing. St. Mark’s is a lovely room, with an open-minded management and a superlative kitchen. But it also is the noisiest space this side of a construction site.

Konitz seemed astonished by the wave of sound coming back at him from the audience and, particularly, from two or three overly celebratory party tables. He tried whistling and shouting at them; he tried playing honks, squeals and tremolos; finally, in bemused frustration, he tried conducting the noise.

Nothing much helped until the other musicians--Charlie Haden on bass, Harold Danko on piano and Tom Brechtlein on drums--joined Konitz in ignoring the crowd and turning inward toward the music. The result, especially on a surprisingly thoughtful performance of “Body and Soul,” was a series of exquisite improvisatory gems.

Konitz’s soaring lines, curling in and around the harmony, represented the best counter one could offer to the bluster and clatter of the room. Even more, his playing--richer and more passionate now than ever before--clearly testified to his status as one of the few uniquely original voices on his chosen instrument.

Haden, Danko and Brechtlein matched Konitz’s performance on all counts. Danko’s solo work echoed the Konitz’s linear flow and Haden--in those rare moments when he could be heard--was characteristically sturdy.

The group continues at St. Mark’s through Saturday.