Konitz forms a direct link with the style of Euro-jazz embodied by Jakob Bro and the ECM label on this gorgeous and life-affirming album from a decade ago. We’re fortunate that it’s finally seen the the light of day. […] ‘Taking Turns’ requires close listening. The musicians are certainly listening to each other. Call it a conspiracy of beauty.
Peter Jones, Jazzwise
Bro has been described as a guitar anti-hero interested more in the group than individual grandstanding. The way that Bill Frisell dovetails with Bro is a pleasure to hear: the blend with Bro is a delight. Thomas Morgan’s bass lines flow in and out of the collective conversation. […] It is essential that an album like this should have a great recording. The clarity of the recording is an important component of this music.
Jack Kenny, Jazz Views
A full decade has elapsed between the recording of this remarkable album (at Avatar Studios in New York) and its debut release, but it still succeeds in sounding both contemporary and strangely timeless. In contrast to most superstar sessions, where the principal players vie to see who can outdo each other by playing louder, faster or more often than anyone else, the dream-team band of guitarists Bro and Bill Frisell, saxophonist Lee Konitz, pianist Jason Moran, bassist Thomas Morgan and drummer Andrew Cyrille, do exactly the opposite. Seemingly content to play as little, and as sensitively, as possible, and favouring the ensemble rather than the solo, their overall vibe is entirely collegiate and supportive. The result is outstandingly beautiful music that can seem to slip by almost invisibly, such is the air of frictionless reverie. […] The presence of the legendary Lee Konitz – a great hero of Bro’s, who is heard playing soprano sax as well as alto – also inevitably recalls the influence of various historic cool school recordings, and perhaps that whole alternative tradition of jazz aesthetics that’s sometimes traced back to Lennie Tristano. […] This may well be one of the albums of the year, ten years late.
Phil Johnson, UK Jazz News
While the title might imply a cutting session with each elite musician trying to outdo one another, the sound is completely the opposite in this super group of guitarists Bro and Bill Frisell, Konitz, pianist Jason Moran, bassist Thomas Morgan and drummer Andrew Cyrille. Instead they go for gorgeous, atmospheric and ethereal textures in a blended sound where it is difficult to separate the two guitarists. Egos were clearly left at the door. Yet, it is Bro, the composer of all seven pieces who points to clear influences. One is the trio of drummer Paul Motian with Bill Frisell and Joe Lovano, which treated often familiar tunes with spaciousness and and unhurried approach. The other is the presence of the legendary Lee Konitz, evoking the old school cool era and even the pioneering work of Lennie Tristano. This is music that just washes over the listener like a cool breeze wafting through a prairie. Also, as the title implies soloing, that too is sublimated to the goal of producing this beautiful group soundscape. […] if you delve into the sound, especially with headphones, you’ll emerge refreshed and impressed with the journey.
Jim Hynes, Making A Scene
While Bro composed all of the songs on ‘Taking Turns’, it is less of a solo showcase and more of a warm, deeply interactive group collaboration. These are spare, hypnotic songs, but ones that are punctuated by moments of bright harmonic colorations. Bro and Frisell are particularly compatible, their lines often intertwining against each other like wind chimes in a soft breeze. Similarly, Moran, Morgan, and Cyrille offer their own textural undercurrents, as hushed piano chords shimmering against brushed cymbals and woody bass grooves. At the center of their sun-dappled interplay is Konitz, whose dusky, bittersweet alto lines have, as with all of ‘Taking Turns’, the quality of sunlight breaking through clouds after a storm.
Matt Collar, All Music
Das Album hat es in sich, setzt der höchst vital agierende Andrew Cyrille (dr) doch so viele rhythmische Akzente (Anspieltipp: ‘Haiti’), dass Konitz im Verbund mit Jakob Bro und Bill Frisell (g), Thomas Morgan (b) und Jason Moran (p) gar nicht umhinkommt, aktiv am kollektiven Storytelling teilzuhaben. Das Generationequintett verräumlicht die weit gezogenen, Gelassenheit verströmenden Linien von Bro in eindrücklich vielfältiger Manier. Konitz blüht auf.
Wolfgang Gratzer, Jazzpodium
Was Jakob Bro mit seiner Gitarre anstellt, ist kein hypervirtuoser Zauber. Seine Spezialität sind asketische, täuschend einfache Melodien, in denen stets etwas Liedhaftes mitschwingt – nicht umsonst spricht Bro gerne von ‘Songs’. Das Zusammenspiel dieser sechsköpfigen Gruppe klingt gleichermassen schwebend, luftig – und intensiv. Dabei wird seinen Mitspielern keinerlei Zurückhaltung abgefordert – fast wie von selbst entwickelt sich, Stück für Stück, ein mitunter impressionistisches, an innerer Dynamik enorm reiches, Klanggewebe. […] Eine allgegenwärtige, hellwach schwebende, Aufmerksamkeit verhindert bei allen Beteiligten von ‘Taking Turns’, den Rückgriff auf vertraute Muster, ob bei Bros’ langjährigem Bassgefährten Thomas Morgan, oder bei dem erstmals in diesem Kreis anwesenden Pianisten Jason Moran. […] Der Zen-Lehrer Suzuki Shunryu schrieb einmal, das die Möglichkeiten eines Anfängers zahlreich seien, die eines Experten dagegen nur begrenzt. ‘Taking Turns’ fasziniert auch deshalb, weil allen beteiligten Musikern dieses Gespür eines immer neuen Nullpunkts nie abhanden kommt. Jakob Bro inszeniert – mit Gitarre, Notenpapier, ureigener Klangsprache und kollektiver ‘Entdeckungslust’ – poetisch verzweigte Abenteuer voller Tiefgang!
Michael Engelbrecht, Deutschlandfunk
Abounding in smooth, expressive gestures, ‘Taking Turns’ is another fundamental touchstone for Bro’s radiating atmospheric style, marking an important phase in his career. It grows more enchanting with every listen, offering both warmth and introspection in equal measure.
Filipe Freitas, Jazz Trail
Une des figures de proue du jazz nordique. […] Ce disque déroule un jazz lumineux et épuré, mélodique, jouant sur le mode d’une fausse nonchalance avec une improvisation controlee.
Philippe Blanchet, Rolling Stone (French Edition)
Sebastian Meißner, Sound and Books
Vor zehn Jahren begab sich der dänische Gitarrist Jakob Bro ins Studio; mit einem Ensemble, dem unter anderen Instrumentalkollege Bill Frisell und Cool-Jazz-Ikone Lee Konitz angehörten. Erst jetzt erschienen, enthält das Album sieben Kompositionen Bros: duftige, luftige, sich allenfalls zu Midtempo und Mezzoforte aufschwingende Piecen wie Mobiles, deren Teile einander umkreisen.
Klaus Nüchtern, Falter
Played by world-class personnel including Bill Frisell and the late, great alto saxophonist Lee Konitz, this 2014 set is full of subtle, spontaneous ideas […] Bro’s reputation grew when he succeeded Bill Frisell in drum master Paul Motian’s band in 2006, the connection that first introduced him to Konitz, who can instantly invent fresh lines to any composition put in front of him. Bro credits this ability with his own understanding of how to lead an improviser’s band that plays composed music with looseness and flow. Here, alongside Bro and Konitz, is a subtle supergroup comprising sound-painting guitarist Frisell, pianist Jason Moran, double-bassist Thomas Morgan, and former Cecil Taylor drummer Andrew Cyrille. […] For its superb lineup, understated themes, and spontaneously ensemble-engendered ideas, ‘Taking Turns’ is a little masterpiece.
John Fordham, The Guardian
Though it crosses many genres – originating in Jim Hall’s jazz, and encompassing country, folk and blues – the style is individual and refreshing. The resulting album has many delights. The standout for me is the haunting, melancholic ‘Pearl River’, named after a budget store in New York’s Chinatown. ‘Milford Sound’ is affecting, while the concluding ‘Mar Del Plata’ has an Argentine inflection. A wonderful tribute to one of the greatest saxophonists of modern jazz.
Andy Hamilton, Jazz Journal
Was ist nicht alles über diese Session erzählt worden. Ist ja klar, dass das Interesse riesig ist, wenn sich fünf so hochkarätige Jazzer zusammentun. Dass die Aufnahmen der Gitarristen Jakob Bro und Bill Frisell, dem Saxofonisten Lee Konitz, dem Pianisten Jason Moran, dem Bassisten Thomas Morgan und dem Schlagzeuger Andrew Cyrille bislang aber nicht zu hören waren, machte die Fachwelt umso neugieriger. Jetzt – gut zehn Jahre, nachdem diese Aufnahmen in den Avatar Studios in New York entstanden, – werden sie nun endlich unter dem Titel ‘Taking Turns’ veröffentlicht. Und das Ergebnis ist schlicht umwerfend. […] Anstatt der üblichen Praxis, dass Musiker sich gegenseitig übertrumpfen, indem sie laut, schnell oder technisch beeindruckend spielen, zeichnet sich diese Gruppe durch eine auffällige Zurückhaltung aus. Die Musiker begnügen sich damit, so wenig wie nötig zu spielen, wobei sie sich auf das Gefühl und die Atmosphäre konzentrieren, statt auf technische Brillanz. Und dennoch – oder vielleicht gerade deshalb – treten sie auch als Einzelspieler in Erscheinung. Frisells unverkennbarer Gitarrenton prägt dieses Album ebenso wie Morans Pianopinselstriche, Konitz klarginge Melodien, Morgans unterstützende Tieftöne oder Cyrills vogelfreie Schlagzeugakzentuierungen. Das organische Spiel macht eine Unterscheidung der Einzelbeiträge aber obsolet. […] Diese Herangehensweise schafft eine bemerkenswerte, fast traumartige Atmosphäre, die eine friedvolle Ruhe und körperlich spürbare Tiefgründigkeit transportiert. So kann nur spielen, wer Atmosphäre, Tempo und der Grad des freien Spiels ändern sich von Stück zu Stück. ‘Haiti’ ist bluesiger, das Titelstück reine Meditation. Und ganz am Ende steht mit ‘Mar Del Plata’ ein genresprengendes Stück musikalischer Allgemeingültigkeit, das allein dazu in der Lage ist, die Welt ein bißchen besser zu machen. Die Interaktion der fünf in diesem nur oberflächlich (und im besten Wortsinne) naiven Stück ist nichts anders als ergreifend. Es ist der perfekte Abschluss eines perfekten Albums.
Sebastian Meißner, Sounds and Books
The combination of sax, two guitars, piano, bass and drums is unusual and, with rhythmic orthodoxy set aside, unusually fraught. But sensitive musicianship avoids clutter. Bro and fellow guitarist Bill Frisell craft resonant textures, pianist Jason Moran adds jangly left-field edge and sax dives in while bass and drums swirl below. The all-original set begins with a clear guitar melody, spacious Thomas Morgan double bass and piano trilling gently underneath. As ‘Black Is All Colours at Once’ gently unfolds, wistful sax tantalises amid shimmers of guitar and a quiet rumble of piano adds depth. The downbeat melody of ‘Haiti’ comes next, with Konitz on soprano saxophone, followed by the light-touch ensemble interplay of ‘Milford Sound’. Drummer Andrew Cyrille supports both pieces with a broken-beat pulse. Bro’s straightforward melodies and slowly unfolding harmonies allow the music to flow freely and give musicians the space to interact.
Mike Hobart, Financial Times
‘Taking Turns’ has an elegiac air. The tempos tend toward the slow, the rhythms blur and float, and the melodies often cohere tangentially, as passing thoughts rather than statements. Konitz, always known for his casually deliberate phrasing and profoundly mellow tone, seems especially languorous here, with his firmly fluttering lines reveling in their peculiar asymmetrical tenderness. Konitz’s style has the assurance of lifelong experience, moving in slowly unfurling waves of quiet intuition. Bro and Konitz had worked together before, on three albums released on Bro’s own label, and their rapport can be felt – tracks like opener ‘Black Is All Colors at Once’ and the relatively brief ‘Aarhus’ wander and wind, but not aimlessly. Konitz approaches Bro’s compositions from a slant, arranging his melodies in tangents and asides that complement the rhythm section’s iridescent patterns while also standing apart from them. […] ‘Taking Turns’ is an album that glides, its many pieces interlocking in one sinuous motion that belies the process’s underlying complexity. […] ‘Taking Turns’ is a small miracle of spontaneous planning, planned spontaneity and, pulling it all together, exceptionally flexible composition, be it written down or entirely off-the-cuff. […] its power and delicacy show several masters’ work and provide one legend with a fitting send-off, however unintentional.
Reed Jackson, Spectrum Culture
Alle sechs verzaubern mit der Magie der leisen, sorgsam gesetzten Töne, deren Nachklingen in den Zwischenräumen zu den nächsten Tönen und der Entwicklung zarter, dank ihrer Gelassenheit faszinierender Melodien. Alles bleibt in der Schwebe, entwickelt sich, fügt sich zusammen, bleibt transparent und wurde sensibel eingefangen.
Werner Stiefele, Audio Stereoplay (‘Jazz album of the month’)
A Lee Konitz, lyrique, sensual, poétique. Aux autres, frais et inventifs. Ce sont des atmosphères, des espaces, des fragments, des chemins à explorer, des rêves aériens. Le sextet est solidaire […] et c’est ça qui donne à la musique de Bro & Co cet aspect envoûtant qui enveloppe, étreint, émeut.
Jean-Claude Vantroyen, Le Soir
‘Taking Turns’ was certainly worth the wait. Any opportunity to hear unreleased music by royalty such as Konitz is a real treat. At 86 during the sessions (he passed away from COVID 19-related complications in 2020), the saxophonist absolutely shines. His alto playing on tracks such as the opener ‘Black Is All Colors at Once’ and ‘Pearl River’, and a rare turn on soprano on ‘Haiti’, are as youthful and vibrant as anything he recorded during his long and storied career. Guitar icon Bill Frisell, another luminary with a history with Bro, is also prominently featured. The interplay between the two guitarists on the opening track, as well as the exquisite ‘Aarhus’, when combined with Konitz’ subtle alto tones, offers a sweeping yet delicate synchronization: quiet certainly, but never gloomy. […] There isn’t a whole lot of rhythm on ‘Taking Turns’, which allows drummer Andrew Cyrille the freedom to create his own percussion accents to complement the group’s melodies. Like Moran’s piano playing, Cyrille’s free drumming isn’t necessarily the focal point, but it would be hard to imagine most of the music without it.
Andrew Schinder, New York City Jazz Record
