Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

Denny Zeitlin: Labyrinth: Live Solo Piano

Carlo Wolff reviews Denny Zeitlin's solo piano release, 'Labyrinth'

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.

Bay Area jazz guru Denny Zeitlin evokes such classical icons as Paderewski and Scriabin-romantic, bravura keyboardists whose blend of technique and passion galvanized listeners. But where Paderewski and Scriabin played to packed concert halls, Zeitlin plays to smaller audiences: Labyrinth memorializes two concerts he gave in the summers of 2008 and 2010 in a northern California home. These were such intimate affairs you can almost hear the hush in the room.

Zeitlin, who began recording in the ’60s for Columbia, has always mixed rhapsody and rigor. His technique is astounding: Check how he coaxes a sprightly melody toward hammered, glassy clusters on “Brazilian Street Dance,” one of three originals here that he wrote in the ’60s. He plays so fast he generates his own implied rhythm section. He brings impish body to Wayne Shorter’s “Footprints”; builds Richard Rodgers’ “People Will Say We’re in Love” with appropriate warmth, care and minimalism; blasts through John Coltrane’s “Lazy Bird” as if to contradict its title (think Lennie Tristano on speed); and on “Dancing in the Dark,” stretches meter and tempo to their limits. Zeitlin goes where more conventional pianists fear to tread but never loses his way.

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.
Originally Published