The entire work of Lennie Tristano lies in a miraculous balance between extreme rigor (the musician venerates Johann Sebastian Bach) and an irresistible attraction to the most perilous improvisations. Neither classical in the strict sense of the term, nor experimental if it implies radical music, this pianist passionate about teaching (to the point that he will step back from the stage to dedicate himself to it until his death) will develop a unique, prophetic body of work, on the fringes of almost all currents. These recordings from 1955, crowned by the stunning "Turkish Mambo," are the most exciting reflection of this.
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