The only problem with these two collectors' items is visual. Their packaging is in Japanese, with those tiny reproductions of the original LPs' English sleeve notes that anyone over the age of nine would need a magnifying glass to read. The quartet album, recorded live at the Midway Lounge in Pittsburgh, is also somewhat fragmented, with audience applause here but not there and several tracks faded in mid-number. Konitz performed this surgery himself, however, so nobody is cut off in mid-solo and all the alto solos are intact. He's in good early-career form, too, his tone light but not yet plaintive and his ideas spilling out in long, youthfully fluent lines. Behind him guitarist Bauer comps with taste and urgency and the rhythm section, featuring a youthful Peter Ind on bass, swings brightly along. Trumpeter Ferrara guests briefly on ‘Sweet and Lovely’. Being Lennie Tristano disciples, the group's solos are largely based on disguised or unstated standards, so guessing the titles is part of the fun. ‘Straightaway’ for instance is ‘All of Me’, but so might also be ‘Pennies in Minor’, which is definitely not ‘Pennies From Heaven’, major or minor. Konitz and Marsh together come over as kindred spirits and their quintet album is as harmonious as can be. Both studied with Tristano and their airy sound, intonation and phrasing patterns are so similar that one might be listening to the same player at different turntable speeds. Their unison theme statement of ‘Two Not One’, for example, is performed precisely enough to be one voice. And so gently unruffled is the overall groove that it is almost surprising to find bassist Oscar Pettiford and drummer Kenny Clarke both involved. Kenny's on brushes throughout and Oscar takes a fine blues solo on ‘Don't Squawk’. Tristania fans will want it all.