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Yes. Master improvisors approach counterpoint in this way. Each voice, an interwoven thread, with it's own gravity and contour, vertical aggregates, just that, more the byproduct of "nodes" where individual components of these interwoven lines sound simultaneously, than the byproduct of "chords".
It's more the art of "fugue" than chord and melody.

Welcome to the forum, Dave Frank. And thank you for posting the link to your album. It's extremely impressive! I liked "Snow Falls on 5th Avenue" and "Prayer at St. Patrick's" the best. (I tend to like the dreamy slow kind of jazz the best.)

hi Monica, thanks. Hi B Jones, I took 2 lessons from Sal, but although I respect him highly, his teaching wasn't for me. You really piqued my interest with this Lennie student video, why don't you email me at Dfrankjazz@aol.com and tell me who this is, c'mon..not Lonnie Leibowitz? Is it agent 008?

Dave

Two lessons were quite enough, right? I think that's how many lessons I lasted with Sal!

Sal's teaching methodogy was a carbon copy of Lennie's, but without the same type of insight into the direction of where it was going.
Sal also tended to be very mystical at times answering pragmatic musical questions with parables and metaphors. Asking Sal a question about harmonic counterpoint and you'd get an answer about how you can burn down a 1000 acre forest with one tiny match.

Although Lennie and my teacher were always direct and to the point with musical teaching, it seems as though many of Lennie's students who went on to teach also, adopted this same type of "mystical" approach, as though trying to elevate Lennie's ideas to a metaphysical plane rather than describe and analyze it in musical parameters.

BTW, It's not Lonnie Leibowitz.