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| The Real Lee Konitz [ ÉLŐ ] |
| Lee Konitz |
| első megjelenés éve: 2003 |
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| (2003)
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CD |
| 4.070 Ft
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| 1. | Straightaway
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| 2. | Foolin' Myself
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| 3. | You Go to My Head
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| 4. | My Melancholy Baby
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| 5. | Pennies in Minor
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| 6. | Sweet and Lovely
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| 7. | Easy Livin'
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| 8. | Midway
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Jazz / Bop; Cool
Lee Konitz - Liner Notes, Sax (Alto), Editing
Arnold Saks Cover Design
Billy Bauer Guitar
Dick Scott Drums
Don Ferrara Trumpet
Peter Ind Engineer, Bass
William Claxton Cover Photo
This set is the product of Lee Konitz' decision to record his quartet during the second half of a two-week stint in 1961 at the Midway Lounge in Pittsburgh. Bassist Peter Ind served as recording engineer, which essentially involved his pressing the record button on the tape machine in the dressing room and then running to join the others on stage. The result of this low-tech production is a fine document of Konitz playing live in a fairly straight ahead setting.
The sound is good and places the leader's alto sax to the forefront, as he floats his sinewy, pleasantly acerbic sound over the attentive work of the rhythm section. Konitz edited the tapes to preserve the best of the group's work and to exclude technical glitches. For this reason, some of the tracks are not complete performances: two have fade out endings and one ends somewhat abruptly. To Konitz' credit, though, the edits do not jar, the fades are smooth and the set remains a cohesive representation of this group at work.
Ind, drummer Dick Scott and guitarist Billy Bauer provide resourceful, responsive support. While Bauer's inventive rhythm work is its customarily attractive contribution, it would have been nice to have had more of his solo work included here. Even on a duet with Konitz on "You Go to My Head", Bauer's role is strictly accompaniment. That said, he's brilliant in the supporting role and the track is a highlight.
Trumpeter Don Ferrara plays on two tracks, but he is not critical to the main event of Konitz captured live with a knowing, sympatico rhythm team. ~ Jim Todd, All Music Guide
Lee Konitz
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Oct 13, 1927 in Chicago, IL
Genre: Jazz
Styles: Modern Creative, Cool, Post-Bop
One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity that has led him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill's Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis's Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh's tenor (their unisons on "Wow" are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton's Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo. Konitz was primarily a leader from that point on. He almost retired from music in the early '60s but re-emerged a few years later. His recordings have ranged from cool bop to thoughtful free improvisations, and his Milestone set of Duets (1967) is a classic. In the late '70s Konitz led a notable nonet and in 1992 he won the prestigious Jazzpar Prize. He kept a busy release schedule throughout the '90s and dabbled in the world of classical with 2000's French Impressionist Music from the Turn of the Twentieth Century. The Mark Masters Ensemble joined him for 2004's One Day with Lee. And in 2007 he recorded Portology with the Ohad Talmor Big Band. He has recorded on soprano and tenor but has mostly stuck to his distinctive alto.Konitz has led consistently stimulating sessions for many labels, including Prestige, Dragon, Pacific Jazz, Vogue, Storyville, Atlantic, Verve, Wave, Milestone, MPS, Polydor, Bellaphon, SteepleChase, Sonet, Groove Merchant, Roulette, Progressive, Choice, IAI, Chiaroscuro, Circle, Black Lion, Soul Note, Storyville, Evidence, and Philogy.
---Scott Yanow, All Music Guide |
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