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| 1. | Les Bandar-Log (Scherzo des singes), symphonic poem for orchestra, Op. 176
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| 2. | Le Colibri, for voice & piano, Op. 2/7
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| 3. | Descriptions automatiques, for piano - Sur un Lanterne
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| 4. | Réverie, for piano, L. 68
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| 5. | Berceuse sur le nom de Gabriel Fauré, for violin & piano
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| 6. | L'absent for voice & piano in A minor, Op. 5/3 ("Sentiers o&
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| 7. | Véritables préludes flasques pour un chien (Truly Flabby Preludes for a Dog) for piano - Seul á la Maison
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| 8. | Soupir ("Mon âme vers ton front oú réve, ô calme soeur"), song for voice & piano, L. 127/1
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| 9. | Valse romantique, for piano, L. 71
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Jazz / Cool; Post Bop; Classical
Lee Konitz - Sax (Alto), Liner Notes
A. T. Michael MacDonald Mastering
Matt Balitsaris Producer
Konitz has recorded with strings before but never like this: all alone in front of a string quartet sans rhythm section in a collection of arrangements of pieces by the French classical composers Koechlin, Chausson, Ravel, Faure, Debussy, and Satie. Unquestionably the sound and techniques of this fusion lean heavily toward the classical end, yet that mere bit of categorizing just scratches the surface of these elegant, serious, often provocative recordings. Arranger/musical director Ohad Taylor isn't afraid to inject bits of avant-garde glides and dissonances into his charts, and he loves to throw in quotes from other related or unrelated works. Ravel's "Berceuse Sur le Nom de Gabriel Faure," for example, opens in a near free-form mini-frenzy, and the strings continue to flutter about seemingly quite freely, throwing in some of Mahler's "Symphony No. 1" in the bargain. Although the Axis String Quartet generally sticks to classical style with a minimum of improvisations, the 72-year-old Konitz flits easily between the idioms without always making it apparent which one he is in at any given time (though Konitz's work in Faure's "L'Absent" has more of a jazzy feeling than the other tracks). Konitz's legion of fans are in for a pleasant, challenging surprise with this one. ~ Richard Ginell, 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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