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Kérjen
árajánlatot! |
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| 1. | I'll Remember April
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| 2. | Sweet and Lovely
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| 3. | Sequentialee
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| 4. | If You Could See Me Now
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| 5. | Cherokee
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| 6. | Gundula
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| 7. | Keepin' the News
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| 8. | Easy Living
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| 9. | 317 East 32nd Street
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| 10. | Ex Temp
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| 11. | Subconscious Lee
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Jazz / Cool, Post-Bop
Lee Konitz - Sax (Alto)
Alan Broadbent - Piano, Liner Notes
Bill Traut Associate Producer
Jamie Putnam Art Direction, Design
Joe Tarantino Mastering
Orrin Keepnews Liner Notes, Producer
Phil Edwards Remixing, Engineer
Steve Banks Photography
This intimate live program pairs two Lennie Tristano disciples: Lee Konitz, in his eighth decade and at the height of his powers, and the distinctive, calmly extraordinary pianist Alan Broadbent. The clarity and expressiveness of these performances from the Jazz Bakery in Los Angeles make it difficult to accept this was the duo's first time playing together. In working out how best to interact with Konitz, Broadbent found that less is more. Supporting Konitz with supple, swinging, spacious structures, he frees the saxophonist to create and explore. Liberated, Konitz gives himself over to the flow of his ideas and impulses, his sound and phrasing natural, unforced. Not that Broadbent is confined to the supporting role; he and Konitz each have considerable space for unaccompanied playing, joint extemporizing, and situations where the lead moves in subtle shifts between the two. In their transformations of familiar material, Konitz and Broadbent take a very non-bop approach to the discovery of new and unexpected patterns and points of view in repertoire conceived or extensively exploited by bop players. Their tactics pose intriguing possibilities for other pieces from the bop canon or for post-bop classics such as Miles Davis and Victor Feldman's "Joshua" or Sonny Rollins' "Blue 7." While Broadbent said it took a few sets for him and Konitz to get to know each other during their week-long run together, the luminous performances captured on this October 2000 recording suggest that any meeting between the two would be rewarding. Listeners who enjoy either of these masters will be hoping there is more where this came from. ~ 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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