  |
|
|
 |
|
CD |
| 4.593 Ft
|
|
| 1. | It 's You
|
| 2. | Come Rain Or Come Shine
|
| 3. | Thingin
|
| 4. | Luiza
|
| 5. | From Time To Time
|
| 6. | Ladies Waders
|
| 7. | Johnny Broken Wing
|
| 8. | Eiderdown
|
| 9. | A Minor Blues In F
|
Jazz / Post-Bop
Lee Konitz alto saxophone
Steve Swallow electric bass
Paul Motian drums
The foremost alto saxophonist of any style today, Chicago-born Lee Konitz is a living legend among jazz enthusiasts all around the world. Back in his formative years, he cultivated a smooth sound with few overtones and no vibrato that made him a towering figure of early cool jazz. Konitz is known for his long serpentine lines with varied subdivisions of the beat and an individual sense of swing. Once a featured soloist with Miles Davis, Lennie Tristano, and Stan Kenton, he has been his own man for decades and an influential figure in the evolution of European jazz.
Among the many Konitz recordings available, his new album is definitely something special. Made up of Konitz, bass guitar wizard Steve Swallow and drumming legend Paul Motian, this trio works within a rather abstract concept while at the same time radiating with fun and fantasy. Known for his collaborations with Gary Burton, John Scofield and Carla Bley, Steve Swallow has been the leading electric bass player in jazz for many years working out his own vocabulary for the instrument. In recent years, he recorded as a bandleader for Watt Records. Paul Motian, much admired for his work with pianists Bill Evans, Keith Jarrett and Paul Bley, has been the leader of a great trio with Joe Lovano and Bill Frisell and recently recorded several albums with his own Electric Bebop Band.
The title "Three Guys" says it all: Here are three highly individual players combining their rich experiences and musical histories - and having a ball! Presenting a bossa nova song, a standard ballad and seven originals (contributed by all three guys), this CD is a timeless testimony to the living art of jazz.
Lee Konitz continues to record at peak form, as clearly evidenced by this trio with Steve Swallow on electric bass and Paul Motian on drums. All of the nine pieces are originals by members of the trio, the exceptions being a compelling version of "Come Rain or Come Shine" and a gorgeous take of Jobim's "Luiza." As to be expected, these three veterans mesh well together. While there are few extraordinary moments, there is plenty of well-played, emotionally satisfying jazz, the way Konitz has been doing it for a lifetime. You might confuse his pinched alto for a soprano at times, but there is no questioning his immaculate phrasing. Konitz has always shined best with a repertoire of standards, and the choice of tunes here is slightly less interesting. Motian is a good choice on the sticks, while Swallow remains an acquired taste. ~ Steven Loewy, 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 |
|
CD bolt, zenei DVD, SACD, BLU-RAY lemez vásárlás és rendelés - Klasszikus zenei CD-k és DVD-különlegességek |  | | Webdesign - Forfour Design |
|
|
