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| 3.557 Ft
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| 1. | Hot Hut
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| 2. | She's as Wild as Springtime
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| 3. | Inclination
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| 4. | I Wonder What She's Doing Right Now
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| 5. | Creole Love Call
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| 6. | About Time We Looked at This
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| 7. | A-Minor Blues in F
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| 8. | Matti's Matter
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| 9. | Cher Ami
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| 10. | En Passant
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| 11. | Bloas
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Jazz / Modern Creative, Cool, Post-Bop, Avant-Garde Jazz
Recorded: June 8th, 9th, 10th, 1983, MPS-Studio, VS-Villingen
Albert Mangelsdorff - Composer, Trombone
Lee Konitz - Composer, Sax (Soprano), Sax (Alto)
Producer: Horst Weber & Peter Wiessmueller
Engineer: Georg Brunner-Schwer
No one has worked harder to elevate the art of the jazz duo than Lee Konitz. His 1967 session, The Lee Konitz Duets, was a seminal statement. This much-later duet session with trombone master Albert Mangelsdorff pales in comparison. Konitz has long espoused the belief that horn players can swing without a rhythm section, yet much of the time Mangelsdorff insists on serving as a faux bass -- really, tuba -- player. And when he uses his patented technique of singing into his horn while creating chords, he functions as a very simple guitar player. That said, anything with these two masters on it has its pleasures. Konitz creates tasty lines with souffle-like lightness, and when Mangelsdorff breaks free he provides some gruff, complementary solos. His use of mute on "Creole Love Call" offers a break from the session's monochromaticism. Konitz also brings some fetching originals to the session, notably "A Minor Blues in F" and "Cher Ami," which feature the kind of freewheeling counterpoint that would have been welcomed throughout The Lee Konitz Duets. ~ David Dupont, All Music Guide
Jazz
Albert Mangelsdorff
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Sep 05, 1928 in Frankfurt, Germany
Died: Jul 25, 2005 in Frankfurt, Germany
Genre: Jazz
Trombonist Albert Mangelsdorff pioneered the art of jazz polyphonics, introducing to the avant-garde the symphonic tradition of playing multiple notes simultaneously. Born in Frankfurt, Germany, on September 5, 1928, Mangelsdorff grew up enthralled by jazz, devouring his older brother Emil's record collection. His uncle, a professional violinist, gave him music lessons as a teen, but the rise of the Third Reich forced him to keep his passion for jazz in check. Over time Mangelsdorff taught himself guitar, but following World War II he managed to acquire a used trombone in exchange for cigarettes -- he often played for audiences comprised of the American soldiers who remained stationed overseas, finally performing to crowds who shared his appreciation for jazz. Word of Mangelsdorff's prowess on the trombone soon reached his fellow musicians, and in 1952 he made his recording debut in support of saxophonist Hans Koller. He also worked in small groups and with the Dance Hesse Radio Orchestra throughout the decade, and in 1958 was selected to serve as the German representative for the Newport Jazz Festival International Band, an opportunity that resulted in collaborations with U.S. giants like Gerry Mulligan and Louis Armstrong.
Upon returning to Germany, Mangelsdorff inaugurated a prolific recording period that included collaborations with sibling Emil, Modern Jazz Quartet pianist John Lewis (the 1962 Atlantic LP Animal Dance), and his own quintet featuring his longtime associate, saxophonist Heinz Sauer. As the decade continued, Mangelsdorff moved increasingly into the realm of free jazz, culminating in his first unaccompanied solo performance at the Munich Olympic Games in 1972. He made solo trombone -- a heretofore unknown concept in jazz -- a reality via multiphonics, the physically and technically demanding simultaneous blowing and singing of notes into his horn; the method opened vast new dimensions like harmonies and chords, and over the years Mangelsdorff also incorporated modal improvising and even rock & roll elements into the equation. In 1980, the American magazine Down Beat named him the world's best trombonist -- from there, he worked with the NDR Big Band, the Manfred Schoof-led Old Friends, and the United Jazz + Rock Ensemble, and in 2003 celebrated his 75th birthday with an all-star celebration at Frankfurt's Die Alte Oper. Mangelsdorff died on July 25, 2005.
---~ Jason Ankeny, 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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