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| 4.290 Ft
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| 1. | Sunflower
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| 2. | Stairway to the Stars
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| 3. | Movin' Around
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| 4. | Kary's Trance
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| 5. | Crazy She Calls Me
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| 6. | Billie's Bounce
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| 7. | Stephanie
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| 8. | Memories of You
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| 9. | People Will Say We're in Love
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| 10. | When You're Smiling
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| 11. | Sunday
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| 12. | Lennie Bird
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| 13. | The Nearness of You
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| 14. | Jonquil
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Jazz / Cool, Post-Bop
Lee Konitz (as)
Don Ferrara (tp), Sal Mosca (p), Peter Ind (b), Shadow Wilson (d).
#1-6: The Lee Konitz Quintet "Very Cool"
Recorded in New York, May 5, 1957Lee Konitz (as), Don Ferrara (tp), Sal Mosca (p), Peter Ind (b), Shadow Wilson (d)
#7-14: The Lee Konitz Quartet "Tranquility"
Recorded in New York, October 22, 1957
Billy Bauer (g), Henry Grimes (b), Dave Bailey (d)
Two of alto sax legend Lee Konitz' best selling albums together on CD for the first time. Both albums were recorded in 1957 and feature musical assistance from great Jazz players like Billy Bauer, Sal Mosca, Shadow Wilson and Dave Bailey. Very Cool features the Lee Konitz Quintet while Tranquility is performed by the Lee Konitz Quartet.
Contains two of Lee Konitz's finest complete albums: "Very Cool" and "Tranquility"...both of his best selling albums on one CD!
Of "Very Cool", Lee said: "Most of all, I've tried to get in closer contact with my feelings. I'm aware more of the time of what I'm really doing and of how it feels to me. Now, that may sound cryptic, but years ago, I remember playing with Lennie Tristano in a club. We went off stand at the end of a set. I was disturbed that there could be that distance between how I felt and how I had sounded to him. These days, it's much closer -how I feel and how I sound. The most important thing, I've discovered, that I can do is to be myself when I'm playing. I'm not as concerned anymore with setting the world on fire with original music. If it comes, it comes; the main thing is to enjoy playing. I don't care if I'm playing straight melody; I can get satisfaction out of that. I've heard some of the young kids go through their paces, and when they land on one note or two notes of a melody, they give it away with the corniest vibrato and sound like a studio man. Playing a melody well isn't as easy as they think. I'm really concerned with playing one good note. In a number of the young jazzmen, I hear all of the proper ingredients, but I don't hear one note having the player's personal feeling. I think, on the other hand, that I'm using my own feeling when I play." (from the original liner notes)
Lee Konitz was, by 1957, firmly established as an individualist capable of forging his path away from the alleged West Coast Cool School. So the reissued titles included on this single CD -- Very Cool and Tranquility -- could be deceiving. Flying away from peers Paul Desmond and Art Pepper, Konitz on his trusty alto sax braved the waters of third stream and early creative improvising, which would hold him in good stead for the remainder of his career. Those inferences are clearly imbued on this reissue. The two bands heard here are quite distinct, as the witty and mostly wonderful Very Cool sessions feature underappreciated trumpeter Don Ferrara in a quintet with Konitz, doing standards, the Konitz composition "Kary's Trance," and two of Ferrara's tunes. On the Tranquility sides, the trumpet and piano leave, replaced by guitarist Billy Bauer, another unsung jazz giant. Heavyweights Henry Grimes on bass and drummer Dave Bailey prove one of the best units Konitz ever fronted. They do more standards, a single original by Bauer or Konitz, and one from their collective mentor, Lennie Tristano. This CD is a marvelous time capsule revealing much about Konitz, this pivot point time period, and the late-50s state of modern, progressive mainstream hard to post-bop jazz. ~ Michael G. Nastos, 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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