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| 3.851 Ft
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| 1. | Thumb Under (No. 90 from Mikrokosmos)
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| 2. | Lester Leaps In
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| 3. | Village Joke (No. 130 from Mikrokosmos)
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| 4. | Something to Sing
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| 5. | Peacemeal
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| 6. | Body and Soul
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| 7. | Peasant Dance (No. 128 from Mikrokosmos)
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| 8. | Fourth Dimension
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| 9. | Second Thoughts
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| 10. | Subconscious Lee
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| 11. | Lester Leaps In [Take 4][*]
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| 12. | Body and Soul [Take 3][*]
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| 13. | Subconscious Lee [Take 6][*]
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Jazz / Cool, Post-Bop
Lee Konitz - Sax (Alto), Sax (Tenor), Synthesizer Saxophone, Sax (Soprano)
Charles Stewart Photography
Dick Katz Producer, Piano, Piano (Electric), Arranger
Eddie Gomez Bass
Elvin Campbell Engineer
Jack DeJohnette Drums
John Murello Cover Design
Kirk Felton Remastering
Marshall Brown Horn (Baritone), Arranger, Trombone (Valve)
Orrin Keepnews Liner Notes, Supervisor
Stephen Hart Remixing
This Lee Konitz recording is of even greater interest than usual. Altoist Konitz, in a quintet with valve trombonist Marshall Brown, pianist Dick Katz, bassist Eddie Gomez and drummer Jack DeJohnette, performs jazz adaptations of three Bela Bartok piano compositions, a trio of Dick Katz originals, two of his own pieces (including "Subconscious-Lee") and versions of "Lester Leaps In" and "Body and Soul" that include transcriptions of recorded solos by, respectively, Lester Young and Roy Eldridge. A thought-provoking and consistently enjoyable set of music. ~ Scott Yanow, 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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