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CD |
Kérjen
árajánlatot! |
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| 1. | Palo Alto
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| 2. | When Your love has Gone
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| 3. | Cork'n'Bib
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| 4. | Somp'm Outa' Nothin'
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| 5. | Someone to Watch Over Me
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| 6. | Uncharted
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| 7. | Moonlight in Vermont
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| 8. | The Song is You
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| 9. | Darn That Dream*
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| 10. | Ev'rything I've Got
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| 11. | You don't Know what Love is
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| 12. | I didn't Know About You
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| 13. | I'm Getting Sentimental Over You
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| 14. | You're Driving Me Crazy*
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| 15. | You're Clear out of this World*
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| 16. | The More I see You*
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| 17. | You're Too Beautiful*
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Jazz / Cool
Contains two complete LPs:
- "You And Lee" (Verve, 1959)
- "Lee Konitz Meets Jimmy Giuffre" (Verve, 1959)
Tracks #1-8:
Recorded in NYC, May 12-13, 1959
Lee Konitz, Hal McKusick (as); Warne Marsh, Ted Brown (ts); Jimmy Giuffre (bar,arr); Bill Evans (p); Buddy Clark (b); Ronnie Free (d)
#9:
Recorded in NYC, May 12-13, 1959
Lee Konitz, Hal McKusick (as); Warne Marsh, Ted Brown (ts); Jimmy Giuffre (bar,arr)
#10-13:
Recorded in NYC, October 29, 1959
Ernie Royal, Marky Markowitz, Phil Sunkel (tp); Eddie Bert, Bill Byers (tb); Lee Konitz (as); Bill Evans (p); Sonny Dallas (b); Roy Haynes (d); Jimmy Giuffre (arr,cond)
#14-17:
Recorded in NYC, October 29, 1959
Same personnel as 10-13 except Jim Hall replaces Bill Evans (p)
An amazing convergence of talents -- one that took place in 1959, for Verve Records, and which featured work by some of the greatest modernists of the late 50s! The CD features work from 2 different Verve albums -- Lee Konitz Meets Jimmy Giuffre and You & Lee -- both of which features arrangements from Giuffre, then making big waves with his pianoless trio format for the label (and Atlantic) -- but who's working here in a larger setting that still showcases his marvelously fluid conception of sound. The first set features twin altos by Konitz and Hal McKusic, alongside tenors by Warne Marsh and Ted Brown, with baritone sax by Jimmy, and incredibly subtle piano work by Bill Evans. The next session features Giuffre taking an even stronger hand in arrangements, but letting Konitz step out even more as the lead soloist -- working within a larger horn group that features work by Billy Byers, Eddie Bert, and Ernie Royal.
This Lone Hill Jazz compilation presents the contents of two separate releases Lee Konitz Meets Jimmy Giuffre and You and Lee featuring Lee Konitz and Jimmy Giuffre (the latter playing baritone sax and contributing the arrangements) together, with pianist Bill Evans being the prominent sideman, though the ensemble includes tenor saxophonists Warne Marsh and Ted Brown (both of whom studied with Lennie Tristano alongside Konitz), and alto saxophonist Hal McKusick, though it is Konitz that is featured throughout the sessions from Lee Konitz Meets Jimmy Giuffre. Konitz contributed the quirky blues "Cork 'N' Bib," which features an unusually bluesy solo by Evans, plus an atonal offering by Marsh and Giuffre's robust single chorus. The breezy setting of "The Song Is You" is an excellent wrap to this spring session. Later the same year the musicians returned to the studio while adding guitarist Jim Hall to record the Verve LP You and Lee, which had not been reissued on CD until appearing in this anthology. Play the Arrangements of Jimmy Giuffre concentrates exclusively on Giuffre's arrangements of standards and while it isn't quite as wide-ranging as the earlier effort, Konitz is obviously inspired by the arrangements and excellent ensemble behind him. ~ Ken Dryden, 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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