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| 5.451 Ft
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| 1. | Friend Lee
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| 2. | From E to C
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| 3. | Blew
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| 4. | Lost and Found
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| 5. | The Man I Love
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| 6. | I Love You
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| 7. | Cool Blues [*]
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Jazz / Cool, Post-Bop
Lee Konitz - Sax (Alto), Sax (Soprano), Liner Notes
Space Jazz Trio
Alfred Kramer Drums
Enrico Pieranunzi Piano
Enzo Pietropaoli Bass
Gianrico LaRosa Engineer
Paolo Piangiarelli Producer
Lee Konitz has recorded for the Italian label Philology almost as often as its namesake, Phil Woods, with the same consistently rewarding results. On this 1988 studio date, the veteran alto saxophonist is joined by the Space Jazz Trio, which includes one of Europe's most talented pianists, Enrico Pieranunzi, bassist Enzo Pietropaoli, and drummer Alfred Kramer. Konitz begins with "Friendlee," his extremely complex reworking of the old standard "Just Friends." The pianist's spiraling theme "From E to C" matches the adventuresome spirit of the leader, even though its backing chords are a bit more conventional post bop. Konitz's "Blew" is a wild roller coaster blues vehicle, full of sudden twists and turns. Another popular standard, "The Man I Love," features inspired playing by both Konitz and Pieranunzi, while Charlie Parker's "Cool Blues" begins with a brilliant solo by the leader and avoids the predictable paths. It's a shame that the label failed to include liner notes to tell something about the making of this very enjoyable and recommended CD. ~ 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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