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| Jazz at Storyville [ ÉLŐ ] |
| Lee Konitz |
| első megjelenés éve: 2002 |
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| (2002)
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CD |
| 3.746 Ft
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| 1. | Hi Beck
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| 2. | These Foolish Things
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| 3. | Sound-Lee
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| 4. | Subconscious Lee
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Jazz / Bop, Cool, Post-Bop
Lee Konitz - Sax (Alto)
Al Levitt - Drums
Percy Heath - Bass
Ronnie Ball - Piano
Burt Goldblatt Cover Design, Photography
George Wein Liner Notes
The Lee Konitz at Storyville album on the Jazztone label features material that has been repackaged and reissued in several different configurations on Black Lion. But the Jazztone album was already a reissue when it came out, a selection of material that had first seen the light of the day on the Storyville club's own self-named label. Several different groups are featured in these live recordings, and while even some fans of this style of jazz find Konitz's sidemen interchangeable, there was at least one combo here that was one of the hornman's personal favorites. That group holds forth for the entire first side of At Storyville, beginning with a tragic "Mean to Me" but eventually smiling widely as the beat of "Bop Goes the Leesel" takes hold. "Skylark" also soars, bassist Peter Ind going through the song's difficult bridge as if casually tossing a few coins into a toll basket. Pianist Ronnie Ball is the holdover for both the lineups, and works in a much similar way with Konitz that mentor Lennie Tristano did. They expertly weave around each other, swimming through harmonic structures together like dolphins. Percy Heath, who takes over the bass in the second group, is absolutely no slouch, holding down a somewhat groovier beat that gives the classic tune "Hi Beck" a great lift. There are also nice versions of both "Sound Lee" and "Subconscious Lee." Portions of this album, but not this exact selection of tunes, are also on albums such as Jazz at Storyville and Konitz. No information is given about composers on the original Jazztone sleeve. ~ Eugene Chadbourne, 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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