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| Rhapsody II |
| Lee Konitz |
első megjelenés éve: 1993
68 perc |
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| (1996)
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CD |
| 6.216 Ft
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| 1. | Body and Soul
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| 2. | Short Cut 1
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| 3. | Another View
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| 4. | Lover Man
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| 5. | Short Cut 2
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| 6. | Kary's Trance
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| 7. | Trio 2
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| 8. | Indiana Jones 1
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| 9. | You Don't Know What Love Is
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| 10. | Variation 1
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| 11. | Variation 2
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| 12. | Some Blues
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| 13. | Short Cut 3
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| 14. | Indiana Jones 2
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| 15. | Round and Round and Round
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| 16. | Sittin' In
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| 17. | Indiana Jones 3
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| 18. | Body and Soul/Finale
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Jazz / Cool, Post-Bop
Lee Konitz Primary Artist
Ben Allison Bass
Mark Feldman Violin
Frank Wunsch & Lee Konitz Piano
Yuko Fujiyama Piano
Sheila Jordan Vocals
Gerry Mulligan Baritone Saxophone
Judy Niemack Vocals
Jean Francois Prins Guitar
John Scofield Guitar
Peggy Stern Piano
Harvie Swartz Bass
Clark Terry Flugelhorn
Toots Thielemans Harmonica
Kenny Werner Piano, Synthesizer
Jeff Williams Drums
Katsuhiko Naito Engineer
Harvey Pekar Liner Notes
Yoichi Nakao Executive Producer
Barbara Rosenfeld Photography
Tomio Yoshizawa Photography
For almost forty years, alto saxophonist Lee Konitz has been pushing the envelope of jazz improvisation. The series of sessions that comprise this CD (and its predecessor Rhapsody, ECD 22117) represent the culmination of his career. Konitz is joined here by a diverse cast of stars/admirers eager to play with him, including Gerry Mulligan, Clark Terry, John Scofield, Toots Thielemans and Sheila Jordan. Konitz has cast his guests in lively duo, trio and quartet settings, and the various line-ups cut loose with collective improvisations of the highest order.
This follow-up to Rhapsody is another eclectic mix, with 19 tracks featuring the veteran alto saxophonist in various small group settings. Baritone sax great Gerry Mulligan and the leader flesh out an inspired duet of "Lover Man" and pianist Peggy Stern joins them for the spacy, extemporaneous "Trio #2." The brilliant flugelhornist Clark Terry is only featured on three very brief improvisations based on "Indiana," which is wasting a great talent. Konitz switches to soprano sax for a moody version of "You Don't Know What Love Is" with vocalist Sheila Jordan and bassist Harvie Swartz. This is an interesting but not essential CD that falls short of its namesake predecessor and The Lee Konitz Duets (Original Jazz Classics). ~ 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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