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Solitudes
Lee Konitz & Enrico Pieranunzi
első megjelenés éve: 1988
(2007)

CD
5.451 Ft 

 

IMPORT!
Kosaramba teszem
1.  How High the Moon
2.  Embraceable You
3.  When I Fall in Love
4.  I Should Care
5.  The Shadow of Your Smile
6.  Autumn Leaves
7.  Don't Blame Me
8.  Solitude
9.  My Old Flame
10.  The Touch of Your Lips
11.  Chet
12.  It Might as Well Be Spring
13.  My Old Flame, No. 2
14.  Don't Blame Me, No. 2
15.  Don't Blame Me, No. 3
Jazz / Cool, Post-Bop

Lee Konitz - Sax (Soprano), Sax (Alto)
Enrico Pieranunzi
Flavia Carloni Translation
Gianrico LaRosa Engineer
Paolo Piangiarelli Producer
Pieroni Carlo Photography

Philology has produced many fine sessions featuring Lee Konitz, and it is very tempting to say that this is one of his best dates for the label. The cool alto saxophonist's duets with the talented pianist Enrico Pieranunzi explore almost a dozen standards from the worlds of American popular song and jazz, including three full takes of "Don't Blame Me" and two of "My Old Flame" that were not included for filler but to demonstrate how hard it is for a producer to choose between several valid entertaining performances. One can hear the chord changes even as both artists deviate from the original route in many of the songs, yet the lyricism of both musicians remains in focus. Pieranunzi wrote "Chet" in memory of Chet Baker, who had died tragically earlier in the year; this emotional piece seems every bit as complex as the late trumpeter. Currently out of print, this CD is worth a diligent search. ~ 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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