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5.451 Ft
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1. | What's New?
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2. | Thingin'
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3. | Cherokee
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4. | Darn That Dream
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5. | I'll Remember April
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6. | L' Age Mür
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7. | Solar
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Jazz / Cool, Post-Bop
Lee Konitz - Sax (Alto) Enrico Rava - Trumpet Massimo Manzi Drums Paolo Falascone Engineer Paolo Piangiarelli Producer, Photography, Liner Notes Rosario Bonaccorso Bass
The dry-toned and very individual-sounding alto saxophonist Lee Konitz recorded frequently for the Italian label Philology during the 1990s, and this quartet session with avant-garde trumpeter Enrico Rava, bassist Rosario Bonaccorso, and drummer Massimo Manzi is a first-rate affair, though primarily in a straight-ahead setting. On most tracks, the co-leaders generally take turns exchanging solos of no more than a chorus or two in length, with pulsing but never dull support underneath by Bonaccorso and Manzi. "What's New" is played as a quasi-bossa nova, and "Cherokee" becomes a catchy samba; while "Cherokee" and "I'll Remember April" follow more predictable routes, though both are played with a lot of passion. Each musician also contributes an original: Konitz supplies an inventive march in which his alto and Rava's muted horn share a unison line before the exciting solos begin, while Rava's title track has a somewhat wandering theme but some of his best playing on the date. This very enjoyable CD is warmly recommended. ~ 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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