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| 1. | Thingin'
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| 2. | Joy for Joy
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| 3. | Opus d'Amour
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| 4. | Cloisterbells
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| 5. | Images
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| 6. | Alone Together
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| 7. | Suite for 3
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Jazz / Post-Bop
Lee Konitz - Sax (Alto)
Art Lange Liner Notes
Attila Zoller Guitar
Dany Gignoux Photography
Don Friedman Piano
Fanny Pfister Assistant
Fuhrer Vienna Graphic Conception
Peter Pfister Mastering, Engineer
Werner X. Uehlinger Producer
With the superb packaging and quality of sound for which the Swiss hatOLOGY label is noted, and the adventurous, Tristano-tinged blowing for which saxophonist Lee Konitz is known, this set of mostly originals ("Alone Together" being the exception) should satisfy a broad range of listeners. Joined by pianist Don Friedman and guitarist Attila Zoller, the trio dances gently with nuanced patter and exquisite precision, creating minor gems of graceful expansion. The unique instrumentation precisely fits the style of Konitz, bringing back memories of past encounters. Zollar adds a pleasing touch with his dry, lilting approach. If the session does not totally stand out from the wealth of others the saxophonist has led it is only because of the plethora of high quality disks Konitz has produced during his career. In every way, this one is a worthy contribution to his discography, with the characteristic beautiful and mellow tone, laid-back style, and advanced harmonics. ~ Steven Loewy, 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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