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| 5.061 Ft
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| 1. | Cherokee
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| 2. | Subconscious-Lee
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| 3. | I Remember You
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| 4. | Polka Dots And Moonbeams
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| 5. | Color
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| 6. | Kary's Trance
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| 7. | Thingin'
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Jazz
Lee Konitz alto saxophone
Florian Weber piano
Jeff Denson bass
Ziv Ravitz drums
The association between Lee Konitz and Trio Minsarah dates back quite some years. It started in Cologne, Germany where Lee lived for close to 20 years before returning to New York finally. He met this international trio of pianist Florian Weber from Cologne (Germany), bassist Jeff Denson from San Diego (USA) and drummer Ziv Ravitz from Tel Aviv (Israel) at concerts in Cologne and was immediately won over by them. The four of them worked on and off in both Europe and the U.S. and recorded their first quartet CD “Deep Lee” (ENJ-9517 2) in Brooklyn. Lee soon felt that he had found simply perfect and exciting partners for his music – partners that made him step out of his routine and take a fresh look at well known material he had improvised on all his life.
At the rehearsals for the Vanguard date which were held in his home on NY’s Upper Westside the practical joker announced: “Let’s do this quiz style. We start improvising immediately and give only tiny hints as to the melody we are actually playing on. The first in the audience to recognize the tune should raise his hand and we buy him a drink when he is right!” The audience loved it – it became such fun. A hard one was when Jeff began bowing an old Jewish traditional on which Lee had based his great composition "Kary’s Trance" which was quoted only at the very end of the performance.
Lee had played the Village Vanguard for the last time in 1983 before his hiatus to Europe. An indication how important the Village Vanguard engagement was for him is the fact that for this date he had his old alto saxophone from Tristano days (he hadn’t played it for many years) completely renovated and brought back into shape by his lifelong saxophone doctor in Chicago. Lee holds that this uncompromising, completely personal recording is a high point in his long career. He was so happy about the great “welcome home” the New York press and the enthusiastic audience at the Vanguard gave him.
--- Matthias Winckelmann, Producer
"Besides making elegant use of Konitz's alto, the group’s music is richly textured and often wonderfully evocative, a celebration of cultural diversity and thematic exploration." - The Washington Post
Well into his eighties, alto saxophone grand master Lee Konitz continues to come up with fresh approaches playing modern mainstream jazz with an edge. Teamed here with the multi-national trio dubbed Minsarah, Konitz is reunited with German pianist Florian Weber, himself an iconoclast and progressive thinker. Recorded at the historic Village Vanguard in N.Y.C. on two separate nights gives any prepared listener all the challenges and satisfaction one could ask from the vaunted and still viable Konitz. If you've heard a thousand versions of the bop flag waver "Cherokee," perhaps the East Indian-flavored and churning rendition by Konitz and his charges will enlighten you. Originals like the pensive but easy swinger "Subconscious-Lee" or the soul/spirit song "Kay's Trance" will convince you that the saxophonist is still quite capable of digging in and standing his ground, physically or emotionally. While a variation of "All The Things You Are" that Konitz has dubbed "Thingin'" always hits the mark with deft chord substitutions, it is never played the same way twice . Whether in fleet bop constructs, breathy but concise long tones, or choppy off-minor phrases, Konitz always makes sure that every single note counts. Weber's feature "Color" sans the alto, has the pianist stretching out in morning dew refrains then cutting loose, and again backing down dynamically in complete command of his instrument. Bassist Jeff Denson (from San Diego) and drummer Ziv Ravitz (a native of Israel) round out the New Quartet, supplying Konitz with grace or firepower galore on this impressive recording that hopefully yields follow-up volumes, either from the Vanguard or other hallowed grounds. ~ Michael G. Nastos, 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, Jazz Instrument, Saxophone Jazz, Trumpet Jazz
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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