Jazz / Cool, Post-Bop
Lee Konitz - Sax (Alto), Sax (Soprano), Soloist
Alessandro Cunial Photography
Arianna Bon Flute
Assessorato Alla Cultura Producer
Barbara Borsato ?
Carolina Casciani Clarinet
Claudio Donà Liner Notes
Claudio Missaglia Photography
Comune Di Venezia Producer
Dario Prisco Trombone
David Boato Trumpet
Davide Boato Soloist, Trumpet
Davide Ragazzoni Drums, Soloist
Di Venezia, Comune Producer
Eruo Michelazzi Sax (Alto)
Fulgenzio Livieri ?
G.A. De Vincenzo Programming, Arranger, Sequencing Programmer
Giannantonio De Vincenzo Director
Giuliana Cravin Flute
Giuseppe Calamosca Trombone, Soloist
Il Suono Improvviso Orchestra Orchestra
Lello Gnesuta Bass (Electric), Soloist
Lino Dalla Valle Director
Loris Trevisan Flute
Marco Castelli Sax (Soprano), Soloist
Margherita Mesirca Flute
Marlon Nather Trumpet
Marta Zardinoni ?
Massimiliano Tonello Tuba (Bass), Tuba
Massimo Parpagiola Sax (Tenor)
Massimo Spiro Sax (Tenor)
Michele Magnifichi Sax (Baritone)
Moreno Donadel Tastiere, Keyboards
Paolo Birro Piano, Arranger
Paolo Fazio Trumpet
Paolo Piangiarelli Producer
Piero Cozzi Sax (Alto)
Renzo Zulian Soloist, Vocals
Roberta Lombardo ?
Roberto Rossetti Clarinet (Bass)
Roberto Rossi Arranger, Trombone, Soloist
Sandro Gibellini Soloist, Guitar
Stefano Benini Soloist, Flute
Tatiana Marian Clarinet
Ugo Bergamo ?
Umberto De Nigris Trombone
Walter Lucano Chitarrone, Guitar
Lee Konitz has made many fine CDs for the Italian label Philology, so it isn't surprising that this one looks like yet another, although that is not the case. The alto saxophonist is merely a guest with the orchestra Il Suono Improvviso on five of the eight tracks, none of which were composed or arranged by him. Sadly, the compositions do little to inspire anyone on the date, as the orchestra's director, Giannantonio De Vincenzo, wrote six of the songs, including the very tedious, slow to develop opener, "Solo Sogni," "Leja" which sounds like a soundtrack to a mediocre movie from the 1970s, and the funky yet disappointing "Un Orso Di Nome Bruno." The tracks without their special guest hardly fare better, though trombonist Giueseppe Calamosca provides some nice trombone solos during the otherwise pedestrian "Casin Dei Nobili." It's obvious that some of the other soloists have considerable chops, but the weak compositions and arrangements give each of them little opportunity to show their true potential. This CD can be safely bypassed by fans of Lee Konitz. ~ 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 |
