I wondered if anyone picked up the new biography of Konitz and could comment on it. Also, he had two new recordings last year, one with a "new" Nonet and the other with a sting quartet which I was curious about. In listening to the snippets on Amazon, the one with strings sounded more appealing.
Lee Konitz bio and recordings
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The Andy Hamilton Lee Konitz Conversation/Biography is quite in depth and informative. Lots of interesting stuff on the Tristano years, deep discussion of the difference between improvisation and prepared playing and on how Lee approaches the horn. Also of interest is the DVD Lee Konitz: Portrait of an artist as Saxophonist. A mix of conversation and concert footage with Harold Danko. Sorry I can't comment on the New Nonet or string discs.
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book
The book about Konitz is GREAT !!!! The main content is the many interviews with Lee, and also short interviews with people like Wayne Shorter, Lovano, S. Rollins, etc.. Valuable rembrances of associates such as Warne Marsh,
Lee Konitz is all about making a true improvisation which is in the moment. He is very critical of those players who show up with their prefabricated licks.
An inspiring book by a great artist.
The book about Konitz is GREAT !!!! The main content is the many interviews with Lee, and also short interviews with people like Wayne Shorter, Lovano, S. Rollins, etc.. Valuable rembrances of associates such as Warne Marsh,
Lee Konitz is all about making a true improvisation which is in the moment. He is very critical of those players who show up with their prefabricated licks.
An inspiring book by a great artist.
Sometimes he does play a bit sharp. Part of his sound conception is to play on the sharp side of in tune. When he teams up with a player who plays on the flat side of tune -- like Kenny Wheeler on Angel Song -- it can be more pronounced.mattbutler said:
Hi
Fans of LK should definately read the book! Anybody interested in what it is to be an improvising jazz musician should definately read the book!
I don't think the jazz world has quite come to grips with how innovative Lee Konitz is (or Tristano).
His approach to the line melodically, rhythmically, harmonically and lyrically - outstanding.
Listening suggestions:
-1949 Tristano Sextet on Capital
-His early 50s Prestige Album
-Meets Gerry Mulligan
-Motion (with Elvin Jones and Sonny Dallas)
-Alone Together (with Charlie Haden and Brad Mehldau)
-Claude Thornhill band (a wild solo on Yardbird Suite...who else was playing like that in '48??)
And there's PLENTY more.
Hopefully he gets together a records in duo with pianist Connie Crothers. I'd love to hear that.
Also don't forget to check out.....
Lennie Tristano: His Life in Music by Eunmi Shim
An Unsung Cat: The Life and Music of Warne Marsh by Safford Chamberlain
Later
A.
Fans of LK should definately read the book! Anybody interested in what it is to be an improvising jazz musician should definately read the book!
I don't think the jazz world has quite come to grips with how innovative Lee Konitz is (or Tristano).
His approach to the line melodically, rhythmically, harmonically and lyrically - outstanding.
Listening suggestions:
-1949 Tristano Sextet on Capital
-His early 50s Prestige Album
-Meets Gerry Mulligan
-Motion (with Elvin Jones and Sonny Dallas)
-Alone Together (with Charlie Haden and Brad Mehldau)
-Claude Thornhill band (a wild solo on Yardbird Suite...who else was playing like that in '48??)
And there's PLENTY more.
Hopefully he gets together a records in duo with pianist Connie Crothers. I'd love to hear that.
Also don't forget to check out.....
Lennie Tristano: His Life in Music by Eunmi Shim
An Unsung Cat: The Life and Music of Warne Marsh by Safford Chamberlain
Later
A.
Anyone else hear Zounds on Soul Note, with Kenny Werner? I love his alto sound on this one. It is very lush. Tracks are a little uneven...some free ones that don't quite do it for me, but I appreciate the spirit of it.
If I like Lee's sound on Zounds, what othe recorndings will I like?
If I like Lee's sound on Zounds, what othe recorndings will I like?
There are so many... Most recordings after the mid '70s capture a much darker stronger tone than he had in the '50s.
A few favorites:
Live at the Montmartre Club - Jazz exchange Vol2 - with Warne Marsh
Crosscurrents - Bill Evans with Lee and Warne Marsh
Dovetail - with Harold Danko
On Broadway Vol3 - with Paul Motian Trio
Angel Song - with Kenny Wheeler, Bill Frisell and Dave Holand (intonation on some of the ensemble parts is a bit rough as Wheeler plays low on the patch and Konitz tends to be a bit high on it. But Lee's tone is amazing as is the music)
Parallels - with Mark Turner
Let me know when you finish these and I can give you a lot more.
A few favorites:
Live at the Montmartre Club - Jazz exchange Vol2 - with Warne Marsh
Crosscurrents - Bill Evans with Lee and Warne Marsh
Dovetail - with Harold Danko
On Broadway Vol3 - with Paul Motian Trio
Angel Song - with Kenny Wheeler, Bill Frisell and Dave Holand (intonation on some of the ensemble parts is a bit rough as Wheeler plays low on the patch and Konitz tends to be a bit high on it. But Lee's tone is amazing as is the music)
Parallels - with Mark Turner
Let me know when you finish these and I can give you a lot more.
Actually I have Jazz Nocturne. I don't care for his sound on that one as much. In general the date seems less adventurous than Zounds. I have his duet album with Sal Mosca and that is too cerebral for me.
In Zounds he sounds fuller and fatter than his earlier recordings. Did he change his conception at a certain point or was this one an experiment?
Come to think of it, he may be playing a bit sharp on Jazz Nocturne, though not as extreme as Jackie Mac would sometimes get.
In Zounds he sounds fuller and fatter than his earlier recordings. Did he change his conception at a certain point or was this one an experiment?
Come to think of it, he may be playing a bit sharp on Jazz Nocturne, though not as extreme as Jackie Mac would sometimes get.
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