Time: 117:35
Size: 269.2 MB
Styles: Saxophone jazz
Year: 2018
Art: Front
[3:55] 1. I Can't Get Started
[2:16] 2. Sweet And Lovely
[4:26] 3. I Remember You
[3:03] 4. Easy Living
[6:14] 5. Donna Lee
[5:46] 6. Background Music
[2:58] 7. Skylark
[5:31] 8. Two Not One
[5:20] 9. Stairway To The Stars
[6:56] 10. Foolin' Myself
[5:25] 11. Topsy
[6:18] 12. You Go To My Head
[4:49] 13. There Will Never Be Another You
[6:09] 14. Billie's Bounce
[7:24] 15. Crazy She Calls Me
[3:12] 16. Nursery Rhyme
[6:01] 17. Still Foolin' Myself
[7:40] 18. All Of Me
[5:31] 19. Subconscious Lee
[8:07] 20. Sunflower
[7:17] 21. Don't Squawk
[3:06] 22. Ronnie's Line
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, leading 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 & His 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' 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 & His 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 '70s and '80s, Konitz increased his recorded output, issuing consistently stimulating sessions for such labels as SteepleChase, Philogy, Soul Note, and others.
Konitz was with Miles Davis' 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 & His 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 '70s and '80s, Konitz increased his recorded output, issuing consistently stimulating sessions for such labels as SteepleChase, Philogy, Soul Note, and others.
Sometimes I'm Happy mc
Sometimes I'm Happy zippy
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