Lee Konitz Jazz At Storyville

Lee Konitz - Jazz At Storyville (1954) {Black Lion BLCD 760901, W.Germany rel 1988}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 271 Mb | MP3 @320 -> 114 Mb
Full Artwork @ 600 dpi (png) -> 127 Mb | 5% repair rar
© 1954, 1988 Black Lion | BLCD 760901
Jazz / Cool / Alto Saxophone

This excellent set gives one a definitive look at altoist Lee Konitz at a period of time when he was breaking away from being a sideman and a student of Lennie Tristano and asserting himself as a leader. With pianist Ronnie Ball, bassist Percy Heath, and drummer Alan Levitt, Konitz explores a variety of his favorite chord changes, some of which were disguised by newer melodies such as "Hi Beck," "Subconscious Lee," and "Sound Lee." Among the other high points of this well-recorded set are "Foolin' Myself" and a lengthy exploration of "If I Had You."

Two Not One combines the contents of five previously issued Storyville CDs, including all three volumes of Warne Marsh and Lee Konitz leading a quintet at the Club Montmartre, plus trio and quartet sessions led by Marsh. With both saxophonists having studied with Lennie Tristano, his stamp is unmistakable, in their playing, compositions, and choice of repertoire. Among the quintet recordings, highlights include Tristano's "April" (an intricate reworking of "I'll Remember April") that features inspired solos by the co-leaders, Konitz's brilliant "Subconscious-Lee" (based on "What Is This Thing Called Love," it became a part of his lifelong repertoire), and a driving setting of Charlie Parker's "Au Privave"…

Warne Marsh - Background Music + 2 (1980) {Interplay Japan ABCJ-613 rel 2010}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 329 Mb | MP3 @320 -> 137 Mb
Full Artwork @ 300 dpi (jpg) -> 22 Mb | 5% repair rar
© 1980, 2010 Interplay / Art Union Records Japan | ABCJ-613
Jazz / Cool / Saxophone

Along with Lee Konitz, Warne Marsh was the most successful "pupil" of Lennie Tristano and, unlike Konitz, Marsh spent most of his career exploring chordal improvisation the Tristano way. The cool-toned tenor played with Hoagy Carmichael's Teenagers during 1944-1945 and then after the Army, he was with Buddy Rich (1948) before working with Lennie Tristano (1949-1952). His recordings with Tristano and Konitz still sound remarkable today with unisons that make the two horns sound like one.

The first of 100 tunes in this collection is a 1937 recording of tenor saxophonist Coleman Hawkins and guitarist Django Reinhardt playing Out Of Nowhere. It was recorded two years before Blue Note Records was founded. The taping was done for EMI’s Capitol label’s French division. This is an ominous hint as to the content of the 10-disc “100 Best of Blue Note” box set, which at first glance appears to have all the trimmings of a slick 21st century collection.

1951-1952 (2003). In response to shortsighted comments implying that Stan Getz and Zoot Sims sounded too much like each other and too similar to Lester Young, Ira Gitler liked to use the analogy of "…a friend calling you on the telephone. You know who it is immediately. It's the same thing when you hear a musician play." The secret, of course, is to listen so carefully and consistently that you feel as though you have become a friend of the artist. This sort of empathy is a vital ingredient in jazz - the empathy between composers, players, and listeners. Hearing Stan Getz recorded live in performance at Boston's Storyville club on October 28, 1951, spells it out marvelously. Backed by pianist Al Haig, guitarist Jimmy Raney, bassist Teddy Kotick, and drummer Tiny Kahn, Getz sounds as though he has arrived at a hard-won maturity…