Portrait of an artist as saxophonist. Konitz, Lee. Reserve product and pickup from store.
Album: Self Portrait. Self Portrait: Best 2 songs. Lee Konitz - Dearly Beloved 05:59. Lee Konitz - The Song Is You 09:55. Album: Self Portrait. Lee Konitz: best 2 tracks. Antonio Zambrini, Antonio Zambrini, Lee Konitz, Lee Konitz - Blu Alone & Together, Chapter 3, 2007 02:23.
The alto saxophonist Lee Konitz can do that with ease, as he proved with a neatly linear chorus on Miles Davis's ''Solar'' in a Tuesday set at Village West. But most of the time Mr. Konitz keeps his facility to himself. Instead, he just plays a twist here, a turn there, and lets his listeners make all the easy connections. His version of Duke Ellington's ''I Got It Bad and That Ain't Good,'' for instance, was a melodic statement minus the melody, using only those notes with which Mr. Konitz warped or deviated from the original tune
Lee Konitz - Portrait Of An Artist As Saxophonist VIDEO TS VIDEO TS. Lee Konitz - Portrait Of An Artist As Saxophonist 1987. Download via torrent Download via magnet. Lee Konitz - Portrait Of An Artist As Saxophonist.
In the 1950s, sax players like tenor saxophonist John Coltrane (1926–1967) and Sonny Rollins (born 1930) broke new ground in jazz, infusing their music with rhythm and blues, modal, Latin and gospel influences as part of the hard bop subgenre. In the 1950s and 1960s, free jazz pioneers such as Ornette Coleman (1930–2015) and Albert Ayler developed unusual new sounds and playing styles. In the early 1960s, Woody Herman's lead "(Four) Brother", Stan Getz, played cool jazz with Brazilian musicians in the emerging bossa nova style. Getz was known for his rich tone, ability to swing. Lee Konitz (born 1927) (alto, soprano). Bjørn Kruse (born 1946) (alto, soprano). Fela Kuti (1939–1997) (tenor, alto).
37: Lee Konitz (born 1927). Unique among the best jazz saxophonists to come up in the late 40s and early 50s, Konitz was one of the few altoists who wasn’t infected by Charlie Parker’s bebop sound. Instead, he elected to plough his own distinctive furrow. An ingenious improviser who weaved long, flowing skeins of melody while inserting subtle accent changes, Konitz was initially viewed as a cool school adherent, but in later years explored the avant-garde. 36: Illinois Jacquet (1919-2004). An adherent of hard bop but with a style packed with blues feeling, Ammons was a prolific recording artist who embraced funkified soul-jazz in the 70s. 20: Benny Golson (born 1929). At 88, Benny Golson is still going strong and blowing hard.
Konitz is perhaps best known through his association with Lennie Tristano, under whose influence much of his sound evolved, and for his work with Stan Kenton and Warne Marsh. His recordings have ranged from cool bop to experimental improvisation and have appeared on such labels as Prestige, Atlantic, Verve, and Polydor. Experiencing the music of Lee Konitz in the flesh and in different settings is a reminder of what a unique musician he is. This is an equally unique book which, by contrast with some as-told-to autobiographies, beneficially lays bare the subject's thought processes, thanks to the skillful interviewing of Andy Hamilton. a fascinating portrait of someone who has developed a distinctive, personal sound on his instrument and remained difficult to categorize. Hamilton was clearly the right man to deal with this complex musician, long admired by fellow players and critics.
|1||Stella by Starlight||Lee Konitz|
|2||Struttin' with Some Barbecue||Lee Konitz|
|3||Hi Beck||Lee Konitz|
|4||Kary's Trance||Lee Konitz|
|6||She's as Wild as Springtime||Lee Konitz|
CreditsEstudi Canó - Artwork
Harold Danko - Piano
Lee Konitz - Primary Artist, Sax (Alto)