"All the Things You Are" Changes - LEE KONITZ Jazz Improvisation Video JazzHeaven.com Excerpt
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- เผยแพร่เมื่อ 3 ต.ค. 2024
- Go to JazzHeaven.com/lee for more FREE Lee Konitz Videos! This was an excerpt from Lee's “Talking & Playing" instructional video. Jam-packed Jazz Improvisation Lessons: 90-min Lesson, 60-min Interview, Duo Performances with pianist Dan Tepfer (also the interviewer here) and more.
Get a rare look behind the scenes of this master jazz improviser - and experience six (!) decades of Jazz History.
Click on JazzHeaven.com - other killer jazz instructional videos with KENNY WERNER, JERRY BERGONZI, ERIC HARLAND, LAGE LUND, Gilad Hekselman, Geoff Keezer, Walt Weiskopf, Vince Herring, Oz Noy, Ralph Peterson, Ari Hoenig, Ingrid Jensen & more.
Go to JazzHeaven.com to check out the madness!
Lee Konitz (born October 13, 1927) is an American jazz composer and alto saxophonist born in Chicago, Illinois.
Generally considered one of the driving forces of Cool Jazz, Konitz has also performed successfully in bebop and avant-garde settings. Konitz was one of the few altoists to retain a distinctive sound in the 40s, when Charlie Parker exercised a tremendous influence on other players.
Like other students of pianist and theoretician Lennie Tristano, he was noted for improvising long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Paul Desmond and, especially, Art Pepper were strongly influenced by Konitz.
His association with the Cool Jazz movement of the 1940s and 50s, includes participation in Miles Davis' epochal Birth of the Cool sessions, and his work with Lennie Tristano came from the same period. During his long career, Konitz has played with musicians from a wide variety of jazz styles.
Konitz began his professional career in 1945 with the Teddy Powell band as a replacement for Charlie Ventura. The engagement apparently did not start out smoothly, as Ventura is said to have banged his head against a wall when Konitz played. A month later the band parted ways. Between 1945 and 1947 he worked off and on with Jerry Wald. In 1946 he first met pianist Lennie Tristano and worked in a small cocktail bar with him. His next substantial work was done with Claude Thornhill in 1947, with Gil Evans arranging and Gerry Mulligan as a composer in most part.
In 1949 he teamed up with the Miles Davis group for one or two weeks and again in 1950 to record Birth of the Cool. Konitz has stated that he considered the group to belong to Gerry Mulligan, and credits Lennie Tristano as the true forebearer of "the cool". His debut as leader also came in 1949, with the release of Subconscious-Lee on Prestige Records. He also turned down an opportunity to work with Benny Goodman that same year-a decision he is on record as regretting.
In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra. In 1961, he recorded Motion with Elvin Jones on drums and Sonny Dallas on bass. This spontaneous session, widely regarded as a classic, consisted entirely of standards. The loose trio format aptly featured Konitz's unorthodox phrasing and chromaticism.
Charlie Parker lent him support on the day Konitz's child was being born in Seattle, Washington with him stuck in New York City. The two were actually good friends, and not the rivals some jazz critics once made them out to be.
In 1967, Konitz recorded The Lee Konitz Duets, a series of duets with various musicians. The duo configurations were often unusual for the period (saxophone and trombone, two saxophones). The recordings drew on very nearly the entire history of jazz, from Louis Armstrong's "Struttin' With Some Barbecue" with valve trombonist Marshall Brown to two completely free duos: one with a Duke Ellington associate, violinist Ray Nance, and one with guitarist Jim Hall.
Konitz has been quite prolific, recording dozens of albums as a band leader. He has also recorded or performed with Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan, Elvin Jones and others.
Amongst his latest recordings are a pair of trio dates with Brad Mehldau and Charlie Haden released on Blue Note as well a live album recorded in 2009 at Birdland and released by ECM in 2011 featuring the same lineup with the addition of drummer Paul Motian.
Hope you enjoyed this video with All the things you are
• "All the Things You Ar...
im privileged to witness this,
this is sublime
Did find this gem on youtube as well...Lee Konitz and Martial Solal at the Atelier de la Main d'Or, first concert
What is this comping LMAO
This is just fantastic! Unbelievable!
Beautiful treatment of the tune!
It is curious that a real improvising like Lee make more strong statements in his music than people who play preset lines and sound like crazy music.
at 2:50 he quotes "It's You or No One", another theme frequently played by members of the Tristano School
Fantastic stuff. Too bad Warne Marsh, his Tristano buddy, didn't leave as extensive a recorded catalog as Konitz's.
Marsh died too early.
excellent.
thanks !
This kid pianist knows nothing. No sense. Lee didn't need to this favor. Ridiculous.
His name is Dan Tepher he played with Lee a lot.
would have been nice if the pianist had played the changes.ha!
Great
as John Coltrane concluded in his long music theory book, as long as any note withing an improvisation is resolved, as Konitz does from time to time here favoring the melody of changes, it's all good. only really advanced players and indeed advanced listeners can probably appreciate this cut. after about seven times listen to it I could probably come to understand and dig it too. right off though it's boring to me. "It could sound Weak" as Konitz says.
Beautiful
there's an album on Hatology pairing Martial Solal (probably the greatest post-bill Evans pianist there ever was) with Lee Konitz that is, imho, one of the greatest documents of Konitz' playing, not to mention the art of piano/horn duos in general!
but I sure do love Konitz' reedy hollow tone, a hing of beauty to my ears!
Lamentable.
I believe it's the Star Eyes album but it might be the Just Friends album? I'm pretty sure they did three duet albums on Hatology, expensive imports, that is if anyone is actually paying for CDs any more!?
Fantastic.
Yep. Heard them pushing the envelope together in Washington, D.C. last year. Are they a pair on this kind of stuff, or what?
Lee tore him apart
I advise you good folk to revisit Stit\Ammons work
Do you recall the name of that album? I'd love to find it.
Very interesting! I thought they did well together.
Gosh dang. 1:23. Beautiful build and resolution.
Some pretty odd phrasing choices :)
Very good.
legendary master
Something tells me that Woody Shaw transcribed a bunch of Lee Konitz solos and added pentatonic licks to make it his own.
I doubt it Woody is his own league altogether, he is a genius, he is more melodic and swinging than Lee, IMHO
lol. Woody deeper than Lee. Yea thanks for playing come again!
@@atantonio9674 ...more melodic and swinging than Lee...? Boy, I have to tell you, it's really not about comparing....
Obrigada
Love Lee’s endings. Never any BS.
you probably dont give a shit but if you are bored like me atm then you can stream all of the latest series on instaflixxer. Have been binge watching with my gf for the last weeks xD
@Timothy Wyatt yea, I've been using instaflixxer for months myself =)
Lee sounds like an old man, which he is. Do we still respect our elders? This is creaky but very touching and direct.
the so called " slurring of notes" a hallmark of Yards is evident in what Mr Konitz is trying to do here although he has not mastered it. He's spent too much energy into trying to accomplish that aspect or part if you will ,of the piece. Wayne Shorter explains it best , about the muscularity that one has aquired in himself to play the music\ Bop fluently. Ex; Sonny Stit. regardless i'm a big Konitz fan
+Donald Palmer I'm not clear on what you've said there. Do you mean the rhythmic subdivision of swung eights that is so characteristic of bebop? Such that amidst the stream of notes, you could extract a secondary melody from the rhythmic accents, and that this technique that depends on mastery of slurring technique? I actually find Konitz's approach quite similar to Shorter's, as in, surprising and unusual, different to the polished bop perfection aesthetic of say Clifford Brown.
+Donald Palmer I know what it is...it has an "abstract" quality, like Wayne's music, in the sense that it doesn't seem to me to refer to recognisable emotional "hooks" that say, Hank Mobley does. Note the absence of blues references.
I follow your understanding ,and can appreciate your take on it. Let's say we are in an Olympic race, and we are hurdlers. It is enough that as runners we have to run, and at certain distances we have to leap a hurdle, with speed and consistancy, While most take the steps, and leap,take steps, and leap ,which is hard enough concentrating on that. "Yard Bird" had the ability to do a tap-dance jig between the hurdles ,and resolve before the next hurdle. Remember he's using all the pretty notes slurred within the scale. I don't know if you are aware ,of Lee's affection for Charlie Parker or not. I consider Konitz in my so called "Heavyweight Division" of Hard Boppers a key player.
+Donald Palmer That's a good analogy. It chimes with notion I've had about Bird - I hear him sometimes sometimes "switch" from a phrase that seems to leading somewhere you expect, but instead he "switches gear" into the new tonal area, but so perfectly it shows how masterfully in control he was of the harmony. It's a concept I'm trying to develop in my own practice sessions. Another thing, I often noticed how a lot of the stuff Bird played was not incorporated into mainstream Bebop post-1945. An idea I've heard is that the language of bebop was developing with Bird and then later when the music diffused into the jazz community it was consolidated into a common, agreed language. That may be so, but I actually find Bird's harmonic adventurousness MORE interesting than the stuff that came later. The man was an incredible genius.
It is ,or was amazing how artist loved certain pieces so much, they restructured the arrangement so much it became their own . "Thanks to copywrite infrengment laws" most ,of the Blazingly fast Bop tunes we enjoy are standards ,with a twist. That's genius in it self!! Speed ,and Slurring of notes, note ,and phrase placement the key. Long as you can resolve the caos...Bip Bop BOOM!