Special FOUR disc collection of some of NEA Jazz Master Lee Konitz's finest recordings. Among the most creative and prolific saxophonists of his generation, Lee Konitz was one of few altoists working in the early fifties who retained a unique style, in an era when Charlie Parker extended a huge influence. An early sideman for Miles Davis, Konitz participated in the legendary Birth Of Cool sessions, while his work with jazz pianist and teacher Lennie Tristano - Lee was a former pupil - remains highly sought. Comprising the musician's eight original albums made for Verve and Atlantic in the late 1950s, this four-disc set features the finest work this estimable sax-man ever produced. With over five hours of extraordinary music, this collection documents the most pivotal phase of what was both a widely celebrated and long standing career. Working as both an ideal introduction to Lee Konitz's best music, and a welcome reminder of his musical prowess, this delightful set will thrill newcomers and seasoned fans alike.

This LP comprises one of altoist Lee Konitz's greatest sessions. In 1967 he recorded a series of very diverse duets, all of which succeed on their own terms. Konitz is matched with valve trombonist Marshall Brown on a delightful version of "Struttin' with Some Barbecue" and matches wits with the tenor of Joe Henderson on "You Don't Know What Love Is." He plays "Checkerboard" with pianist Dick Katz, "Erb" with guitarist Jim Hall, "Tickle Toe" with the tenor of Richie Kamuca (Konitz switches to tenor on that cut), and an adventurous and fairly free "Duplexity" with violinist Ray Nance. Konitz also has three different duets in five versions of "Alone Together" and, on "Alphanumeric," welcomes practically everyone back for a final blowout. The music ranges from Dixieland to bop and free, and is consistently fascinating.

The veteran alto saxman isn't doing gospel music anymore, but the staff at Chesky set Konitz and the other members of his quartet up in the perfect acoustic environment of St. Peter's Church in the Chelsea area of New York City. Sonics aside, this is a solid, though fairly laid-back date which displays the formidable ensemble and solo talents of each member. Drummer Bill Goodwin and acoustic bassist Steve Gilmore provide an increasingly swinging rhythm line for Konitz to dance over on an inventive arrangement of "How Deep Is the Ocean." Guitarist Peter Bernstein adds some subtle Wes Montgomery style harmony lines, but the band plays it close to the vest for most of the tune. Bernstein's crisp improvisational solo section is the highlight…

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"…

Dialogues may be one of saxophonist Lee Konitz's best albums in a discography both prolific and still expanding. The sounds of Bert van den Brink (piano), Hein Van de Geyn (bass) and Hans van Oosterhout (drums) blend perfectly with the leader's alto sax. So attractive is the sound that one hopes this session is not a one-off affair.

Lee Konitz, Chick Corea, Jack DeJohnette, Miroslav Vitous.
This is the first of two CD compilations coming from the Creative Music Studio's Woodstock Jazz Festival, a tenth-anniversary celebration for the upstate New York progressive "world music" study center of Karl Berger and friends, which took place during a stormy day on the Oehler Lodge Olympic soccer field next to the CMS studios, classrooms, and living quarters, on September 19, 1981. The day-long festival, organized by Jack DeJohnette and his wife Lydia as a benefit for CMS, captures the better portion of a dead-on tour de force presentation featuring Chick Corea on acoustic piano with drummer DeJohnette, bassist Miroslav Vitous, and duets with alto saxophonist Lee Konitz and Corea…

This CD focuses primarily on Brazilian standards performed by the Konitz sextet, except for the Brazilian-flavored "Lunasea," written by Peggy Stern, which features her high school choir. "Berimbau" is swinging and percussive, while the well-known "Insensatez" takes many unexpected turns. "Triste" is also a familiar theme played with relish. Vocalist Adela Dalto makes a strong impression with her guest spot on "A Felicidade." Konitz's duet with the phenomenal acoustic guitarist Romero Lubambo on "Manha De Carnaval" is breathtaking.

Lee Konitz has long been a versatile jazz musician, adaptable to many different styles. This Brazilian-flavored session is one of two that the alto saxophonist recorded during the mid-'90s for Venus; his session partners include trumpeter Tom Harrell, guitarist Romero Lubambo, pianist David Kikoski (who mostly sticks to electric piano), bassist David Fink, drummer Duduka Da Fonseca, and percussionist Waltinho Anastácio. As expected, Konitz's light sound works well with the Brazilian favorites they perform, with Harrell being a particularly inspired foil for the leader. The works of Antonio Carlos Jobim are well represented, including breezy takes of "Favela" and "Wave." Harrell's lyrical "September" (featuring him in a fine muted solo) and Konitz's "Brazilian Serenade" also fit the mood of this relaxing CD very well. This rewarding release is well worth investigating.

The Gerry Mulligan Quartet with Chet Baker despite its prolific recorded output and its impact on jazz and the American public lasted for less than one year. Ensconced as the house band at The Haig in Los Angeles and able to record at is own discretion for Pacific Jazz (as well as single sessions for two other labels), this revolutionary, pianoless quartet crafted its own repertoire and arrangements and built a solid, prolific legacy.
By January of 1953, when he recorded the tentette, Mulligan felt confident that his quartet was ready to record live at their Los Angeles home The Haig. Dick Bock started bringing down his portable tape recorder to capture the band for possible record releases. One night, Lee Konitz, who was then a member of the confining, pompous, ponderous Stan Kenton Orchestra, came to the club to sit in…

In December 1975, tenor saxophonist Warne Marsh and altoist Lee Konitz went on a European tour. Their musical reunion showed that the magic that had existed between them a quarter-century before when they teamed up with their teacher Lennie Tristano was still very much present…

Always eager to record in new situations, on this CD Lee Konitz is showcased with a string sextet (two violins, violas and cellos), bassist Michael Formanek and drummer Matt Wilson. The cool-toned altoist pays tribute during a dozen songs to both Billie Holiday and (in a more subtle fashion) tenor great Lester Young, two of his early idols. Daniel Schnyder contributed all of the arrangements for the set. Rather than weighing down the proceedings, Schnyder has the strings adding rich harmonies and phrases that seem to anticipate the leader's phrases, and they even swing. Lee Konitz, who added a vibrato to his sound for the project so he could recreate some of Billie Holiday's feeling, handles the ballads and medium-tempo material beautifully. Highlights include "The Man I Love," "I Cried For You," "All Of Me" and "Easy Living." A memorable and heartfelt effort by all concerned.

While Whitney Balliett coined the phrase "sound of surprise" to describe jazz, it also pretty well sums up the entire career of Lee Konitz, whose fluid, dynamic alto has been a constant source of inspiration, distinction, and clarity. This effort teams him with such empathetic instrumental foils as Ted Brown John Abercrombie Marc Johnson and Joey Baron, who are superb rhythmic navigators, plotting interesting paths for Konitz with metered maps of their own drafting. Brown, a quite literate tenor saxophonist much in the style of old Konitz confrere Warne Marsh, has never had much use for the music business, and is rarely heard anymore…