BOBBY HACKETT – 1948-1954 | The Classics Chronological Series – 1403 (2005) FLAC (tracks), lossless

The third installment in the Classics Bobby Hackett chronology examines the recordings he made between June 22, 1948, and November 7, 1954. The compilation opens with two superb five-minute V-Disc jams introduced by Hackett and Eddie Condon, who organized this and dozens of other traditional jazz get-togethers during the 1940s. The front line of Hackett, Cutty Cutshall, Peanuts Hucko, and Ernie Caceres worked wonders. "You Do Something to Me" is a marvelous trumpet/piano duet with Joe Bushkin recorded during the second AFM recording ban; in their spoken introduction they even mention the organization's president, a Mr. Petrillo. Two quintet sessions for Columbia dating from the late summer and early autumn of 1950 combine Dixieland repertoire with relaxed swing standards; Hackett's rendering of "A Room with a View" is particularly beautiful. An unattributed vocal choir intrudes upon an unissued recording of "Sleepy Head"; this turns out to have been a premonition of production values yet to come, as Hackett's next date as a leader (Capitol Records, May 11,1953) would find him accompanied by a rhythm section augmented with four violas and a cello. This combination actually worked rather well; the fact that Hackett had Lou Stein, Billy Bauer, Arnold Fishkin, and Denzil Best in the group helped to temper the effect of the strings, which in any case were all low key, literally speaking. Hackett sounds as relaxed and sophisticated as ever on the concluding tracks, which were recorded on November 7, 1954. By this time the Capitol studios and conductor Glenn Osser were backing him with French horns, woodwinds (including flute and oboe), and a classical harp wafting away next to the rhythm section. Fortunately, the ensemble is kept under control and Hackett sounds just as happy here as he did with his old cohorts from the Condon Mob. arwulf arwulf  
Tracklist + Credits : 

JACK TEAGARDEN AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 758 (1994) FLAC (tracks+.cue), lossless

The third in Classics' Complete Jack Teagarden series traces the trombonist's big-band recordings during his Columbia period. There were no great soloists among Teagarden's sidemen and some of these tunes (particularly the nine with Kitty Kallen vocals) are throwaways but Teagarden's own singing on six songs (including "Beale Street Blues" and "If I Could Be with You") and distinctive trombone give listeners strong reasons to acquire this entry in the worthy series. Other highlights include "Peg of My Heart," "Wolverine Blues," "Swinging' on the Teagarden Gate" and "The Blues." Scott Yanow
Tracklist :
1    I'm Takin' My Time With You    2:58
2    I Wanna Hat With Cherries    2:54
3    Two Blind Loves    2:41
4    Hawaii Sang Me To Sleep    2:54
5    It's A Hundred To One (I'm In Love)    2:28
6    I'll Remember    3:02
7    Peg O' My Heart 3:21
Arranged By – Red Bone
8    At Least You Could Say Hello    3:13
9    A Table In The Corner    3:10
10    Stop Kicking My Heart Around    3:03
11    If What You Say Is True    2:48
12    So Many Times    2:58
13    Muddy River Blues    3:01
14    Wolverine Blues 2:42
Arranged By – Red Bone
15    Red Wing    2:55
16    United We Swing    2:51
17    Beale Street Blues    3:10
18    Somewhere A Voice Is Calling    2:45
19    Swingin' On The Teagarden Gate 2:45
Arranged By – Fred Norman
20    If I Could Be With You (One Hour Tonight)    3:07
21    My Melancholy Baby    2:55
22    Can't We Talk It Over?    3:07
23    The Blues    3:14
Credits :    
Alto Saxophone – Jack Goldie (tracks: 20 to 23), Joe Ferdinando (tracks: 20 to 23), Tony Antonelli (tracks: 20 to 23)
Bass [String Bass] – Arnold Fishkind (tracks: 20 to 23), Art Miller (tracks: 1 to 16), Benn Pottle (tracks: 17 to 19)
Clarinet, Alto Saxophone – Clint Garvin (tracks: 1 to 19)
Clarinet, Alto Saxophone, Baritone Saxophone – Art St. John
Clarinet, Tenor Saxophone – Hub Lytle (tracks: 1 to 19), John Van Eps (tracks: 1 to 19)
Clarinet, Tenor Saxophone, Baritone Saxophone – Ernie Caceres (tracks: 1 to 19)
Drums – Cubby Teagarden (tracks: 1 to 7), Dave Tough (tracks: 8 to 19), Ed Naquin (tracks: 20 to 23)
Guitar – Allan Reuss (tracks: 1 to 19), Dan Perri (tracks: 20 to 23)
Piano – Jack Russin (tracks: 8 to 19), John Anderson (14) (tracks: 1 to 7), Nat Jaffe (tracks: 20 to 23)
Tenor Saxophone – Larry Walsh (tracks: 20 to 23)
Trombone – Charles McCamish (tracks: 1 to 7), Eddie Dudley (tracks: 8 to 19), Joe Ferrall (tracks: 20 to 23), Jose Gutierrez, Mark Bennett (tracks: 1 to 19), Seymour Goldfinger (tracks: 20 to 23)
Trombone, Directed By – Jack Teagarden
Trumpet – Charlie Spivak (tracks: 1 to 16), Frank Ryerson (tracks: 17 to 19), John Fallstitch (tracks: 20 to 23), Carl Garvin (tracks: 1 to 19), Lee Castle (tracks: 1 to 19), Sid Feller (tracks: 20 to 23), Tom Gonsoulin (tracks: 20 to 23)
Vocals – Jack Teagarden (tracks: 5, 13, 17, 20 to 22), Kitty Kallen (tracks: 1 to 4, 8 to 12) 

LENNIE TRISTANO - Intuition (2003) 4CD | BOX - SET | Serie : Proper Box | FLAC (tracks+.cue), lossless

Anyone seeking a solid introduction to the music of Lennie Tristano should make a beeline for Proper Box 64, appropriately titled Intuition. This reasonably priced four-CD set is also sure to please even the most seasoned Tristano enthusiasts, for as one of the finest Tristano collections in existence, it rates with the juiciest entries in the Proper catalog. A brilliant musical innovator who was greatly admired by Charlie Parker, Tristano acted as a sort of modern jazz professor, philosopher, and mentor to aspiring young improvisers. In many ways, his music sounds better and makes more sense today than ever before. Prior to the appearance of this set in 2003, the records he cut in May 1945 with a sextet led by tenor saxophonist Emmett Carls had only been reissued on Tristano's portion of the exhaustively complete chronological Masters of Jazz series in 1999. In an unfortunate replication of a discographical error which has cropped up elsewhere, Proper's session data incorrectly names Shorty Rogers as the trumpeter on this date. Rogers had entered the armed forces in 1943 and wouldn't return to the scene until September of 1945. The individual heard with Carls was Irwin "Markie" Markowitz, a member of Boyd Raeburn's orchestra who would cross over to Woody Herman's Herd in 1946.

Proper's overview of Tristano's first seven years of recording activity is positively exhilarating. In addition to various early piano solos, it contains his complete 1946 - 1947 Keynote recordings, along with a sampling of records he cut in 1947 for Savoy and Baronet with small groups that included guitarist Billy Bauer and John La Porta, a reed player who would collaborate with Charles Mingus in the mid-'50s. The year 1949 was an important one for Tristano and is well represented by material from seven different sessions. These include the long take of "Victory Ball" as played by the Metronome All-Stars, selections from a Prestige date with Lee Konitz, a Birdland gig featuring Warne Marsh, and two segments of a Carnegie Hall engagement involving both saxophonists. Seven dazzlingly creative sides cut for Capitol during the spring of 1949 with Marsh and Konitz constitute milestones of modernity, complete with authentic instances of intuitively coordinated group improvisation. Apparently, the recording engineers at Capitol were so intolerant and closed-minded that they made faces, gestured impatiently, and even erased two of the tracks. Small wonder then that Tristano soon established his own Jazz Records label. By October of 1951, he would be exercising his artistic autonomy by overdubbing the piano on recordings he made with a trio that included drummer Roy Haynes. This wonderful set closes with six extended jams from a concert at the UGPO Hall in Toronto on July 17, 1952, sponsored by the New Jazz Society of Toronto and the Canadian Ministry of Culture.

When traditionalist tenor saxophonist Bud Freeman first heard Tristano's "Out on a Limb," he sought him out and asked to be tutored in jazz theory and harmony. This was an uncommonly progressive move for a long-standing cohort of Eddie Condon's, and prefigures Pee Wee Russell's later excursions into modern jazz. "I never knew how much freer I would feel getting down to the basic principles," remembered Freeman. "I thought it would be instructive to study with a great musician like Lennie; I didn't know it would be so much fun." An excellent companion to this set would be Gambit's unparalleled double-CD Live at the Confucius Restaurant, along with a copy of Eunmi Shim's informative and insightful biography, Lennie Tristano: His Life in Music, which was published by the University of Michigan Press in 2007. arwulf arwulf  
Disc One : Out On A Limb (P1353)    
1-1    Emmett Carls Sextet–    Tea For Two 3:18
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Caesar, Youmans
1-2    Emmett Carls Sextet–    Tea For Two (Take 2) 2:56
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Caesar, Youmans
1-3    Emmett Carls Sextet–    Blue Lou 2:52
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Sampson, Mills
1-4    Emmett Carls Sextet–    These Foolish Things 2:33
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Link, Marvell, Strachey
1-5    Emmett Carls Sextet–    These Foolish Things (Take 2) 2:35
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Link, Marvell, Strachey
1-6    Emmett Carls Sextet–    It's The Talk Of The Town 2:13
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Neiburg, Livingston, Symes
1-7    Emmett Carls Sextet–    It's The Talk Of The Town (Take 2) 3:16
Bass – Chubby Jackson
Drums – Don Lamond
Piano – Lennie Tristano
Tenor Saxophone – Emmett Carls
Trombone – Earl Swope
Trumpet – Shorty Rogers
Written-By – Neiburg, Livingston, Symes
1-8    Lennie Tristano–    Yesterdays 3:03
Piano – Lennie Tristano
Written-By – Kern, Harbach
1-9    Lennie Tristano–    What Is This Thing Called Love? 2:47
Piano – Lennie Tristano
Written-By – Porter
1-10    Lennie Tristano–    Don't Blame Me 2:49
Piano – Lennie Tristano
Written-By – Fields, McHugh
1-11    Lennie Tristano–    I Found A New Baby 2:46
Piano – Lennie Tristano
Written-By – Palmer, Williams
1-12    Lennie Tristano Trio–    I Can't Get Started 2:53
Bass – Leonard Gaskin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gershwin, Duke
1-13    Lennie Tristano Trio–    A Night In Tunisia 2:21
Bass – Leonard Gaskin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Paparelli
1-14    Lennie Tristano Trio–    Out On A Limb (Take 1) 2:36
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
1-15    Lennie Tristano Trio–    Out On A Limb (Take 2) 2:48
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
1-16    Lennie Tristano Trio–    Out On A Limb (Take 3) 2:39
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
1-17    Lennie Tristano Trio–    I Can't Get Started (Take 1) 2:57
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gershwin, Duke
1-18    Lennie Tristano Trio–    I Can't Get Started (Take 2) 2:54
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gershwin, Duke
1-19    Lennie Tristano Trio–    I Surrender Dear (Take 1) 2:33
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Clifford, Barris
1-20    Lennie Tristano Trio–    I Surrender Dear (Take 2) 2:16
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Clifford, Barris
1-21    Lennie Tristano Trio–    I Surrender Dear (Take 3) 3:05
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Clifford, Barris
1-22    Lennie Tristano Trio–    Interlude (Take 1) 3:04
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-23    Lennie Tristano Trio–    Interlude (Take 2) 2:31
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-24    Lennie Tristano Trio–    Interlude (Take 3) 2:58
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-25    Lennie Tristano Trio–    Interlude (Take 4) 2:53
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-26    Lennie Tristano Trio–    Interlude (Take 5) 1:40
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
1-27    Lennie Tristano Trio–    Interlude (Take 6) 3:00
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Gillespie, Paparelli
Disc Two : New Sound (P1354)    
2-1    Lennie Tristano Trio–    Untitled Blues 3:46
Bass – Clyde Lombardi
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-2    Lennie Tristano Trio–    Blue Boy 2:47
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Bauer
2-3    Lennie Tristano Trio–    Atonement 2:27
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-4    Lennie Tristano Trio–    Coolin' Off With Ulanov (Take 1) 2:47
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-5    Lennie Tristano Trio–    Coolin' Off With Ulanov (Take 2) 2:28
Bass – Bob Leininger
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-6    Lennie Tristano–    I Don't Stand A Ghost Of A Chance With You  2:55
Piano – Lennie Tristano
Written-By – Crosby, Washington, Young
2-7    Lennie Tristano–    Spontaneous Combustion 2:53
Piano – Lennie Tristano
Written-By – Tristano
2-8    Lennie Tristano–    Just Judy 2:38
Piano – Lennie Tristano
Written-By – Tristano
2-9    Lennie Tristano Trio–    Supersonic 3:18
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-10    Lennie Tristano Trio–    On A Planet 3:17
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-11    Lennie Tristano Trio–    Air Pocket 2:44
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-12    Lennie Tristano Trio–    Celestia 2:54
Bass – John Levy
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-13    Lennie Tristano Trio–    Freedom 3:37
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-14    Lennie Tristano Trio–    Parallel 2:28
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-15    Lennie Tristano Trio–    Apellation 1:53
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-16    Lennie Tristano Trio–    Abstraction 2:38
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-17    Lennie Tristano Trio–    Palimpsest 2:37
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-18    Lennie Tristano Trio–    Dissonance 2:38
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-19    Lennie Tristano Quartet–    Through These Portals 2:16
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – La Porta
2-20    Lennie Tristano Quartet–    Speculation 2:24
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-21    Lennie Tristano Quartet–    New Sound 2:16
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
2-22    Lennie Tristano Quartet–    Resemblance 2:22
Bass – Arnold Fishkin
Clarinet – John La Porta
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
Disc Three : Crosscurrents (P1355)    
3-1    The Metronome All Stars–    Victory Ball 4:12
Alto Saxophone – Charlie Parker
Arranged By, Directed By – Pete Rugolo
Baritone Saxophone – Ernie Caceres
Bass – Eddie Safranski
Clarinet – Buddy de Franco
Drums – Shelly Manne
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Charlie Ventura
Trombone – J.J. Johnson, Kai Winding
Trumpet – Dizzy Gillespie, Fats Navarro, Miles Davis
Written-By – Bauer, Parker, Tristano
3-2    Lennie Tristano Quintet–    Tautology 2:44
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Shelly Manne
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Konitz
3-3    Lennie Tristano Quintet–    Subconscious Lee 2:48
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Shelly Manne
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Konitz
3-4    Lennie Tristano Quartet–    Retrospection 3:07
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
3-5    Lennie Tristano Quartet–    Judy 2:54
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
3-6    Lennie Tristano Sextette–    Wow 3:21
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Harold Granowsky
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-7    Lennie Tristano Sextette–    Crosscurrent 2:50
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Harold Granowsky
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-8    Lennie Tristano–    Yesterdays 2:46
Bass – Arnold Fishkin
Drums – Harold Granowsky
Guitar – Billy Bauer
Piano – Lennie Tristano
Written-By – Tristano
3-9    Lennie Tristano Sextette–    Marionette 3:04
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Bauer
3-10    Lennie Tristano Sextette–    Sax Of A Kind 2:59
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Konitz, Marsh
3-11    Lennie Tristano Sextette–    Intuition 2:26
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-12    Lennie Tristano Sextette–    Digression 3:05
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-13    Lennie Tristano Quintet–    Remember 7:41
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-14    Lennie Tristano Quintet–    Pennies 5:45
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-15    Lennie Tristano Quintet–    Foolish Things 4:06
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-16    Lennie Tristano Quintet–    Indiana 5:42
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
3-17    Lennie Tristano Quintet–    I'm No Good Without You 4:19
Bass – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
Disc Four : Lennie's Pennies (P1356)    
4-1    Lennie Tristano Sextet–    Sax Of A Kind 5:12
Alto Saxophone – Lee Konitz
Bass – Joe Shulman
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Konitz, Marsh
4-2    Lennie Tristano Sextet–    You Go To My Head 4:34
Alto Saxophone – Lee Konitz
Bass – Joe Shulman
Drums – Jeff Morton
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Gillespie, Coots
4-3    Lennie Tristano Trio–    Ju-Ju 2:13
Bass – Peter Ind
Drums – Roy Haynes
Piano – Lennie Tristano
Written-By – Tristano
4-4    Lennie Tristano Trio–    Passtime 3:38
Bass – Peter Ind
Drums – Roy Haynes
Piano – Lennie Tristano
Written-By – Tristano
4-5    Lennie Tristano Quintet–    Lennie's Pennies 6:12
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
4-6    Lennie Tristano Quintet–    317 East 32nd 9:19
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
4-7    Lennie Tristano Quintet–    You Go To My Head 6:43
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Gillespie, Coots
4-8    Lennie Tristano Quintet–    April 8:42
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano
4-9    Lennie Tristano Quintet–    Sound-Lee 7:37
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Konitz
4-10    Lennie Tristano Quintet–    Back-Home 7:56
Alto Saxophone – Lee Konitz
Bass – Peter Ind
Drums – Al Levitt
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh
Written-By – Tristano

LENNIE TRISTANO - 1946-1947 (2001) CC, 1184 | FLAC (tracks), lossless

Records bearing Lennie Tristano's name began to appear in 1946. His amazing music filled the closing chapter of Harry Lim's Keynote catalog, and you couldn't ask for a more futuristic finale. "Out on a Limb" opens with a pleasantly dissonant flurry of ascending and descending runs. It is an exciting taste of where jazz was headed then and has been heading ever since. Tristano's music is refreshingly brisk and challenging. Like so many compositions in early modern jazz, most of Lennie's creations were based on existing melodies. "Out on a Limb" is built over the chord progressions of Earl Hines' "You Can Depend on Me," a song that was also clearly the inspiration for Lerner & Loewe's "Almost Like Being in Love." Guitarist Billy Bauer was Lennie's right-hand man. He often carried the melody so the pianist could fully exercise his individuality. Lennie liked to initiate startling pinwheels of repetition where you'd least expect them to appear. Several times during "I Can't Get Started," he cheerfully knocks out a stack of what would conventionally have been considered "wrong notes." Everything flows naturally, especially on "Untitled Blues," which is three minutes and 45 seconds of free and fearless collective improvisation. Stopping abruptly in mid-phrase, apparently because somebody told him they were running out of room on the 10" recording platter, Tristano is silent, then traces a few more arpeggios as a voice asks, "What happened?" The musicians had slipped into full-throttle jam mode, forgetting that they were in a recording studio, subject to time constraints. This wonderful piece of vérité languished for years before being issued as part of the complete Keynote collection. On the October 8, 1946, session, Tristano ran down no less than six versions of Dizzy Gillespie's "Interlude." What we have here is the first take. Six days later, Tristano's trio made two sides for V-Disc, specifically intended for the cultural enrichment of armed forces personnel. Here again was Gillespie's tune, now bearing the title "A Night in Tunisia." Lennie recorded a series of unaccompanied piano solos in September of 1947, but the people at Victor Records couldn't bring themselves to issue these tracks at the time. Thank goodness listeners get to hear them now! Unlike a lot of peoples' chronological reissues, this one is consistent from stem to stern. While digesting multiple Keynote takes is a gas, it's good to hear just the masters bundled together with some of Tristano's rarest small-label sides. About halfway through the disc you stop trying to figure out which jazz standards were used as skeletons for adventurous collective improvisation. You grow lightheaded, and all that really matters are the rituals of experimentation and humble acceptance. As Ornette Coleman would say, after a certain point there really are no wrong notes. Or, as Arnold Schoenberg might add, no tone is more or less legitimate than any other. Which brings us to the question of how something can be "avant-garde" when it's been around for generations. Doesn't the term tell us more about audience -- and critical -- limitations than it does about music or art? The answers lie somewhere between these early Tristano recordings and the extended improvisations that Anthony Braxton has based upon Tristano's still-astonishing ideas. There is no limit to what can be accomplished with intuitive music. arwulf arwulf  
Tracklist :
1     Out on a Limb 2:43
Lennie Tristano
2     I Can't Get Started 2:57
Vernon Duke / Ira Gershwin
3     I Surrender, Dear 3:08
Harry Barris / Gordon Clifford
4     Untitled Blues 3:47
Lennie Tristano
5     Interlude 3:07
Dizzy Gillespie / Frank Paparelli
6     I Can't Get Started 2:55
Vernon Duke / Ira Gershwin
7     A Night in Tunisia 2:23
Dizzy Gillespie / Frank Paparelli
8     Blue Boy 2:51
Lennie Tristano
9     Atonement 2:28
Lennie Tristano
10     Coolin' Off With Ulanov 2:50
Lennie Tristano
11     I Don't Stand a Ghost of a Chance With You 2:57
Bing Crosby / Ned Washington / Victor Young
12     Spontaneous Combustion 2:56
Unknown
13     Just Judy 2:40
Lennie Tristano
14     Supersonic 3:21
Lennie Tristano
15     On a Planet 3:20
Lennie Tristano
16     Air Pocket 2:47
Lennie Tristano
17     Celestia 2:56
Lennie Tristano
18     Freedom 3:40
Lennie Tristano
19     Parallel 2:30
Lennie Tristano
20     Apellation 1:55
Lennie Tristano
21     Abstraction 2:41
Lennie Tristano
22     Palimpsest 2:37
Lennie Tristano
Credits :
Bass – Arnold Fishkin (tracks: 18 to 22), Bob Leininger (tracks: 8 to 10), Clyde Lombardi (tracks: 1 to 5), John Levy (tracks: 14 to 17), Leonard Gaskin (tracks: 6, 7)
Guitar – Billy Bauer (tracks: 1 to 10, 14 to 22)
Piano – Lennie Tristano

LENNIE TRISTANO - 1947-1951 (2003) CC, 1290 | FLAC (tracks), lossless

This second volume in the chronological Classics anthology of Lennie Tristano from his Capitol and Prestige recordings is where the mature composer and improviser appears from his former skeleton. Beginning with the original version of "Dissonance," featuring guitarist Billy Bauer and bassist Arnold Fishkin, the set concentrates on Tristano's emerging and very complex ideas about melodic improvisation. The masters for early tracks here come from a session cut on New Year's Eve in 1947, and include clarinetist John LaPorta on such visionary compositions as "Through These Portals," with its dual melodic front line playing an extrapolated harmonic counterpoint via the piano and guitar, then being bridged by a common third line played by LaPorta, whose solo is almost a tag upon the two entwining solo lines played throughout. "Speculation" is pure chordal genius, with rhythms cascading in two directions against a nearly expressionistic melodic integration of variously shaded harmonics. The first sessions of both the quintet and quartet with Lee Konitz are here, too, with Konitz's unique phrasing on the shimmering bop of "Progression," "Tautology," and, of course, "Subconscious-Lee." Tristano was a giant of the intellect, and his knotty approach to deconstructing harmonics and creating new melodies from the ruins appealed to Konitz, who was, and remains, a melodist. Later that same year, in 1949, Tristano added second saxophonist Warne Marsh to the mix, and that magical pairing found its voice on the front lines of "Crosscurrent," "Intuition," and the stellar "Marionette." Finally, the 1951 trio sides with Roy Haynes and Peter Ind make clear that these new architectures Tristano was building could be erected by himself and a rhythm section, and in some ways were even bigger as a result of that. These ideas have never been fully integrated into the jazz canon as they should be, but nonetheless, with recordings like this abounding now, it cannot be long before they are
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Tracklist :
1     Dissonance 2:40
Lennie Tristano
2     Through These Portals 2:18
John LaPorta
3     Speculation (Ear, Eyes) 2:2
Horace Silver / Lennie Tristano
4     New Sound 2:19
Lennie Tristano
5     Resemblance 2:24
Lennie Tristano
6     Progression 3:01
Lee Konitz
7     Tautology 2:46
Lee Konitz
8     Retrospection 3:10
Duke Ellington / Lennie Tristano
9     Subconscious-Lee 2:50
Lee Konitz
10     Judy 2:56
Lennie Tristano
11     Wow 3:22
Lennie Tristano
12     Crosscurrent 2:52
Lennie Tristano
13     Yesterdays 2:49
Jerome Kern / Lennie Tristano
14     Marionette 3:06
Billy Bauer
15     Sax of a Kind 3:02
Lee Konitz / Warne Marsh
16     Intuition 2:29
Lennie Tristano
17     Digression (Intuition II) 3:05
Lennie Tristano
18     Ju-Ju 2:16
Lennie Tristano
19     Passtime 3:39
Lennie Tristano

LENNIE TRISTANO - Trio, Quartet, Quintet & Sextet : 1946-1949 (1996) APE (tracks+.cue), lossless

Giants of Jazz presents an exciting tour of Lennie Tristano's three-, four-, five- and six-piece ensemble recordings dating from the mid- to late 1940s. True to the unspoken policy of this label, the material is chronologically scrambled in an apparent attempt to avoid replicating other, tidier Tristano reissues. Six titles were harvested from Tristano's two groundbreaking Keynote sessions of 1946 and 1947; these were trio affairs involving guitarist Billy Bauer and bassists Bob Leininger or Clyde Lombardi. A lesser-known trio session from December 1947 resulted in "Parallel," "Abstraction" "Freedom" and "Dissonance," which were originally released on the Baronet record label. Regarding the quartets: saxophonist John LaPorta recorded "New Sound" with Tristano, Bauer and bassist Arnold Fishkin on the last day of 1947 (this was also issued on Baronet) and the rhythm section from this date reconvened in March 1949 with drummer Harold Granowsky to record "Yesterdays," which was issued by Capitol. A superb session for Prestige New Jazz took place on November 11, 1949, with Tristano, Bauer and Fishkin forming a marvelous quintet with saxophonist Lee Konitz and drummer Shelly Manne. The titles from this date are "Progression," "Retrospection," "Subconscious-Lee" and "Judy." As for the sextets: three choice cuts from a May 1949 Capitol session ("Intuition," "Digression" and Bauer's "Marionette") find the pianist surrounded by saxophonists Warne Marsh and Lee Konitz, Bauer, Fishkin and drummer Denzil Best. This dazzling package closes with a live rendition of "You Go to My Head" culled from a Voice of America radio broadcast from Carnegie Hall on December 24, 1949, with Konitz, Marsh, Bauer, bassist Joe Shulman and drummer Jeff Morton. Altogether an excellent sampler of early modern jazz that is creative, inspired, accessible and very enjoyable. arwulf arwulf  
Tracklist :
1     Intuition 2:27
Lennie Tristano
2     Digression 3:04
Lennie Tristano
3     Marionette 3:06
Billy Bauer
4     Yesterday 2:47
Lennie Tristano
5     Crosscurrent 2:50
Lennie Tristano
6     Interlude 3:06
Dizzy Gillespie / Frank Paparelli
7     Freedom 3:36
Lennie Tristano
8     Atonement 2:28
Lennie Tristano
9     Coolin' off with Ulanov 2:49
Lennie Tristano
10     I Can't Get Started 2:56
Vernon Duke / Ira Gershwin
11     Out on a Limb 2:40
Lennie Tristano
12     I Surrender, Dear 3:06
Harry Barris / Gordon Clifford
13     Progression 2:44
Lee Konitz
14     Retrospection 3:08
Lennie Tristano
15     Subconscious-Lee 2:48
Lee Konitz
16     Judy 2:53
Lennie Tristano
17     Parallel 2:28
Lennie Tristano
18     Abstraction 2:38
Lennie Tristano
19     Dissonance 2:38
Lennie Tristano
20     New Sound 2:16
Lennie Tristano
21     You Go to My Head 4:31
J. Fred Coots / Haven Gillespie
Credits :
Alto Saxophone – Lee Konitz (tracks: 1 to 3, 5, 13 to 16, 21)
Bass – Arnold Fishkin (tracks: 1 to 5, 7, 13 to 20), Bob Leininger (tracks: 8, 9), Clyde Lombardi (tracks: 6, 10 to 12), Joe Shulman (tracks: 21)
Clarinet – John LaPorta (tracks: 20)
Drums – Denzil Best (tracks: 1 to 3), Harold Granowsky (tracks: 4, 5), Jeff Morton (tracks: 21), Shelly Manne (tracks: 13, 15)
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh (tracks: 1 to 3, 5, 21)

LENNIE TRISTANO and WARNE MARSH - Intuition (1996) RM | FLAC (tracks+.cue), lossless

 This CD brings back a formerly rare set by Warne Marsh, plus seven classic performances that serve as the high point of Lennie Tristano's career. Oddly enough, the Tristano date is programmed second. First is a full-length album which matches Warne Marsh with the cooler but complementary tone of fellow tenor Ted Brown (plus pianist Ronnie Ball, bassist George Tucker, and drummer Jeff Morton). The original eight selections are joined by four alternate takes recorded in mono. Marsh and Brown blend together well, Ball has several creative solos, and most of the "originals" are based closely on familiar standards. However, the main reason to acquire this CD is for the seven remarkable Tristano tracks which feature his finest group (consisting of the pianist/leader, altoist Lee Konitz, Marsh on tenor, guitarist Billy Bauer, bassist Arnold Fishkin, and either Harold Granowsky or Denzil Best on drums). Tristano's music was unique and even more advanced than most bop of the late '40s. While he confined the rhythm section to very quiet timekeeping, the vibrato-less horns and Tristano himself played very long melodic lines, constantly improvising. The stunning unisons performed by Konitz and Marsh (particularly on "Wow") still sound remarkable today, as does the interplay of the two horns on "Sax of a Kind." "Intuition" and "Digression" were the first recorded free improvisations in jazz, but are quite coherent due to the musicians' familiarity with each other. Due to the Lennie Tristano performances, this CD reissue (which has over 75 minutes of music) is essential for all jazz collections. Scott Yanow  
Tracklist :
1    Warne Marsh–    Smog Eyes 3:32
Written-By – Ted Brown
2    Warne Marsh–    Ear Conditioning 5:13
Written-By – Ronnie Ball
3    Warne Marsh–    Lover Man 4:28
Written-By – Davis, Sherman, Ramirez
4    Warne Marsh–    Quintessence 4:14
Written-By – Ronnie Ball
5    Warne Marsh–    Jazz Of Two Cities 4:32
Written-By – Ted Brown
6    Warne Marsh–    Dixie's Dilemma 4:20
Written-By – Warne Marsh
7    Warne Marsh–    Tschaikovsky's Opus #42, Third Movement 3:59
Traditional
8    Warne Marsh–    I Never Knew 5:00
Written-By – G. Khan, T. FioRita
9    Warne Marsh–    Ear Conditioning (Mono Master) 5:14
Written-By – Ronnie Ball
10    Warne Marsh–    Lover Man (Mono Master) 4:29
Written-By – Davis, Sherman, Ramirez
11    Warne Marsh–    Jazz Of Two Cities (Mono Take) 4:39
Written-By – Ted Brown
12    Warne Marsh–    I Never Knew (Mono Take) 5:09
Written-By – Kahn, T. FioRita
13    Lennie Tristano–    Wow 3:19
Written-By – Lennie Tristano
14    Lennie Tristano–    Crosscurrent 2:48
Written-By – Lennie Tristano
15    Lennie Tristano–    Yesterdays 2:45
Written-By – Lennie Tristano
16    Lennie Tristano–    Marionette 3:04
Written-By – Billy Bauer
17    Lennie Tristano–    Sax Of A Kind 2:59
Written-By – L. Tristano, W. Marsh
18    Lennie Tristano–    Intuition 2:27
Written-By – Lennie Tristano
19    Lennie Tristano–    Digression 3:04
Written-By – Lennie Tristano     
Credits :
1-12
Bass – Ben Tucker
Drums – Jeff Morton
Piano – Ronnie Ball
Tenor Saxophone – Warne Marsh
13-19
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin
Drums – Denzil Best (tracks: 16 to 19), Harold Granowsky (tracks: 13, 14),
Guitar – Billy Bauer
Piano – Lennie Tristano
Notas.
Tracks 1 to 8 are stereo, all other selections are mono.
The Warne Marsh album that begins this CD was issued in mono as "Jazz Of Two Cities" (Imperial LP 9027) and in stereo as "Winds Of Marsh" (Imperial LP 12013). The mono and stereo takes of "Jazz Of Two Cities" and "I Never Knew" are completely different. The second saxophone solo on "Ear Conditioning" and the piano solo on "Lover Man" differ on the stereo and mono masters. Both versions of these four tunes are therefore included here.
Tracks 1 to 4, 9 & 10 recorded on October 3, 1956 at Radio Recorders in Los Angeles.
Tracks 5 to 8, 11 & 12 recorded on October 11, 1956 at Radio Recorders in Los Angeles.
Tracks 13 & 14 recorded on March 4, 1949 in New York.
Tracks 15 recorded on March 14, 1949 in New York.
Tracks 16 to 19 recorded on May 16, 1949 in New York.

LENNIE TRISTANO - Lennie Tristano Personal Recordings 1946-1970 (2021) 6CD| BOX-SET | FLAC (tracks+.cue), lossless

Dot Time Records and Mosaic Records, in partnership for the first time, are thrilled to announce the release of Lennie Tristano Personal Recordings 1946 – 1970. This 6-CD set chronicles over twenty years of stunning creative output from jazz luminary Lennie Tristano offering listeners the most comprehensive portrait of Tristano’s musical genius available.
Tracklist :
CD1    Trio With Billy Bauer - Live Performances (0:59:31)
CD2    Solo Piano (0:56:08)
CD3    Sextet - Live Performances (0:56:13)
CD4    Trio Sessions (1:03:34)
CD5    Duos And Trios With Sonny Dallas (0:57:49)
CD6    1948 Free Session + Live At The Half Note (1:01:43)
Credits :
Alto Saxophone – Lee Konitz (tracks: 3-1 to 3-8, 6-1 to 6-7, 6-14)
Bass – Arnold Fishkin (tracks: 1-15, 3-1 to 3-6), Joe Shulman (tracks: 3-7, 3-8), Peter Ind (tracks: 4-1 to 4-11), Sonny Dallas (tracks: 5-1 to 5-8, 6-8 to 6-14)
Drums – Al Levitt (tracks: 4-8 to 4-11), Jeff Morton (tracks: 3-1 to 3-8), Nick Stabulas (tracks: 5-7, 5-8, 6-8 to 6-14), Tom Wayburn (tracks: 4-1 to 4-7)
Guitar – Billy Bauer (tracks: 1-1 to 1-5, 1-7 to 1-15, 3-1 to 3-8, 6-1 to 6-7, 6-14)
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh (tracks: 3-1 to 3-8, 6-1 to 6-7), Zoot Sims (tracks: 6-14)

LENNIE TRISTANO QUINTET - Live at Birdland 1949 (1979-1990) RM | FLAC (tracks+.cue), lossless

The name Lennie Tristano was conspicuously absent from Ken Burns' monolithic jazz documentary. That's no small omission; Tristano's group, which included the saxophonists Warne Marsh and Lee Konitz (also ignored by Burns) was the first to record what later came to be known as free jazz -- music improvised without pre-ordained melodies, harmonies, or meter. Needless to say, that wasn't mentioned by Burns, either. Tristano did it in 1949, the year this record was recorded, with what is essentially the same band (Konitz is absent here, though he was a regular member of Tristano's group at the time). This record gives no direct evidence of the band's free jazz experiments -- although Tristano is given composer's credit on all cuts, the disc is comprised mostly of standard harmonic frameworks played without reference to theme. However, it does reflect the band's prevailing emphasis on unfettered linear improvisation. The quintet tracks here were recorded by the group's bassist, Arnold Fishkin, during performances at the old Birdland in New York. The solo piano cuts were recorded in Chicago, four years earlier. The sound's rough, but not unlistenable, especially given the historical implication of the music. Listening to this is like being a fly on the wall of the world's most famous jazz club, witnessing history in the making. It really can't be said that Tristano's piano style was cut from whole cloth -- there's too much of a Bud Powell influence -- but there have been few musicians on any instrument who played with more spontaneous melodic invention. Two others who did were Marsh and guitarist Billy Bauer, also present here; this band placed great importance of creating "in the moment," and listening to this music made over 50 years ago reminds listeners of the value in such an approach. Little jazz being made at the turn of the millennium rivals this set in terms of raw creativity. Popular misconceptions aside, this is an important document. Chris Kelsey  
Tracklist :
1    Lennie Tristano Quintet– Remember    7:40
2    Lennie Tristano Quintet– Pennies    5:45
3    Lennie Tristano Quintet– Foolish Things    4:06
4    Lennie Tristano Quintet– Indiana    5:42
5    Lennie Tristano Quintet– I'm No Good Without You    4:19
6    Lennie Tristano– Glad I Am    2:57
7    Lennie Tristano– This Is Called Love    2:42
8    Lennie Tristano– Blame Me    2:42
9    Lennie Tristano– I Found My Baby    2:42
Credits :
Lennie Tristano Quintet
Bass, Recorded By – Arnold Fishkin
Drums – Jeff Morton
Guitar – Billy Bauer
Tenor Saxophone – Warne Marsh
Piano, Composed By – Lennie Tristano

LEE KONITZ - Subconscious-Lee (1955-1992) RM | FLAC (tracks+.cue), lossless

A debut for both Lee Konitz and the Prestige label, Subconscious-Lee brings together many of the students who came through Lennie Tristano's idiosyncratic "school" of jazz during the immediate postwar years. Forging a heady approach to Charlie Parker's innovations, full of lithe and at times super fast solo lines, Tristano and his favorite pupil Konitz in particular nurtured an introverted, wan, yet still swinging alternative to the frenetic muscle of bebop. Other students like tenor saxophonist Warne Marsh, pianist Sal Mosca, and bassist Arnold Fishkin staked claims as well and show up prominently here. And while Tristano's "Judy" and "Retrospection" get mired in somewhat tired contemplation, Konitz' "Subconscious-Lee" and Marsh's "Marshmallow" stand out with brisk tempos, cascading horn lines, and fetching head statements. Avoiding the meandering course of his originals, Tristano shines at the piano with a bevy of exciting and substantial solos; Mosca and guitarist Billy Bauer keep up the good work with fine contributions of their own. Good for both mind and feet and chock-full of groundbreaking work by Konitz and Marsh especially, this 1949-1950 recording makes for essential jazz listening. [One bonus track, "Progression," is added to this version of Subconscious-Lee.] Stephen Cook  
Tracklist :
1     Progression 3:02
Lee Konitz
2     Tautology 2:45
Lee Konitz
3     Retrospection 3:09
Lennie Tristano
4     Subconcious-Lee 2:49
Lee Konitz
5     Judy 2:56
Lennie Tristano
6     Marshmallow 2:55
Warne Marsh
7     Fishin' Around 3:47
Warne Marsh
8    Tautology 2:56
Lee Konitz
9     Sound-Lee 4:08
Lee Konitz
10     Rebecca 3:05
Lee Konitz
11     You Go to My Head 2:38
J. Fred Coots
12     Ice Cream Konitz 2:45
Lee Konitz
13     Palo Alto 2:31
Lee Konitz
Credits :    
Alto Saxophone – Lee Konitz
Bass – Arnold Fishkin (tracks: 1 to 9, 11 to 13)
Drums – Denzil Best (tracks: 6, 7), Jeff Morton (tracks: 8, 9, 11 to 13), Shelly Manne (tracks: 1 to 4)
Guitar – Billy Bauer (tracks: 1 to 5, 10 to 13)
Piano – Lennie Tristano (tracks: 1 to 5), Sal Mosca (tracks: 6 to 9, 12, 13)
Remastered By [Digital Remastering, 1991] – Phil De Lancie
Tenor Saxophone – Warne Marsh (tracks: 6 to 9)
Notas.
Selections #1-5 recorded January 11, 1949; #6-7 June 28, 1949; #8-9: September 27, 1949; #10-13: April 7, 1950. All selections recorded in New York.
The "Progression" originally issued on Subconscious-Lee was mistitled; it was in fact "Tautology." The real "Progression," which is included in this CD as a bonus track, was previously released in the twofer 25 Years of Prestige (P-24046).

LEE KONITZ - Inside Hi-Fi (1957-1999) HDCD | FLAC (tracks+.cue), lossless

This excellent recording (part of their 1987 Jazzlore series) features altoist Lee Konitz with two separate quartets during 1956. Either guitarist Billy Bauer or pianist Sal Mosca are the main supporting voices in groups also including either Arnold Fishkind or Peter Ind on bass and Dick Scott on drums. The most unusual aspect to the set is that on the four selections with Mosca, Konitz switches to tenor, playing quite effectively in a recognizable cool style. The overall highlights of this enjoyable album are "Everything Happens to Me," "All of Me," and "Star Eyes," but all eight performances are well played and swinging. Scott Yanow
Tracklist :
1     Kary's Trance 6:09
Lee Konitz
2     Everything Happens to Me 4:31
Tom Adair / Matt Dennis
3     Sweet and Lovely 4:03
Gus Arnheim / Jules LeMare / Harry Tobias
4     Cork 'N' Bib 5:30
Lee Konitz
5     All of Me 5:11
Gerald Marks / Seymour Simons
6     Star Eyes 5:22
Gene DePaul / Don Raye
7     Nesuhi's Instant 5:09
Peter Ind
8     (Back Home Again In) Indiana 5:18
James F. Hanley / Ballard MacDonald
Credits :    
Alto Saxophone – Lee Konitz (tracks: 1 to 4)
Bass – Arnold Fishkin (tracks: 1 to 4), Peter Ind (tracks: 5 to 8)
Drums – Dick Scott (tracks: 1 to 8)
Guitar – Billy Bauer (tracks: 1 to 4)
Piano – Sal Mosca (tracks: 5 to 8)
Recorded By – Rudy Van Gelder
Tenor Saxophone – Lee Konitz (tracks: 5 to 8)