15.2.24
14.2.24
PAUL BLEY TRIO — The Nearness Of You (1989) FLAC (tracks+.cue), lossless
Recorded in 1989 and issued simultaneously on LP and CD, the digital version features two extra cuts and thus weighs in at about 16 minutes longer than the vinyl. The first question is why an artist of Bley's restlessness and vision would record a batch of tunes like these old nuggets in the first place. Bley's trio on this date is an estimable one: Drummer Billy Hart and bassist Ron McClure join the pianist for eight standards that range from the title track by Hoagy Carmichael to Oscar Pettiford's "Blues in the Closet" to George Shearing's "Lullaby of Birdland." Bley has an interesting way of approaching standards, which is why this hard bop rhythm section is key to the performances here. While he may approach Richard Rodgers' "This Can't Be Love" as a bebop tune with a modal sensibility -- he found the mode inside the tune's architecture -- Bley's sense of phrasing falls out of all the traditional jazz boxes. His bebop style is full of angular spaces and odd half notes and his modal mannerisms suggest tonal maneuvers requiring notes that go by at a clip (16th, even a 32nd in a major seventh chord run!) in counterpoint with McClure. Of course, this is what makes the man one of the bona fide geniuses of the music -- his manner of reworking something so it is something totally different yet still sounds like itself. In a ballad like the title tune, Bley allows Hart plenty of room to explore with his brushes by creating huge spaces in the melody, not merely by syncopation but by extending the chordal reach of the tune itself and allowing the tempo to hover rather than move toward any particular measure or melodic invention (of which there is plenty). Strangely, his reading of the Carmichael number is deeply moving, and played in a manner that suggests Mal Waldron's with a lighter touch and a longer reach for harmonic structures. The trio's performance of "What a Difference a Day Makes" seems rushed at first, as the musicians slip through the melody like a breeze through a screen door -- but it's all smoke and mirrors. Bley is moving the melody around to find room for McClure and Hart to lay back and coast on where he's taking the harmony, which is into a realm that suggests Herbie Nichols and Bill Evans. By the time Bley gets to Shearing's tune and the closer, Billy Strayhorn's "Take the 'A' Train," he's convinced us all once again that there is something new in everything. While the Strayhorn stalwart may be one of the most recorded jazz tunes in history, it has never sounded like this. Before the melody falls like dominoes and like lightning from Bley's right hand, he moves through a series of Monkish augmented chords that make no apparent sense harmonically until the melody jumps right out of them. As McClure and Hart move to double time, Bley triples and they're off and running, floating back and forth between pitches and key changes, even slipping in a bit of Ornette's chromaticism at the break. The other cool thing is that Bley manages to quote, however minutely, from every other tune on the session in his solo! This date is Bley at his most relaxed and amiable, playing with two veterans who not only handle his sudden shifts in mood and color but, more often than not, texture them in advance of what's coming -- dig McClure's hammer-on run near the end of "'A' Train" and, as Bley follows him and opens the scale up, you'll get a stunning example. This is Bley at his level jamming best. If this had been a cutting session, I'd have hated to be the horn player.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist & Credits : 
13.2.24
PAUL BLEY — Bebopbebopbebopbebop (1990) FLAC (image+.cue), lossless
A surprising album from Bley, long considered an outside player with little, if any, affinity for straight bop. He shatters that myth on this set, going through a dozen songs, including such anthems as "Ornithology" and "The Theme," with vigor, harmonic distinction, and rhythmic edge. He's brilliantly backed by bassist Bob Cranshaw, providing some of his best, least detached playing in quite a while, and drummer Keith Copeland, navigating the tricky changes with grace. Ron Wynn Tracklist & Credits 
11.2.24
PAUL BLEY — Plays Carla Bley (1991) FLAC (tracks+.cue), lossless
Most of Carla Bley's earliest compositions were first recorded by her then-husband, pianist Paul Bley, during the first half of the 1960s. For this 1991 trio date with bassist Marc Johnson and drummer Jeff Williams, Bley revisits ten of his former wife's songs, most of which date from the early era. While "Ida Lupino" has been explored in more definitive fashion by Bley elsewhere, his versions of such songs as "Vashkar," "Seven," "Turns" and "Ictus" work quite well. The music falls somewhere between advanced bop and the avant-garde, often swinging but with surprising turns and twists and often-unusual chord sequences. An intriguing set. Scott Yanow Tracklist & Credits : 
9.2.24
PAUL BLEY TRIO — If We May (1994) FLAC (tracks+.cue), lossless
Paul Bley has long enjoyed engaging in fairly free improvising, making this set of standards (along with the title cut, an original blues) a bit of a surprise. With bassist Jay Anderson and drummer Adam Nussbaum, Bley plays such songs as "Long Ago and Far Away," "All the Things You Are" and "Confirmation" fairly straight at first, almost as if he were normally a bop-based improviser. The music is quite accessible to straightahead fans even if Bley gives these warhorses some new twists, and he shows that he can swing with the best of them (not that anyone really doubted it). Scott Yanow Tracklist & Credits : 
6.2.24
13.3.23
LEE KONITZ & RED MITCHELL - "I Concentrate on You" A Tribute To Cole Porter (1974-1987) FLAC (image+.cue), lossless
Lee Konitz has been a constant explorer throughout most of his career, never satisfied with a standard approach or falling into a rut with a particular instrumentation. This 1974 duo session with bassist Red Mitchell, which focuses exclusively on the works of Cole Porter, is one great example. With an inventive accompanist like Mitchell spurring him on, the alto saxophonist is able to work magical variations of the familiar Porter works, while Konitz retains his remarkable dry signature tone. "Easy to Love" has a bit of a bittersweet air in his hands, as does the more deliberate "Ev'rytime We Say Goodbye." Mitchell is a bit more subdued in the hip treatment of "'You'd Be So Nice to Come Home To," as Konitz's intricate improvisation works its magic. The usually over the top "Love for Sale" features an understated arrangement here. Mitchell switches to piano for "Night and Day," playing a soft bop line behind the leader. Ken Dryden
Tracklist :
1 Just One of Those Things 5:09
Cole Porter
2 Just One of Those Things 3:05
Cole Porter
3 Easy to Love 3:15
Cole Porter
4 It's All Right with Me 3:00
Cole Porter
5 Ev'ry Time We Say Goodbye 2:49
Cole Porter
6 Ev'ry Time We Say Goodbye 2:50
Cole Porter
7 You'd Be So Nice to Come Home To 3:46
Cole Porter
8 Love for Sale 5:16
Cole Porter
9 In the Still of the Night 2:11
Cole Porter
10 Night and Day 5:14
Cole Porter
11 Night and Day 3:56
Cole Porter
12 I Love You 3:36
Cole Porter
13 I Love Paris 3:23
Cole Porter
14 I Concentrate on You 9:12
Cole Porter
Credits :
Alto Saxophone – Lee Konitz
Bass – Red Mitchell
Piano – Red Mitchell (tracks: 10, 11)
12.3.23
LEE KONITZ NONET - Yes, Yes, Nonet (1979-1986) 24bits-44.1Hz | FLAC (tracks), lossless
It was a tragedy that Lee Konitz's versatile nonet was not able to succeed commercially. Just like its leader, the group was able to stretch from swing standards, bop and cool jazz to freer improvisations and challenging originals. This SteepleChase release (featuring the nonet when it was comprised of such fine players as trumpeters Tom Harrell and John Eckert, trombonists Jimmy Knepper and Sam Burtis, baritonist Ronnie Cuber, pianist Harold Danko, bassist Buster Williams and drummer Billy Hart in addition to Konitz on alto and soprano) features the group at its best on such pieces as "Footprints," "Stardust," "My Buddy" and four songs by Jimmy Knepper. It's an excellent outing from a somewhat neglected group. Scott Yanow
Tracklist :
1 Dearth of a Nation 6:05
Jimmy Knepper
2 Lanquid 6:13
Jimmy Knepper
3 Footprints 8:04
Wayne Shorter
4 Stardust 5:13
Hoagy Carmichael / Mitchell Parish
5 Primrose Path 6:32
Jimmy Knepper
6 Noche Triste 4:33
Jimmy Knepper
7 My Buddy 3:31
Walter Donaldson / Gus Kahn
Credits :
Alto Saxophone, Soprano Saxophone – Lee Konitz
Baritone Saxophone, Soprano Saxophone – Ronnie Cuber
Bass – Buster Williams
Bass Trombone – Sam Burtis
Drums – Billy Hart
Piano – Harold Danko
Trombone – Jimmy Knepper
Trumpet, Flugelhorn – John Eckert, Tom Harrell
4.3.23
LEE KONITZ - Strings for Holiday (A Tribute To Billie Holiday) (1996) FLAC (tracks+.cue), lossless
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. Scott Yanow
Tracklist :
1 The Man I Love 4:26
George Gershwin / Ira Gershwin
2 You've Changed 5:04
Bill Carey / Carl Fischer
3 God Bless the Child 4:27
Billie Holiday / Arthur Herzog, Jr.
4 But Beautiful 6:06
Johnny Burke / James Van Heusen
5 I Cried for You 5:18
Gus Arnheim / Arthur Freed / Abe Lyman
6 Loverman 5:30
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
7 All of Me 4:19
Gerald Marks / Seymour Simons
8 Good Morning Heartache 5:26
Ervin Drake / Dan Fisher / Irene Higginbotham
9 For Heaven's Sake 5:23
Elise Bretton / Sherman Edwards / Don Meyer / Donald Meyer / Sherman Edwards & Donald Meyer
10 Easy Living 4:48
Ralph Rainger / Leo Robin
11 These Foolish Things 4:46
Harry Link / Holt Marvell / Jack Strachey
12 For All We Know 3:41
J. Fred Coots / Sam M. Lewis
Credits :
Alto Saxophone – Lee Konitz
Arranged By [String Arrangements], Producer – Daniel Schnyder
Double Bass – Michael Formanek
Drums – Matt Wilson
Viola – Jill Jaffe, Ronald Lawrence
Violin – Cenovia Cummins, Mark Feldman
Violoncello – Daniel Pezzotti, Erik Friedlander
LEE KONITZ | PAUL BLEY - Out Of Nowhere (1997) FLAC (tracks), lossless
1 I'll Remember April 6:03
Written-By – Raye, DePaul
2 Lover Man 11:03
Written-By – Davis, Sherman, Ramirez
3 Sweet And Lovely 9:12
Written-By – Arnheim, Tobias, Lemare
4 I Can't Get Started 11:23
Written-By – Gershwin
5 Out Of Nowhere 7:41
Written-By – Heyman, Green
6 Don't Blame Me 8:23
Written-By – McHugh-Fields
7 I Want To Be Happy 6:30
Written-By – Caesar, Youmans
Credits :
Alto Saxophone – Lee Konitz
Bass – Jay Anderson
Drums – Billy Drummond
Piano – Paul Bley
LEE KONITZ QUARTET - Dearly Beloved (1997) FLAC (tracks), lossless
Tracklist :
1 The Way You Look Tonight 11:38
Dorothy Fields / Jerome Kern
2 Ev'ry Time We Say Goodbye 7:45
Cole Porter
3 Someday My Prince Will Come 8:07
Frank Churchill / Larry Morey
4 Bye Bye Blackbird 11:32
Mort Dixon / Ray Henderson
5 Dearly Beloved 10:53
Jerome Kern / Johnny Mercer
6 The Night Has a Thousand Eyes 14:24
Buddy Bernier / Jerry Brainin
Credits :
Alto Saxophone, Soprano Saxophone – Lee Konitz
Bass – Jay Anderson
Drums – Billy Drummond
Piano – Harold Danko
LEE KONITZ | GARY VERSACE - Organic-Lee (2006) FLAC (tracks+.cue), lossless
1 Old Folks 5:23
Written By [Uncredited] – Willard Robison
Written-By – Dedette Hill
2 How Long Has This Been Going On 4:38
Written By [Uncredited] – Ira Gershwin
Written-By – George Gershwin
3 A-Blues 6:42
Written By – Lee Konitz
4 In Your Own Sweet Way 7:22
Written-By – Dave Brubeck
5 Giant Steps 7:07
Written-By – John Coltrane
6 A Flower Is A Lovesome Thing 6:49
Written-By – Billy Strayhorn
7 Sweet And Lovely 5:18
Written By – Lemare
Written-By – Arnheim, Tobias
8 Come Sunday 5:16
Written-By – Duke Ellington
9 My Old Flame 6:12
Written By – Coslow
Written-By – Arthur Johnston
Credits :
Alto Saxophone – Lee Konitz
Electric Organ – Gary Versace
2.3.23
LEE KONITZ | TED BROWN - Dig-It (1999) FLAC (tracks), lossless
1 Smog Eyes 8:28
Composed By – Ted Brown
2 Dig-It 8:03
Composed By – Ted Brown
3 317 E. 32nd Street 7:08
Composed By – Lennie Tristano
4 Dream Stepper 7:12
Composed By – Lee Konitz
5 Down The Drain 4:34
Composed By – Lee Konitz
6 Hi Beck 9:38
Composed By – Lee Konitz
7 Featherbed 9:04
Composed By – Ted Brown
8 Kary's Trance 6:43
Composed By – Lee Konitz
9 Subconscious Lee 11:29
Composed By – Lee Konitz
Credits :
Alto Saxophone – Lee Konitz
Bass – Ron McClure
Drums – Jeff Williams
Tenor Saxophone – Ted Brown
LEE KONITZ | RICH PERRY - RichLee! (1998) 24bits-44Hz | FLAC (tracks+.cue), lossless
Tracklist :
1 You Are a Weaver of Dreams 8:47
Victor Young
2 Easy Living 7:56
Ralph Rainger
3 Three Little Words 9:32
Kalmar
4 How Deep is the Ocean 11:54
Irving Berlin
5 Out of Nowhere 3:58
Edward Heyman
6 Moonlight In Vermont 6:59
Karl Suessdorf
7 I Love You 7:37
Cole Porter
8 Half Nelson 8:29
Miles Davis
Credits :
Alto Saxophone – Lee Konitz
Bass – Jay Anderson
Drums – Billy Drummond
Piano – Harold Danko
Tenor Saxophone – Rich Perry
28.2.23
LEE KONITZ - Pride (2000) FLAC (tracks), lossless
Throughout his career, altoist Lee Konitz has always had his ears open and been a musically curious improviser. His brand of relaxed freedom, tied to chordal improvisation but much freer than the usual beboppers, and his cool and distinctive sound have made him a jazz giant for decades. For this set, Konitz is teamed with three musicians (pianist/organist George Colligan, bassist Doug Weiss, and drummer Darren Beckett) with whom he had never played before. However, the combination work well on five standards and three Konitz songs. The music always swings, the rhythm section is supportive, and Konitz is as inventive as always. This is also one of the few sessions in which the altoist (on a few cuts) is backed by organ. Scott Yanow
Tracklist :
1 Monkian' Around 4:46
Lee Konitz
2 Triste 6:54
Antônio Carlos Jobim
3 Come Rain or Come Shine 7:00
Harold Arlen / Johnny Mercer
4 Stellar 13:35
Lee Konitz
5 Gundula 8:09
Lee Konitz
6 Secret Love 11:50
Sammy Fain / Paul Francis Webster
7 Lover Man 8:00
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
8 Zingaro 6:49
Antônio Carlos Jobim
Credits :
Alto Saxophone – Lee Konitz
Bass – Doug Weiss
Drums – Darren Beckett
Piano, Organ – George Colligan
27.2.23
LEE KONITZ | MATT WILSON - Gong With Wind Suite (2002) FLAC (tracks), lossless
Altoist Lee Konitz and drummer Matt Wilson perform 13 mostly concise free improvisations on this likable but not particularly memorable outing. Konitz has long been a melodic and mellow-toned improviser, even at his freest. His playing always sounds logical and purposeful, even in this sparse setting. Wilson is very much in the background most of the time, offering quiet and occasionally inaudible support. The music is fine but would have benefited from closer interaction between the two players and a lot more heat and fire. Scott Yanow
Tracklist :
1 Gong With Wind 6:12
2 Song With Wind 3:34
3 Winding Up 5:15
4 Brush / Wind 3:04
5 No Ill Wind 3:50
6 Brush Thing 5:14
7 Rhythmic Wind 2:17
8 Stickin' 7:11
9 Snare Rattle 5:59
10 Rapids 3:52
11 Foxtrot 5:07
12 Tommin' 5:32
13 Winding Down 3:42
Credits :
Alto Saxophone, Written-By – Lee Konitz
Artwork [Cover] – Poul Jupont
Drums, Written-By – Matt Wilson
15.1.23
ANTHONY BRAXTON - What's New in the Tradition (1991) 2CD | FLAC (tracks+.cue), lossless
This compiles the earlier two volumes into one release. The great avant-gardist Anthony Braxton threw the jazz world a curve with these two albums. Braxton, filling in for an ill Dexter Gordon, was joined by pianist Tete Montoliu, bassist Niels Pedersen, and drummer Tootie Heath for a set of jazz standards. Braxton pays tribute to each song's melody before tearing into complex, abstract improvisations that are generally ignored by the rhythm section, who go about playing in their usual bop-oriented style. An exception is a duet with bassist Pedersen on a very spooky "Goodbye Pork Pie Hat," one of two songs on which Braxton plays contrabass clarinet. His solo on "Ornithology" on that instrument is a bit silly, for the contrabass clarinet is so low that one has difficulty telling some of its notes apart from each other. A short "Duet" (which teams the leader with Pedersen) is a change of pace and much freer. It's a historical curiosity, but features much less interaction between the trio and Anthony Braxton than one would hope. Scott Yanow
Tracklist :
1-1 Marshmallow 7:48
Written-By – Warne Marsh
1-2 Goodbye Pork Pie Hat 4:53
Written-By – Charles Mingus
1-3 Just Friends 9:47
Written-By – Klenner, Lewis
1-4 Ornithology 7:22
Written-By – Charlie Parker
1-5 Lush Life 11:59
Written-By – Billy Strayhorn
1-6 Trane's Blues 5:34
Written-By – John Coltrane
2-1 What's New 9:56
Written-By – Haggart
2-2 Duet 3:37
Written-By – Braxton, Ørsted Pedersen
2-3 Body And Soul 10:14
Written-By – Johnny Green
2-4 Marshmallow 6:39
Written-By – Warne Marsh
2-5 Donna Lee 6:33
Written-By – Charlie Parker
2-6 My Funny Valentine 8:05
Written-By – Richard Rodgers
2-7 Half Nelson 4:16
Written-By – Miles Davis
Credits :
Alto Saxophone [Alto Sax], Contrabass Clarinet – Anthony Braxton
Bass – Niels-Henning Ørsted Pedersen
Drums – Albert Tootie Heath
Piano – Tete Montoliu
+ last month
e.s.t. — Retrospective 'The Very Best Of e.s.t. (2009) FLAC (tracks+.cue), lossless
"Retrospective - The Very Best Of e.s.t." is a retrospective of the unique work of e.s.t. and a tribute to the late mastermind Esb...
