Lee Konitz Albums (124)
What The Critics Say
The history of jazz is full of ultra-gifted but self-destructive musicians who should have had very long careers, but instead died much too young (Charlie Parker, Fats Navarro, Bix Beiderbecke, among countless others). But that certainly isn't true of Lee Konitz, who turned 80 on October 13, 2007. One cannot accuse Konitz of not living up to his potential or wasting his considerable talent; the alto saxophonist started recording in the late '40s and remained impressively productive 60 years later in the late 2000s. Deep Lee was recorded in September 2007 (when Konitz was 79) and finds him joining forces with the acoustic piano trio Minsarah, which consists of Florian Weber on piano, Jeff Denson on upright bass, and Ziv Ravitz on drums. Konitz enjoys a strong rapport with the members of Minsarah, who are young enough to be his grandchildren -- and their encounter yields rewarding post-bop results on an album that is dominated by original material. Konitz has a long history of excelling on Tin Pan Alley standards, but the only Tin Pan Alley warhorse on Deep Lee is "Stella by Starlight"; Konitz, true to form, offers a version that is warm and lyrical but not overly sentimental. And once again, the cool-toned saxophonist demonstrates that cool doesn't mean cold. Konitz also demonstrates that his chops have held up nicely over the years; at 79 bordering on 80, Konitz is clearly very much on top of his game. Deep Lee falls short of essential, but even so, this hourlong CD is a rewarding example of the veteran altoist continuing to excel in his senior years. ~ Alex Henderson, All Music Guide
What The Critics Say
One of the lesser-known Lee Konitz albums, this LP (which has not been reissued yet on CD) features the altoist joined by six brass and a rhythm section for eight Jimmy Giuffre arrangements. The shouting brass contrasts well with Konitz's cool-toned solos and together they perform eight underplayed standards. Guitarist Jim Hall and pianist Bill Evans (who are on four songs apiece) are major assets behind Konitz on this pleasing set. ~ Scott Yanow, All Music Guide
What The Critics Say
The great alto saxophone master Lee Konitz joins Portugal's Orquestra Jazz de Matosinhos directed by Ohad Talmor for this studio session of progressive big band music that is consistently surprising and original. Konitz is given quite a bit of solo space, surrounded by an expansive-sounding band that is clearly influenced by the precepts of Oliver Nelson, Gil Evans, and their European counterparts and disciples. There are four stand-alone compositions and two large suites, all written and arranged by Talmor save Konitz's famous hard bop piece "Sound Lee." The three-part medley tribute to Ornette Coleman, "Ornetty," is rhythmically spastic, up and down dynamically, and skittish melodically, and it has a somber middle section in remembrance of the 9/11 attack on the World Trade Center. The five-section "Rhythm Sweet" is split into short snippets in a mainstream jazz style, ranging from straight to easy swinging, with "To Be or Not To" sounding similar to the standard "Mean to Me." A darker, stealth guitar-fed motif, film noir section punctuated by the piquant, tart-sweet alto of Konitz, and back-to-bop finale show a wide range of latter jazz tradition for the remaining three fragments. "June '05" is the most atmospheric composition of the date, slightly suggestive of a waltz and featuring a Gil Evans-like style, while the lengthy "Relative Major" has a distinct classical European flavor, introduced by clarion calls merging into light blues and a late-night street-smart aesthetic. High and low woodwinds and brass contrast moodily for the pensively beautiful "A New Ballad," a standout piece for those who enjoy the lower sonic range of a jazz orchestra. The consistent electric guitar of André Fernandes is a unique voice aside from the 14-piece horn section. This musically strong recording, which will be an obscurity for even the staunchest jazz listener or fan of Konitz, should be paid attention to as one of the more remarkable recordings released in 2007. ~ Michael G. Nastos, All Music Guide
'The Soprano Sax Album: Standards'
Release Date 1/1/2007
Tracks 9
Label Philology
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What The Critics Say
Lee Konitz has benefited from his association with the Philology label, as he has had a free hand choosing material for his frequent recording sessions with some of Italy's best musicians. This duo meeting with pianist Riccardo Arrighini features Konitz exclusively on soprano sax, an instrument that has long been a part of his arsenal but not heard as frequently as his alto sax. Most of the music consists of standards long familiar to the leader or variations of the chord changes to timeless ballads. Konitz begins "One More Time" (a reworking of "All the Things You Are") with an intricate solo introduction, giving way to Arrighini's spacious solo. Each man has a solo track: Konitz's "Acapellakee" is built upon the framework of "Cherokee" and Arrighini's "L.O.V.E." (not to be confused with the earlier hit for Nat King Cole and other singers from earlier decades) has "There Is No Greater Love" as its source, where he even works in a bit of stride piano. Konitz's approach to the soprano sax is much like his playing of the alto sax, very lyrical and with a distinctive sound that can be mistaken for no one else. Highly recommended! ~ Ken Dryden, All Music Guide
'The Glen Gould Session'
Release Date 1/1/2007
Tracks 10
Label Philology
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What The Critics Say
Lee Konitz arrived in Toronto in the spring of 2005 for a concert and television show taping, setting up the opportunity for a studio recording session with veteran Canadian pianist Brian Dickinson. The recording took place at the Glenn Gould Studio, which is named for the late internationally acclaimed classical pianist who called the city home. The cool-toned alto saxophonist responds to Dickinson's swinging accompaniment, delving into a number of standards and memorable jazz compositions, highlighted by the interpretations of "Invitation" and the rhapsodic setting of "If You Could See Me Now." There are also several of Konitz's well known, delightful works based upon standards like the upbeat "It's You" ("It's You Or No One") and the intricate "Thingin'" ("All the Things You Are"). The pianist contributed a pair of originals to the date, including the subtle ballad "You Go" and his spirited "The Kindness of Strangers." This is yet another rewarding chapter added to Lee Konitz's extensive discography, with the added bonus of helping a talented pianist gain wider exposure outside of Canada. ~ Ken Dryden, All Music Guide
'Lee Konitz New Nonet'
Release Date 8/8/2006
Tracks 11
Label Omnitone
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What The Critics Say
Alto saxophonist Lee Konitz has recorded with larger ensembles on occasion, though he is primarily known for his small group recordings. This nonet, which is directed by tenor saxophonist Ohad Talmor (who also collaborated on several of the pieces), catches the band at its best, recorded over several nights in New York City's Jazz Standard. The "ChromaticLee Suite," jointly written by the two saxophonists, is a fun-filled work, created from over 100 melodies suggested to Talmor by Konitz. "Outward" begins with the altoist quoting a number of different familiar pieces, while "Big Easy" is a loping, lazy blues. "West Coast" is also sauntering but with a decidedly complex interplay between Konitz and trumpeter Russ Johnson. "Funky" is well named, a treat for fans of drummer Matt Wilson with some hot arco cello by Dimos Goudaroulis as well. Likewise, "Ominous" is a very appropriate title, with a menacing rhythm section and deep brass lines backing the saxophonists. The individual pieces are just as stimulating, especially Konitz's melancholy "Springin'" and the intricate collaboration "Waltz." ~ Ken Dryden, All Music Guide
What The Critics Say
From time to time throughout his career, altoist Lee Konitz puts together a nonet to perform his music. The 2005 Lee Konitz Nonet is a bit unusual in that it includes bass clarinet (two different players split the duties) and cello in the group. Ohad Talmor's arrangements of Konitz's originals (plus his own "Warmer in Heaven") are colorful, haunting and full of subtle surprises. While most of the other musicians (other than Ben Monder, Matt Wilson and perhaps Bob Bowen) are not too well known, they fulfill their parts well and are obviously world-class players. Konitz is well featured on his six-part "Chromaticlee Suite" (which is performed as a continuous work) and five other selections. The music is mostly pretty advanced and a bit dry. Although none of the individual selections are all that memorable, Konitz's constantly inventive improvising (still remarkable for one who came to prominence back in the late '40s) and the spirit of the nonet make this a set well worth picking up. ~ Scott Yanow, All Music Guide
