One of the most important live recordings of the Lennie Tristano Sextet with Lee Kontiz and Warne Marsh has just been released. The material has never before been issued, and the sound is superb, capturing the group's cool sound at its peak and at a critical moment in jazz history, just a year before Lee Konitz would join the Stan Kenton Orchestra. The only live recording that comes later than this one with Lee and Marsh features six tracks captured in Toronto in July 1952, and the sound is foggy and distant. [Photo above of Lennie Tristano by William P. Gottlieb]
The new recording—Lennie Tristano: Chicago, April 1951—has been issued by Uptown, Robert Sunenblick's label. I don't know how Bob finds these recordings, but all jazz fans owe him a debt of gratitude. This two-CD recording is a remarkable document.
Tristano, who was blind, began recording with alto saxophonist Lee Kontiz and tenor saxophonist Warne Marsh in 1949 for Capitol and Prestige, introducing the cool jazz sound in small group format. In 1950, the sextet recorded live in New York, and the only other recording of Lee an Marsh with Tristano was the Toronto concert in July '52 at UJPO Hall. This new album provides a sparkling April 1951 recording, with 14 glorious tracks. The lineup for the Blue Note gig included Willie Dennis (tb) Lee Konitz (as) Warne Marsh (ts) Lennie Tristano (p) Buddy Jones (b) Mickey Simonetta (d). Dennis, like Konitz and Marsh, was a Tristano student.
Two months after this recording, notes Bob Blumenthal, who wrote the albums superb 24-page liners, Tristano opened a school in Manhattan, attracting young players and veteran musicians interested in learning Tristano's novel approach to improvisation and composition. Konitz in '52 would go on to star in Kenton's band, continuing to record with Marsh throughout the early '50s in live and studio sessions for Atlantic, Imperial and Liberty before Marsh formed his own group. [Photo above, in the foreground, from left, Lee Konitz, Warne Marsh and Lennie Tristano]
If you dig Tristano, Konitz and Marsh together or separately, this album is a must.
JazzWax tracks: You'll find Lennie Tristano: Chicago, April 1951 (Uptown), a two-CD set, here.
JazzWax clips: Here's All the Things You Are from April 1951. And here's I'll Remember April.
The new recording—Lennie Tristano: Chicago, April 1951—has been issued by Uptown, Robert Sunenblick's label. I don't know how Bob finds these recordings, but all jazz fans owe him a debt of gratitude. This two-CD recording is a remarkable document.
Tristano, who was blind, began recording with alto saxophonist Lee Kontiz and tenor saxophonist Warne Marsh in 1949 for Capitol and Prestige, introducing the cool jazz sound in small group format. In 1950, the sextet recorded live in New York, and the only other recording of Lee an Marsh with Tristano was the Toronto concert in July '52 at UJPO Hall. This new album provides a sparkling April 1951 recording, with 14 glorious tracks. The lineup for the Blue Note gig included Willie Dennis (tb) Lee Konitz (as) Warne Marsh (ts) Lennie Tristano (p) Buddy Jones (b) Mickey Simonetta (d). Dennis, like Konitz and Marsh, was a Tristano student.
Two months after this recording, notes Bob Blumenthal, who wrote the albums superb 24-page liners, Tristano opened a school in Manhattan, attracting young players and veteran musicians interested in learning Tristano's novel approach to improvisation and composition. Konitz in '52 would go on to star in Kenton's band, continuing to record with Marsh throughout the early '50s in live and studio sessions for Atlantic, Imperial and Liberty before Marsh formed his own group. [Photo above, in the foreground, from left, Lee Konitz, Warne Marsh and Lennie Tristano]
If you dig Tristano, Konitz and Marsh together or separately, this album is a must.
JazzWax tracks: You'll find Lennie Tristano: Chicago, April
JazzWax clips: Here's All the Things You Are from April 1951. And here's I'll Remember April.
This story appears courtesy of JazzWax by Marc Myers.
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