The Real Lee Konitz CD

This sophisticated album from 1957 contains the stylish music 'You Go To My Head', 'Easy Livin' and 'Sweet And Lovely', along with five other tracks. Collectables. 2003.

Personnel: Lee Konitz (alto saxophone); Don Ferrara (trumpet); Billy Bauer (guitar); Peter Ind (bass); Dick Scott (drums).
Recorded live at the Midway Lounge, Pittsburgh, Pennsylvania on February 15, 1957. Originally released on Atlantic (1273). Includes liner notes by Lee Konitz.
Personnel: Lee Konitz (alto saxophone); Billy Bauer (guitar); Don Ferrara (trumpet); Dick Scott (drums).
Liner Note Author: Lee Konitz.
Recording information: Midway Lounge, Pittsburgh.
Editor: Lee Konitz.
This set is the product of Lee Konitz' decision to record his quartet during the second half of a two-week stint in 1961 at the Midway Lounge in Pittsburgh. Bassist Peter Ind served as recording engineer, which essentially involved his pressing the record button on the tape machine in the dressing room and then running to join the others on stage. The result of this low-tech production is a fine document of Konitz playing live in a fairly straight-ahead setting. The sound is good and places the leader's alto sax at the forefront, as he floats his sinewy, pleasantly acerbic sound over the attentive work of the rhythm section. Konitz edited the tapes to preserve the best of the group's work, and to exclude technical glitches. For this reason, some of the tracks are not complete performances: two have fadeout endings, and one ends somewhat abruptly. To Konitz' credit, though, the edits do not jar, the fades are smooth, and the set remains a cohesive representation of this group at work. Ind, drummer Dick Scott, and guitarist Billy Bauer provide resourceful, responsive support. While Bauer's inventive rhythm work is its customarily attractive contribution, it would have been nice to have had more of his solo work included here. Even on a duet with Konitz on "You Go to My Head," Bauer's role is strictly accompaniment. That said, he's brilliant in the supporting role and the track is a highlight. Trumpeter Don Ferrara plays on two tracks, but he is not critical to the main event of Konitz captured live with a knowing, simpatico rhythm team. ~ Jim Todd
Saxophonist Lee Konitz has been consistently one of the most individual figures in jazz, and has excelled as both as leader and accompanist since the late '40s. He's fashioned a unique style, influenced heavily by pianist Lennie Tristano, and sufficiently so by alto legend Charlie Parker. While many jazz players find a niche and work it for the rest of their lives, Konitz has refused to stand still. He's played with a dizzying assortment of musicians, including Miles Davis, Stan Kenton, Charles Mingus, Max Roach, and Derek Bailey.
This album was recorded live in a jazz club in Pittsburgh, P.A. in 1957, with players that share fine history with Konitz, like the superb "cool school" guitarist Billy Bauer. Konitz swings with blues-derived aplomb on "My Melancholy Baby." Peter Ind's bass playing is sturdy and sinuous, and the whole band sets up a swinging groove for Konitz to work out on. Some jazz critics have accused Konitz of being "too cerebral"--listen to the driving closer, "Midway," and wonder how anyone could say that. The recording quality throughout is very good--one can hear the clinking of glasses and bottles now and again, but that just adds to the good-time ambiance.
This set is the product of Lee Konitz' decision to record his quartet during the second half of a two-week stint in 1961 at the Midway Lounge in Pittsburgh. Bassist Peter Ind served as recording engineer, which essentially involved his pressing the record button on the tape machine in the dressing room and then running to join the others on stage. The result of this low-tech production is a fine document of Konitz playing live in a fairly straight ahead setting.
The sound is good and places the leader's alto sax to the forefront, as heJazzTimes (3/00, pp.80-1) - "...how can anyone who likes modern jazz resist THE REAL LEE KONITZ?....This is an outstanding record, even by late '50s standards. Konitz is 'cerebral' in that he thinks fast and builds his solos brilliantly....consistently fine group interaction..."