A une epoque ou la plupart des saxophonistes se coulaient dans l'ombre de Charlie Parker, Lee Konitz, fort de ses convictions, a su se tenir a distance et, irresistiblement, ouvrir les portes d'un univers musical d'une grande modernite en imposant une sonorite lisse et une grande intelligence melodique. Jean-Paul RICARD At a time when most saxophone players were slipping into Charlie Parker's shadows, Lee Konitz - a man of conviction - kept his distance and slowly, irresistibly, opened up the doors to a new universe of music: it was grand and modern, and Konitz imposed upon it a sound that had smoothness and showed great intelligence in it's melody. Jean-Paul RICARD CD 1 (1947-1954) : CLAUDE THORNHILL & HIS ORCHESTRA (Columbia 1947) : YARDBIRD SUITE - LEE KONITZ with LENNIE TRISTANO (Prestige 1949) : SUBCONSCIOUS-LEE - LENNIE TRISTANO SEXTET (Capitol 1949) : WOW - MARIONETTE - DIGRESSION - INTUITION - LEE KONITZ with LENNIE TRISTANO (Prestige 1949) : MARSHMALLOW - SOUND-LEE - MILES DAVIS & HIS ORCHESTRA (Capitol 1950) : MOON DREAMS - LEE KONITZ GROUPS (Prestige 1950) : REBECCA - YOU GO TO MY HEAD - ICE CREAM KONITZ - PALO ALTO - LEE KONITZ SEXTET (Prestige 1951) : YESTERDAYS - HI BECK - LEE KONITZ/BILLY BAUER DUO (Prestige 1951) : DUET FOR SAXOPHONE AND GUITAR - LEE KONITZ with GERRY MULLIGAN (Pacific Jazz 1953) : LADY BE GOOD - LOVER MAN - LEE KONITZ (Vogue 1953) : I'LL REMEMBER APRIL - LEE KONITZ QUARTET (Storyville 1954) : ABLUTION. CD2 (1954-1961) : STAN KENTON & HIS ORCHESTRA (Capitol 1954) - IN A HIGHER VEIN - LEE KONITZ QUARTETS (Storyville 1954) - NURSERY RHYME - FOOLIN' MYSELF - LENNIE TRISTANO QUARTET (Atlantic 1955) : THESE FOOLISH THINGS - LEE KONITZ with WARNE MARSH (Atlantic 1955) : BACKGROUND MUSIC - LEE KONITZ (Atlantic 1956) : ALL OF ME - LEE KONITZ QUINTET (Atlantic 1957) : FOOLIN' MYSELF - LEE KONITZ QUINTET (Verve 1957) : BILLIE'S BOUNCE - LEE KONITZ QUARTET (Verve 1957) : THE NEARNESS OF YOU - GERRY MULLIGAN (Pacific Jazz 1957) : DISK JOCKEY JUMP - LEE KONITZ with STRINGS (Verve 1958) : WHAT'S NEW? - LEE KONITZ meets JIMMY GIUFFRE (Verve 1959) : CORK 'N' RIB - LEE KONITZ (Verve 1959) : YOU DON't KNOW WHAT LOVE IS - LEE KONITZ (Verve 1961) : I REMEMBER YOU. DIRECTION COLLECTION : ALAIN GERBER, TEXTE : JEAN-PAUL RICARD, PRODUCTION DeLeGUeE : JEAN BUZELIN

This album is often recommended for fans of modern jazz and is considered a notable addition to the discography of Lee Konitz and Jimmy Giuffre. It exemplifies the ethos of jazz as a medium for exploration and innovation, with a focus on personal expression and artistic dialogue. Released in 1959, featuring two influential figures in the genre this album captures a significant moment in jazz history, showcasing a unique collaboration that emphasizes improvisation and melodic exploration. In the late 1950s, jazz was undergoing significant transformations, with movements such as cool jazz, hard bop, and avantgarde emerging. Lee Konitz and Jimmy Giuffre were both pivotal figures in the cool jazz scene, and their collaboration was a meeting of two innovative minds. Known for his smooth tone and lyrical improvisation, Konitz was influenced by the bebop movement and studied under legendary figures like Lennie Tristano. He often pushed the boundaries of traditional jazz through his emphasis on melody and harmony. Jimmy Giuffre was notable for his unique approach to composition and improvisation, often incorporating elements of classical music and folk traditions. He was a key figure in the West Coast jazz scene and known for his use of space and silence in music. The album features a mix of standards and original compositions, highlighting the artists' ability to reinterpret familiar melodies with Giuffre's arrangements often incorporate complex harmonies, while Konitz's playing brings a sense of lyricism and warmth: an essential listen for fans of jazz.

From 1978, originally on the Choice label, this album has been remastered and is presented here as the artist intended, with it's original title, track order and album artwork, for the first time since it's original release. Remastered by Alex McCollough at True East Mastering. Vinyl cut by Jeff Powell at Take Out Vinyl. Tenorlee finds Lee Konitz, the great American saxophonist, playing exclusively on tenor. It was a spontaneous decision, and a tribute to his dear friend, Lighthouse All-Star saxophonist Richie Kamuca, who had passed away just days before Konitz entered the studio for these sessions. Konitz classically trained on the clarinet, but switched to jazz saxophone after being enamored by Lester Young. By 1945 the 18 year old Konitz was performing professionally. He made a staggering 150 albums as a band leader over the course of his long and storied career. He played and recorded with everyone from Dave Brubeck, Charles Mingus, Ornette Colman, Elvin Jones, and Gerry Mulligan, to Elvis Costello, Brad Mehldau and Charlie Haden. Between 1948 and 1950, he was a member of Miles Davis' group, and participated in the recordings that would eventually be collected and released as Birth of The Cool.

As the title suggests, the recording Tenorlee finds Lee Konitz, the great American saxophonist, playing exclusively on tenor. It was a spontaneous decision, and a tribute to his dear friend, Lighthouse All-Star saxophonist Richie Kamuca, who had passed away just days before Konitz entered the studio for these sessions. Konitz classically trained on the clarinet, but switched to jazz saxophone after being enamored by Lester Young. By 1945 the 18 year old Konitz was performing professionally. He made a staggering 150 albums as a band leader over the course of his long and storied career. He played and recorded with everyone from Dave Brubeck, Charles Mingus, Ornette Colman, Elvin Jones, and Gerry Mulligan, to Elvis Costello, Brad Mehldau and Charlie Haden. Between 1948 and 1950, he was a member of Miles Davis' group, and participated in the recordings that would eventually be collected and released as Birth of The Cool. With a trio featuring Lighthouse All-Star alum Jimmy Rowles on piano and Michael Moore on bass, Kontiz called out old and familiar songs. The intention was to "let the tunes happen" as only finely tuned jazz musicians of certain experience can. Of note is "Lady Be Good" which finds Konitz and Rowles quoting Lester Young's solo from the 1936 recording with Count Basie. From 1978, originally on the Choice label, this album has been remastered and is presented here as the artist intended, with it's original title, track order and album artwork, for the first time since it's original release. Remastered by Alex McCollough at True East Mastering. Vinyl cut by Jeff Powell at Take Out Vinyl.

Nonagenarian saxophonist Lee Konitz has been a featured soloist for many decades and has become a legend for his intriguing contributions to many well-known jazz dates with a wide variety of ensembles. Woodwind player, composer and arranger Ohad Talmor has been an important part of Konitz's musical sphere for the past three decades, providing the elder statesman numerous opportunities to contribute his celebrated alto sound. // Konitz and Talmor have reunited a version of the Lee Konitz Nonet to release a new recording, Old Songs New, where the unique ensemble of winds, strings and percussion comes together to anchor Konitz's flights of fancy.

Gong With Wind epitomises neatly the nature and purpose of this unique collaboration between evergreen veteran saxophonist Lee Konitz (supplying the wind) and master percussionist Matt Wilson (the man with the “gongs”). The pair have known each other and played together intermittently for many years. Matt was part of Lee’s group in the early 1990s. Konitz had in mind for sometime to make an entire album with the sole assistance of the drummer for whom he has the highest regard. (from Mark Gardner's liner notes)

Legendary saxophonist Lee Konitz, has led an extensive reocrding career that spans six decades. This recording marks the manifestation of Lee's desire to represent the "possibilities to be creative" in the organic, improvisational nature of jazz.

Lee Konitz, at seventy something, is one of the most active jazz musicians, not just for his age but simply active, period. He is constantly on the road or in the studios with insatiable appetite for performing. On this date the veteran is surrounded by three Young Lions as Lee calls them. Though they had never played together before, the mutual respect and appreciation were apparent as the session progressed. “Pride” is Lee Konitz’ 11th entry on SteepleChase.

Alto saxophonist Lee Konitz is one of the very few who have escaped the dominating influence of Charlie Parker and created his own style and became the central figure in the “cool” jazz. While it was a very courageous, lonely and hard work to do, recording unaccompanied solo alto performance of almost one hour suited Konitz’ particular style of even and smooth blowing using the full range of the instrument. The result was “a very unique Lee Konitz’ world with limitless imagination which enchants the listeners .... not a single second boring” (Swing Journal). “The Konitz sound, richer and much more expressive than in his earlyer years, also goes through intriguing changes during the course of these performances...”(The Boston Phoenix)

“...Lee has in pianist Hal Galper (former Chet Baker sideman) a sympathetic helpmate. They work together effortlessly and with a unity that suggests an ample measure of mutual respect....sober, beautifully constructed performances....” (M.G. Jazz Journal International August 1977)

“Top-of-the-range standards jazz by a marvellously Esperantist quartet.” (The Penguin Guide to JAZZ) “Masterful!” (Diapason D’Or by Diapason Dec. 1988) “...If you like to confirm the fact that when the well-known melodies are performed by musicians of extraordinary talent, the music expands and develops infinitely, you will not be disappointed with this album...” (Koji Kubota, Swing Journal)