Lennie Tristano (Album)
Occupation
- Alto Saxophone: Lee Konitz (5-10)
- Piano: Lennie Tristano
- Bass: Peter Ind ( 2.4 ), Gene Ramey (5-10)
- Drums: Jeff Morton (2, 4), Art Taylor (5-10)
Lennie Tristano is a jazz album by Lennie Tristano. It contains 1954 and 1955 resulting in the apartment of Tristano solo and trio recordings of the cool jazz pioneer, as well as recordings of a club session in quartet combination with the alto saxophonist Lee Konitz, taken on 11 June 1955. The album was released in 1956 on Atlantic Records.
The album
The debut album by the pianist begins with a trio sounding, brittle " Line Up", with bassist Peter Ind and drummer Jeff Morton prepared the track with her companion; Lennie Tristano then played in his home studio his improvisations later. " Martellato - stop, strictly linear non- legato without pedaling reconciling " Matya Kiss wrote about the unemotional game Tristano in " Line Up". In addition, the piece disappears hard. Also in the similar scale Trio - piece "East Thirty- Second", the piano part was only later in the playback process. As a reaction to the death of Charlie Parker in March this year Tristano composed a "Requiem " for solo piano; " The in early romantic manner applied, marked by deep sorrow prelude followed by a solemn blues with deliberately simple accompaniment chords of the left hand. " Sentiment that generates Tristano in this blues, diminishes Kiss cast serious doubt on the assessment of the pianist as "cold" pay; Barry Ulanov is reminded in the introduction of characters by Robert Schumann.
The solo -rehearsed piece with the misleading title "Turkish Mambo " is by Kiss ' complex, to dance entirely unsuitable structure in which detach six different time signatures and superimpose " .. The song is heard ambidextrous only in the bass region of the piano; actually Tristano "Turkish Mambo " has recorded a duet with himself, which he added the upper voice later.
A completely opposite mood, the five interpretations of jazz standards as a quartet, which started with Tristano Lee Konitz, bassist Gene Ramey and drummer Art Taylor in the summer of 1955 in the New York club " Sing- Song Room" of Confucius Restaurant. Alto saxophonist Lee Konitz as Tristano student integrates the bebop and " Parker's lessons seamlessly with its feathery, derived by Lester Young sound." Lennie Tristano's solos are derived "elegant and doubly distilled " from the original standard material from.
Effect story
When introduced in 1956, the Tristano album has been controversial; this was associated particularly with the used, previously uncommon technology because Lennie Tristano began overdubbing piano and manipulating the tape speed as a stylistic means.
Ira Gitler describes in his book The Masters of Be-Bop, that the use of overdubbing and the manipulation of tape speed caused a riot at the then- jazz audience. Tristano had begun in 1951 with such experiments, when he worked with additional piano tracks, the sound engineer Rudy Van Gelder were further processed and then Tristano recordings of " Ju Ju" and " Pastime " added. Tristano said later that at the publication of this recording, not a single critic would have asked the question of multitrack technology.
After the appearance of the Atlantic album Lennie Tristano this use in the plays " Line Up", "Turkish Mambo " and " East Thirty- Second" was vividly criticized. Tristano defended his decision: " When I use multiple tracks, I do not feel myself as a charlatan. Take " The Turkish Mambo ". Since there was no other way to bring together the various rhythms, the way I feel. " On the issue of belt speed, he added, " What do people think about the fact that I have the speed to" Line Up "and " East Thirty- Second " have changed, I'm not interested. What interests me is that the result sounds good ". The involved bassist Peter Ind was inspired by himself later used the same technique in his album Looking Out.
The music magazine Jazzwise recorded the album in the list The 100 Jazz Albums That Shook the World.
Album Review
Richard Cook and Brian Morton reviewed the recordings in the Penguin Guide to Jazz with the highest rating of four stars and consider it the most essential album of the pianist. In her estimation, is the "central station " of the album title "Requiem"; with his use of overdubbing and multi-track techniques as well as the changes in the speed it influenced, inter alia, the pianist Bill Evans during his solo album Conversations with Myself (1963). Brian Priestley also points out in his biographical notes on Lennie Tristano in jazz - Rough Guide to the remarkable title "Requiem" out, also the live recorded through pieces with Lee Konitz. Barry Ulanov says in his liner notes to the masterful balance of players in this quartet recordings.
Matas Kiss mentioned in his review in the series " Milestones of Jazz" that the recording with Konitz show the "other" Tristano, " always wrapped in an unwavering and animated swinging rhythmic garb, here woven by Gene Ramey and Art Taylor ." Scott Yanow at All Music Guide keeps the Tristano album for " great with a nice juxtaposition of the first and second half, with the rhythmic genius of Tristano as an improviser on the one hand and as a highly lyrical and swinging Harmoniker on the other side ." In 1997 it was found in the The New York Times that the Tristano album was a masterpiece. The TV channel Arte recorded the album in the series of " century recordings of jazz " on.
Editorial notes
The edition published in 1994 edition Lennie Tristano / The New Tristano ( Rhino / Atlantic R 271 595 ) couples the two single released during the life of pianist LPs. This edition was also part of the collection The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz & Warne Marsh, appeared in 1997. The first album Lennie Tristano was also published under the title Lines. The recordings were released as a double LP titled Requiem (Atlantic SD 2-7003 ), coupled with solo recordings from 1958 to 1962.
The title
- Lennie Tristano: Lennie Tristano (Atlantic 7567-80804-2 )