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| music for body and soul |______________________|| |
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|| release infos |
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| |
| + artist ........... Lenny Tristano Quintet |
| + album ............ Live At Birdland |
| + label ............ Jazz Records |
| + cat .............. JR1-CD |
| + year ............. 1990 |
| + genre ............ Jazz |
| + source ........... CDDA |
| + quality .......... 192kbps / 44,1Khz / Full Stereo |
| + release date ..... 11.11.2003 |
| + size ............. 53,6 MB |
| + link ............. http://www.jazzrecordsinc.com/albumshtml/2jr1.ht |
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|| tracklist |
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| |
| 01.Remember 07:43 |
| 02.Pennies 05:47 |
| 03.Foolish Yhings 04:08 |
| 04.Indiana 05:45 |
| 05.I'm No Good Without You 04:24 |
| 06.Glad Am I 02:59 |
| 07.This Is Called Love 02:45 |
| 08.Blame Me 02:45 |
| 09.I Found My Baby 02:42 |
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| |
| (t!) total 38:58 min |
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|| release notes |
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| |
| The name Lennie Tristano was conspicuously absent from Ken Burns' |
| monolithic jazz documentary. That's no small omission; Tristano's |
| group, which included the saxophonists Warne Marsh and Lee Konitz |
| (also ignored by Burns) was the first to record what later came to |
| be known as free jazz ù music improvised without pre-ordained |
| melodies, harmonies, or meter. Needless to say, that wasn't |
| mentioned by Burns, either. Tristano did it in 1949, the year this |
| record was recorded, with what is essentially the same band |
| (Konitz is absent here, though he was a regular member of |
| Tristano's group at the time). This record gives no direct |
| evidence of the band's free jazz experiments ù although Tristano |
| is given composer's credit on all cuts, the disc is comprised |
| mostly of standard harmonic frameworks played without reference to |
| theme. However, it does reflect the band's prevailing emphasis on |
| unfettered linear improvisation. The quintet tracks here were |
| recorded by the group's bassist, Arnold Fishkin, during |
| performances at the old Birdland in New York. The solo piano cuts |
| were recorded in Chicago, four years earlier. The sound's rough, |
| but not unlistenable, especially given the historical implication |
| of the music. Listening to this is like being a fly on the wall of |
| the world's most famous jazz club, witnessing history in the |
| making. It really can't be said that Tristano's piano style was |
| cut from whole cloth ù there's too much of a Bud Powell influence |
| ù but there have been few musicians on any instrument who played |
| with more spontaneous melodic invention. Two others who did were |
| Marsh and guitarist Billy Bauer, also present here; this band |
| placed great importance of creating "in the moment," and listening |
| to this music made over 50 years ago reminds listeners of the |
| value in such an approach. Little jazz being made at the turn of |
| the millennium rivals this set in terms of raw creativity. Popular |
| misconceptions aside, this is an important document. |
| |
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|| group notes |
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| mbs is a new and free music lover association on the net. |
| we only share the music we love, with the people we like. |
| keep your mind, your body and your soul open. peace. |
| |
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