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Chicago April 1951

4.9 5つ星のうち4.9 23個の評価
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CD, CD, リミックス含む, 2014/11/18 CD, インポート
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  • メーカーにより製造中止になりました ‏ : ‎ いいえ
  • 製品サイズ ‏ : ‎ 13.97 x 14.61 x 1.27 cm; 108.86 g
  • メーカー ‏ : ‎ Uptown Jazz
  • EAN ‏ : ‎ 0026198277826
  • 製造元リファレンス ‏ : ‎ unknown
  • オリジナル盤発売日 ‏ : ‎ 2014
  • レーベル ‏ : ‎ Uptown Jazz
  • ASIN ‏ : ‎ B00NIR8DII
  • ディスク枚数 ‏ : ‎ 2
  • カスタマーレビュー:
    4.9 5つ星のうち4.9 23個の評価

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星5つ中4.9つ
5つのうち4.9つ
23グローバルレーティング

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Haru
5つ星のうち4.0 貴重。
2015年10月18日に日本でレビュー済み
Amazonで購入
貴重なライブ録音であるということですが、ピアノの音小さ過ぎません？
役に立った
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すべてのレビューを日本語に翻訳
David Keymer
5つ星のうち5.0 IRREPLACEABLE
2017年4月8日にアメリカ合衆国でレビュー済み
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2014 (recorded 1951). LT, p; Willie Dennis, tbn; Lee Konitz, alto sx; Warne Marsh, ten sx; Buddy Jones, b; Mickey Simonetta, dr.

This is a bootleg tape, recorded below the radar at a rare Chicago club outing in 1951 with the then-typical quintet (bass, drums, Tristano on piano, and twinned saxophonists Warne Marsh on tenor and Lee Konitz on alto) with the addition of super-fast, super-slick Willie Dennis on trombone. The songs they play are a mix of standards (like “All the Things You Are”) and originals, most of which are really old standards with new melody lines piled on top of the original chord structure (like “Indiana”). But, a big ‘but’, the standards too are rephrased: the group doesn’t play the original melody lines but rather reworked alternate melodies rooted in the original chord structure. This is neither good nor bad. It’s just … Tristano. This the way his group did things back then, reconfiguring standard songs to create long, sinuous, gently undulating bop-flavored new songs. You may not like it but that’s what they did, and did exceptionally well. Another characteristic of Tristano’s early groups is polyphony. Post Brubeck (late 1950s), polyphony was big in West Coast (Gerry Mulligan, Shorty Rogers, Chico Hamilton, and Jimmy Giuffre, and I still remember a very uncomfortable evening listening to the Australian Jazz Quintet –this was in the late 50s—who were so polite in their counterpoint that you could sit there sipping tea and eating cucumber sandwiches –not jazz! Not jazz!)) groups, but much of it was anemic, overly polite. Tristano and his acolytes were foremost in experimenting with crossing voices, both in (re-) stating the theme of a piece and in the improvising sections. But anemic they never were. They didn’t take hostages, just charged ahead, and it’s exciting.

Konitz and Marsh were both major soloists, not recognized yet for all they were worth because (1) they didn’t ape Charlie Parker and (2) they were white (3) playing with a renegade piano player, group leader and music theorist, who was looked upon as too cerebral by the dominant bop claque of East Coast musicians and critics. Looking back, this group (1) had an original sound and approach, (2) two major soloists (Konitz, Marsh) and (3) a pianist who sometimes played brilliantly, never played badly and was, said Charlie Parker, the pianist he’d most like to play with. Why? Mostly Tristano’s unorthodox chord sense.

So how is this group and this record? Pretty good but not consistently great. It depends in part on how much you accept Tristano’s (Konitz’s, Marsh’s) approach to playing, which involves fairly steady rhythm pulse (given his insistence on even pulse, it must have been boring to play rhythm for Tristano) and undulating, complex melody lines, interrupted by intense moments of counterpoint, usually as the coda to a piece. I find it exciting but must admit that the variations in it are subtle, not always immediately apparent when you’re listening to it. It is –my opinion—subtly interesting music but … let your attention lapse for as moment and it sounds like wallpaper. You have to listen to it and never give up. The music on these two CDs is good, Konitz’s solos in particular but Marsh’s too are great, Willie Dennis is good on his trombone but the instrument doesn’t always flow as easily as the two saxes, and Tristano’s piano contributions vary between mundane (some of the comping) and brilliant (crossing lines, off-key chording, long flowing single note lines). The sound quality? It’s good for the saxes and a little less for the trombone, adequate for bass and drums, and abysmal for Tristano’s piano, which sounds, much of the time, like a bad cross between harpsichord and hammered dulcimer, so tinny and off-pitch is it. But hey! that’s what you accept when you get the chance to hear great musicians caught on the sly in live performance.
8人のお客様がこれが役に立ったと考えています
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cavallopazzo
5つ星のうち5.0 Lennie e i suoi amici: sessione da non perdere !
2016年2月2日にイタリアでレビュー済み
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Grande pianista, ma anche grandi solisti con lui sul palco ! Un mix di tecnica e classe, sullo sfondo di un jazz intramontabile! Da avere, proprio sì !
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RayB
5つ星のうち5.0 There are at least two great reviews on Amazon
2015年5月22日に英国でレビュー済み
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Essays could be written about this release but I won't as I don't have the time or inclination. There are at least two great reviews on Amazon.com (our American neighbour) if you want chapter and verse.
I just want to say that this is an outstanding addition to the jazz on CD available to the fan of today. Lennie Tristano was not a bandleader to allow his sidemen to take the easy route, to play the easy passages that fell easily under the fingers, he insisted that his musicians pushed the boundaries and this makes for fascinating listening. While I still need convincing about Willie Dennis on trombone, but then I'm not quite sure of the place of trombone in modern jazz at all, however the pairing of Warne Marsh on tenor and Lee Konitz on alto is a match made in heaven.
Uptown records have put out some excellent releases of music that have not seen the light of day before and this one is as good as any and is worthy of consideration of anyone who has any interest of post war modern jazz.
3人のお客様がこれが役に立ったと考えています
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Anthony C. Alexander
5つ星のうち5.0 Great, NOT cool jazz from unfairly stereotyped master
2015年6月24日にアメリカ合衆国でレビュー済み
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Wow! If you don't associate the name Lennie Tristano with the word "kick-ass," this new discovery should change your mind. Tristano and his band are on fire, exultantly swinging their way through standards and convoluted originals based on standard changes. And the biggest revelation of all is not the brilliant playing of Tristano, Konitz or Marsh, but the unheralded trombonist Willie Dennis, who I'd only gotten tantalizing glimpses of on albums by Mingus and Mulligan. He is a totally original trombonist who I don't believe ever got so much solo time on record again, and certainly not in his lifetime. I would rank him at the very top of players on his instrument, with Jimmy Cleveland, Jimmy Knepper, Julian Priester, and very few others. This may be Willie Dennis's finest hour, and it may be Lennie Tristano's, which is saying something when you consider his Capitol and Atlantic recordings. You are in for a revelation or two.
4人のお客様がこれが役に立ったと考えています
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G. J. Coppens
5つ星のうち5.0 Lennie Tristano and his geniuses!
2016年4月21日に英国でレビュー済み
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Sheer genius unearthed! Get it by all means, there is nothing greater!
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