Lee Konitz & Mario Rusca - Wheres The Blues (1997)
BAND/ARTIST: Lee Konitz, Mario Rusca
- Title: Wheres The Blues
- Year Of Release: 1997
- Label: Giants Of Jazz
- Genre: Jazz
- Quality: FLAC (tracks) | Mp3 / 320kbps
- Total Time: 64:21
- Total Size: 343 MB | 147 MB
- WebSite: Album Preview
Tracklist
------------
01. Where's The Blues 5:30
02. Beautiful Love 5:35
03. Thingin' 7:38
04. Summertime 4:45
05. To Lee Or Not To Lee 10:26
06. On Green Dolphin Street 6:36
07. Autumn Leaves 7:33
08. Anthropology 4:38
09. Have You Met Miss Jones 5:35
10. I Should Care 6:05
------------
01. Where's The Blues 5:30
02. Beautiful Love 5:35
03. Thingin' 7:38
04. Summertime 4:45
05. To Lee Or Not To Lee 10:26
06. On Green Dolphin Street 6:36
07. Autumn Leaves 7:33
08. Anthropology 4:38
09. Have You Met Miss Jones 5:35
10. I Should Care 6:05
Over the course of an epic 70-plus-year career, alto saxophonist Lee
Konitz's distinctively clean tone and unpretentious harmonies made
him a massively influential figure in progressive modern jazz. A
protege of pianist Lennie Tristano, Konitz first emerged as a player
in the '40s, building upon his main influences like saxophonists
Lester Young and Charlie Parker while ably avoiding direct
comparisons to either.
Along with early work in Stan Kenton's band, he was an original
member of Miles Davis' seminal nonet, helping lay the groundwork for
the cool jazz sound of the '50s. Conversely, his recordings
alongside Tristano are often cited as a precursor to the free jazz
movement of the '60s.
Konitz's distinctively clean tone and unpretentious harmonies made
him a massively influential figure in progressive modern jazz. A
protege of pianist Lennie Tristano, Konitz first emerged as a player
in the '40s, building upon his main influences like saxophonists
Lester Young and Charlie Parker while ably avoiding direct
comparisons to either.
Along with early work in Stan Kenton's band, he was an original
member of Miles Davis' seminal nonet, helping lay the groundwork for
the cool jazz sound of the '50s. Conversely, his recordings
alongside Tristano are often cited as a precursor to the free jazz
movement of the '60s.
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