"All the Things You Are" Changes - LEE KONITZ Jazz Improvisation Video JazzHeaven.com Excerpt

[@marcellomentasimonsennico5670]

at 2:50 he quotes "It's You or No One", another theme frequently played by members of the Tristano School

[@bobsabin]

Love Lee’s endings. Never any BS.

[@timothywyatt722]

you probably dont give a shit but if you are bored like me atm then you can stream all of the latest series on instaflixxer. Have been binge watching with my gf for the last weeks xD

[@jesseliam3717]

@Timothy Wyatt yea, I've been using instaflixxer for months myself =)

[@datanotions]

im privileged to witness this, this is sublime

[@141holden]

Did find this gem on youtube as well...Lee Konitz and Martial Solal at the Atelier de la Main d'Or, first concert

[@sergiojaenlara2091]

It is curious that a real improvising like Lee make more strong statements in his music than people who play preset lines and sound like crazy music.

[@jeffschornack3519]

Beautiful

[@Lanearndt]

there's an album on Hatology pairing Martial Solal (probably the greatest post-bill Evans pianist there ever was) with Lee Konitz that is, imho, one of the greatest documents of Konitz' playing, not to mention the art of piano/horn duos in general! but I sure do love Konitz' reedy hollow tone, a hing of beauty to my ears!

[@Rickriquinho]

This is just fantastic! Unbelievable!

[@Herehear49]

Beautiful treatment of the tune!

[@phish219]

legendary master

[@Roman45873]

Fantastic.

[@mcvooty]

Fantastic stuff. Too bad Warne Marsh, his Tristano buddy, didn't leave as extensive a recorded catalog as Konitz's.

[@johnlindstrom9994]

Marsh died too early.

[@Jonathanhsax]

Gosh dang. 1:23. Beautiful build and resolution.

[@k5vg]

Yep. Heard them pushing the envelope together in Washington, D.C. last year. Are they a pair on this kind of stuff, or what?

[@Lanearndt]

I believe it's the Star Eyes album but it might be the Just Friends album? I'm pretty sure they did three duet albums on Hatology, expensive imports, that is if anyone is actually paying for CDs any more!?

[@michaelroach4219]

Very good.

[@pvelectric]

as John Coltrane concluded in his long music theory book, as long as any note withing an improvisation is resolved, as Konitz does from time to time here favoring the melody of changes, it's all good. only really advanced players and indeed advanced listeners can probably appreciate this cut. after about seven times listen to it I could probably come to understand and dig it too. right off though it's boring to me. "It could sound Weak" as Konitz says.

[@141holden]

Do you recall the name of that album? I'd love to find it.

[@jwbeauch]

Very interesting! I thought they did well together.

[@theopaopa1]

excellent. thanks !

[@ginguenga]

Obrigada

[@anfjell]

Great

[@johnlindstrom9994]

Lee sounds like an old man, which he is. Do we still respect our elders? This is creaky but very touching and direct.

[@palmerpalmer7743]

I advise you good folk to revisit Stit\Ammons work

[@euclid1618]

Lee tore him apart

[@NoName-tq7qc]

Something tells me that Woody Shaw transcribed a bunch of Lee Konitz solos and added pentatonic licks to make it his own.

[@atantonio9674]

I doubt it Woody is his own league altogether, he is a genius, he is more melodic and swinging than Lee, IMHO

[@JS-dt1tn]

lol. Woody deeper than Lee. Yea thanks for playing come again!

[@memzehni]

@@atantonio9674 ...more melodic and swinging than Lee...? Boy, I have to tell you, it's really not about comparing....

[@Jordarr8994]

What is this comping LMAO

[@redrubeNYC]

would have been nice if the pianist had played the changes.ha!

[@EmphaticItalic]

Some pretty odd phrasing choices :)

[@palmerpalmer7743]

the so called " slurring of notes" a hallmark of Yards is evident in what Mr Konitz is trying to do here although he has not mastered it. He's spent too much energy into trying to accomplish that aspect or part if you will ,of the piece. Wayne Shorter explains it best , about the muscularity that one has aquired in himself to play the music\ Bop fluently. Ex; Sonny Stit. regardless i'm a big Konitz fan

[@PhrygianPhrog]

+Donald Palmer I'm not clear on what you've said there. Do you mean the rhythmic subdivision of swung eights that is so characteristic of bebop? Such that amidst the stream of notes, you could extract a secondary melody from the rhythmic accents, and that this technique that depends on mastery of slurring technique? I actually find Konitz's approach quite similar to Shorter's, as in, surprising and unusual, different to the polished bop perfection aesthetic of say Clifford Brown.

[@PhrygianPhrog]

+Donald Palmer I know what it is...it has an "abstract" quality, like Wayne's music, in the sense that it doesn't seem to me to refer to recognisable emotional "hooks" that say, Hank Mobley does. Note the absence of blues references.

[@palmerpalmer7743]

I follow your understanding ,and can appreciate your take on it. Let's say we are in an Olympic race, and we are hurdlers. It is enough that as runners we have to run, and at certain distances we have to leap a hurdle, with speed and consistancy, While most take the steps, and leap,take steps, and leap ,which is hard enough concentrating on that. "Yard Bird" had the ability to do a tap-dance jig between the hurdles ,and resolve before the next hurdle. Remember he's using all the pretty notes slurred within the scale. I don't know if you are aware ,of Lee's affection for Charlie Parker or not. I consider Konitz in my so called "Heavyweight Division" of Hard Boppers a key player.

[@PhrygianPhrog]

+Donald Palmer That's a good analogy. It chimes with notion I've had about Bird - I hear him sometimes sometimes "switch" from a phrase that seems to leading somewhere you expect, but instead he "switches gear" into the new tonal area, but so perfectly it shows how masterfully in control he was of the harmony. It's a concept I'm trying to develop in my own practice sessions. Another thing, I often noticed how a lot of the stuff Bird played was not incorporated into mainstream Bebop post-1945. An idea I've heard is that the language of bebop was developing with Bird and then later when the music diffused into the jazz community it was consolidated into a common, agreed language. That may be so, but I actually find Bird's harmonic adventurousness MORE interesting than the stuff that came later. The man was an incredible genius.

[@palmerpalmer7743]

It is ,or was amazing how artist loved certain pieces so much, they restructured the arrangement so much it became their own . "Thanks to copywrite infrengment laws" most ,of the Blazingly fast Bop tunes we enjoy are standards ,with a twist. That's genius in it self!! Speed ,and Slurring of notes, note ,and phrase placement the key. Long as you can resolve the caos...Bip Bop BOOM!

[@alonsotoro7904]

Lamentable.

[@youknowme...1840]

This kid pianist knows nothing. No sense. Lee didn't need to this favor. Ridiculous.

[@chandlertaylor3881]

His name is Dan Tepher he played with Lee a lot.