addition, his work as a jazz educator meant that he has exerted a substantial influence on jazz through figures such as Lee Konitz and Bill Evans.
Tristano was born in Chicago. He was born with weak
sight, but became completely blind by age ten. Both of his parents emigrated
from Italy, and his mother, a pianist and opera singer, taught him music. At a
Chicago school for the blind, Tristano studied clarinet, cello, and saxophone
as well as the piano.
He graduated from Chicago’s American Conservatory of
Music in 1943, and quickly established himself as a teacher and performer.
There he met alto saxophonist Lee Konitz and Bill Russo, a trumpeter and
arranger, both of whom became students and proponents of what would later be
called ‘The Tristano School’ of jazz. He married singer Judy Moore on July
27th, 1945. In 1946, the Tristanos moved to Freeport, Long Island. Lennie
established a trio with a bassist and guitar player, and it was not long before
he was performing with Charlie Parker and Dizzy Gillespie. The jazz critic
Barry Ulanov promoted Tristano’s playing through his writings in Metronome
magazine, which gave Lennie its Musician of the Year award in 1947.
Tristano’s approach to jazz was unusual in its day.
Rooted in the vocabularies of swing and bebop, it strove for a harmonic
complexity that owed as much to Stravinsky and other twentieth-century
classical composers as it did to Ellington and Parker. His linear solos
suggested the contrapuntal nature of Bach, while his harmonic and rhythmic
ideas were consistent with bebop but took its conceptions even further.
In 1949 Tristano formed a sextet with Konitz, guitarist
Billy Bauer, and tenor saxophonist Warne Marsh. Their recordings encapsulate
Tristano’s signature style in their long flowing lines, odd rhythms, and
musical counterpoint.
This group recorded two pieces, ‘Intuition,’and
‘Digression,’ that were both fully improvised, with no pre-laid musical
structure. Ten years later, saxophonist Ornette Coleman adopted this approach
and was heralded by many as the inventor of “free jazz,” but Tristano’s group
did it first.
Tristano continued to perform and record in New York
City, and set up his school in a loft at 317 East Thirty-Second Street. The
topics of study included ear training, harmony and technique. Tristano
encouraged students to sing along with the recorded jazz solos of master
improvisers like Parker and tenor saxophonist Lester Young. Tristano’s
systematic approach to teaching jazz influenced other schools, such as the
Lenox School and the Berklee School of Music, whose curricula later spread to
jazz schools throughout the world.
Tristano also built a recording studio in his loft, where
he experimented with overdubbing on his compositions ‘Ju-Ju’ and ‘Pastime’. He
recorded his trio with Peter Ind on bass and Roy Haynes on drums, and then
overdubbed a second piano part.
In 1955, Tristano made some of his most important
recordings. Ind and drummer Jeff Morton recorded several choruses of the chord
changes to the standard ‘All Of Me,’ and Tristano overdubbed his piano solo.
This track, ‘Line Up’, became his best-known performance.
He closed the studio in 1956, and moved his school to a
house in Hollis, Queens, where he set up shop after his separation from Judy.
His public performances dwindled off, but in 1958 he began what would become a
long-term engagement at the Half Note. In 1961 he recorded a solo piano album,
‘The New Tristano’. It included a disclaimer that no overdubbing was used in
the recording process. His harmonic and rhythmic approaches grew more advanced,
as evidenced on ‘C minor Complex’ and the standard ‘You Don’t Know What Love
Is’.
In 1964, Tristano reunited with Konitz and Marsh for an
extended engagement at the Half Note. The next year he departed for a solo
piano tour of Europe, which yielded several solo and trio recordings. He
recorded with vocalist Betty Scott in 1965, 1971, and 1974, but stayed away
from performing for the most part, concentrating on teaching. He gave private
concerts at his home, mostly to his students and friends.
He suffered from emphysema, caused by a lifetime of
smoking unfiltered cigarettes. He also developed chronic bronchitis, and these
conditions lead to his death from a heart attack on November 18th, 1978. (Edited mainly from Jazz.com)
6 comments:
For “Lennie Tristano – Trio, Quartet, Quintet & Sextet: 1946-1949” go here:
https://www.upload.ee/files/11296433/Lennie_Tristano_46-49.rar.html
1 Intuition 2:27
2 Disgression 3:04
3 Marionette (Written-By – B. Bauer) 3:06
4 Yesterday 2:47
5 Crosscurrent 2:50
6 Interlude (Written-By – Gillespie, Paparelli) 3:06
7 Freedom 3:36
8 Atonement 2:28
9 Coolin' Off With Ulanov 2:49
10 I Can't Get Started With You (Written-By – Gershwin, Duke) 2:56
11 Out On A Limb 2:40
12 I Surrender Dear (Written-By – Clifford, Barris) 3:06
13 Progression (Written-By – L. Konitz) 2:44
14 Retrospection 3:08
15 Subconscious-Lee (Written-By – L. Konitz) 2:48
16 Judy 2:53
17 Parallel 2:28
18 Abstraction 2:38
19 Dissonance 2:38
20 New Sound 2:16
21 You Go To My Head (Written-By – Gillespie, Coots) 4:31
Credits
Alto Saxophone – Lee Konitz (tracks: 1 to 3, 5, 13 to 16, 21 )
Bass – Arnold Fishkin (tracks: 1 to 5, 7, 13 to 20), Bob Leininger (tracks: 8, 9), Clyde Lombardi (tracks: 6, 10 to 12), Joe Shulman (tracks: 21 )
Clarinet – John LaPorta* (tracks: 20)
Drums – Denzil Best (tracks: 1 to 3), Harold Granowsky (tracks: 4, 5), Jeff Morton (tracks: 21), Shelly Manne (tracks: 13, 15)
Guitar – Billy Bauer
Piano – Lennie Tristano
Tenor Saxophone – Warne Marsh (tracks: 1 to 3, 5, 21 )
Written-By – L. Tristano* (tracks: 1, 2, 4, 5, 7 to 9, 11, 14, 16 to 20)
Notes
Tracks 6, 10-12 recorded New York, October 8, 1946
Tracks 8, 9 recorded New York, May 23, 1947
Tracks 7, 17-20 recorded New York, December 31, 1947
Tracks 13-16 recorded New York, January 11, 1949
Track 5 recorded New York, March 4, 1949
Track 4 recorded New York, March 14, 1949
Tracks 1-3 recorded New York, May 16, 1949
Tracks 21 recorded Carnegie Hall, New York, December 24, 1949
Giants of Jazz presents an exciting tour of Lennie Tristano's three-, four-, five- and six-piece ensemble recordings dating from the mid- to late 1940s. True to the unspoken policy of this label, the material is chronologically scrambled in an apparent attempt to avoid replicating other, tidier Tristano reissues. This dazzling package closes with a live rendition of "You Go to My Head" culled from a Voice of America radio broadcast from Carnegie Hall on December 24, 1949, with Konitz, Marsh, Bauer, bassist Joe Shulman and drummer Jeff Morton. Altogether an excellent sampler of early modern jazz that is creative, inspired, accessible and very enjoyable.
A very big thanks to The Blues That Jazz for the selected discography below:
Lennie Tristano – Jazz & Blues 1945-47
https://yadi.sk/d/_h0DUoXRdybBb
The Ultimate Jazz Archive Vol.94 – Lennie Tristano (1946-1949)
https://yadi.sk/d/CoBKbuaRbceCR
Lennie Tristano - Live at Birdland (1949)
https://yadi.sk/d/qTTLYYnUdxq7g
Lennie Tristano Sextet – Wow (1950/1991)
https://yadi.sk/d/amIlVsEH0-6W-w
Lennie Tristano featuring Lee Konitz (1955 – 1962 recordings) (1995)
https://yadi.sk/d/S_WkVJLUdyYqG
Lennie Tristano and Warne Marsh - Intuition (1956)
https://yadi.sk/d/wyO9HuVD3TFnCL
Lennie Tristano - Note To Note (1965)
https://yadi.sk/d/j43f_bYSAVnGy
Lennie Tristano & The Boyd Raeburn Orchestra - New Sounds In The Forties (1974)
https://yadi.sk/d/StFijb04FbGRZ
What a windfall! Thank you.
GREAT PIANIST
MANY THANKS!
Hi Bob!
You have Dave Pike 23/3
Johnny Burnette 25/3
Alan Hawkshaw 27/3
;)
Thank you for jazz, bop material. You are generous with time and brilliance.
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