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'!2G00BJ-Hbfhdj! to a Superb Black Disc and a Cover with Lines Notes by the Famous Barry Ulanov

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'!2G00BJ-Hbfhdj! to a Superb Black Disc and a Cover with Lines Notes by the Famous Barry Ulanov Atlantic 1217 Lee Konitz With Warne Marsh personnel Lee Konitz (as); Warne Marsh (ts); Ronnie Ball, Sal Mosca (p); Billy Bauer (g); Oscar Pettiford (b); Kenny Clarke (dr) tracks Topsy; There Will Never Be Another You; I Can’t Get Started; Donna Lee; Two Not One; Don’t Squawk; Ronnie’s Line; Background Music What a great rhythm group! A dream comes true: Oscar Pettiford and Kenny Clarke – and then Billy Bauer on the guitar and alternately Ronnie Ball (UK) or Sal Mosca (USA) on the piano. No wonder that things really take off when these masters of improvisation from the Lennie Tristano school get going. catalogue # In June 1955, in the Atlantic studio, standards provided the starting base for the long and 1217 wonderfully sophisticated improvisations by Lee Konitz and Wayne Marsh, who were at that set contents time pupils of the great Chicago maestro. Although the numbers are declared as own com- 1 LP / standard sleeve positions, such as Background Music and Ronnie’s Line, they are actually none other than pricecode adaptations of All Of Me or That Old Feeling – but at the very highest level. Lee Konitz always SC01 called this “The Twelfth Step”. The repertoire is enriched by seldom-heard compositions by the great Oscar Pettiford. “Time-keeping” – a neologism of prime importance for jazz musi- release date November 2018 cians – is the most important element in Donna Lee and There Will Never Be Another You – and there is no better drummer for this music than Kenny “Klook” Clarke, who lived in those days barcode in the USA before moving to Paris in 1956 where there was no racial discrimination. Of course, you can buy these recordings on various digital discs. But that can’t be compared '!2G00BJ-hbfhdj! to a superb black disc and a cover with lines notes by the famous Barry Ulanov. Just one thing more: one of the musicians is still on the road. Lee Konitz is often to be heard original recording and seen somewhere in Europe. Despite his almost 91 years! June 1955 at Coastal Studios, New York City, by Tom Dowd in mono original production Was für eine Rhythmusgruppe! Ein wahrgewordener Traum: Oscar Pettiford und Kenny Clar- Nesuhi Ertegun ke – dazu noch Billy Bauer an der Gitarre und wechselweise Ronnie Ball (GB) oder Sal Mosca ratings (max. 5 stars) (USA) am Piano. Kein Wunder, dass bei den Improvisationskünstlern aus der Tristano-Schule AllMusic: 4 Discogs: 4,41 RYM: 3,73 RS: 4 die Post abgeht. Im Atlantic-Studio im Juni 1955 waren Standards die Ausgangsbasis für die langen, ausge- reiften Improvisationsketten von Lee Konitz und Warne Marsh, damals noch Schüler des gro- ßen Gurus aus Chicago. Auch wenn die Titel als Eigenkompositionen ausgewiesen sind, wie Background Music oder Ronnie’s Line, sind sie doch nichts anderes als Bearbeitungen von All Of Me oder That Old Feeling – aber auf allerhöchstem Niveau. Lee Konitz nennt dieses immer “The 12th step“. Bereichert wird das Repertoire dann noch durch selten zu hörende Eigen- komposition vom großen Oscar Pettiford. “Time-keeping“ – eine schier unübersetzbare Wortschöpfung der Jazzmusiker – ist das wich- tigste Element zwischen Donna Lee und There Will Never Be Another You – und dafür gibt es wohl keinen geeigneteren Drummer als Kenny “Klook“ Clarke, damals noch in den USA le- bend, bevor das Paris der 50-70iger Jahre ohne Rassendiskriminierung seine Wahlheimat wurde. Sicher – man kann die Aufnahmen auf diversen digitalen Tonträgern auch kaufen. Aber was ist das schon gegen eine satte, schwarze Scheibe und ein Cover mit den liner-notes des be- rühmten Barry Ulanov. Nebenbei bemerkt: Einer der Musiker ist noch immer on-the-road. Lee Konitz kann man oft irgendwo mit irgendwem in Europa hören und sehen. Auch noch mit fast 91 Jahren. WWW.SPEAKERSCORNERRECORDS.COM | [email protected].
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