Lee Konitz & The Brazilian Band / Brazilian Rhapsody
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1996/2016
Жанр: Cool, Bossa Nova, Brazilian
Издатель (лейбл): Venus
Продолжительность: 00:50:11
Наличие сканов в содержимом раздачи: Только обложка альбомаТреклист:
01. Samba Triste
02. Berimbau
03. Menina Moca
04. Trist
05. A Felicidade
06. Lunasea
07. Mamba De Carnaval
08. Insensatez
This album is dedicated to A.C. JobimLee Konitz - alto, soprano saxes
Romero Lubambo - acoustic guitar
Peggy Stern - piano
Dave Finck - bass
Duduka Dafonseca - drums
Waltinho Anastacio - percussion
Adela Dalto - vocal [#5]
The Master School Chorus - [#6]Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0Доп. информация: Venus VHGD-130
Recorded at Sound On Sound in New York, on January 28-31, 1995
Engineer – Bob Katz
Executive-Producer – Tetsuo Hara
Источник (релизер): jazzyman (PS³SACD) http://www.elusivedisc.com/Lee-Konitz-The-Brazilian-Band-Brazilian-Rhapsody-Singl...tinfo/VENSA0130/
Лог DR
Об альбоме (сборнике)
One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity that has led him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill & His Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis' Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. Konitz blended very well with Warne Marsh's tenor (their unisons on "Wow" are miraculous) and would have several reunions with both Tristano and Marsh through the years, but he was also interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton & His Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo.
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发表于 2020-9-24 13:02:52
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