Lee Konitz' First Recordings as Leader

Alto saxophonist Lee Konitz (1927-2020) was prominent in the jazz scene almost from the time he became a professional musician.

He first came to notice with the Claude Thornhill band in 1947, soon moving on to work with pianist Lennie Tristano. Miles Davis then hired him for the so-called "birth of the cool" sessions in 1949 and 1950.

By that time, Konitz had already recorded with Tristano, whose ideas were influential in the altoist's development. And he was in the process of making a few records for the New Jazz label under his own name, in June and September 1949.

This post brings together those four 1949 sides via a 1953 EP issued by Prestige records, New Jazz's successor. As a bonus, there's a January 1949 Lennie Tristano number featuring the saxophonist. I believe all five selections were written by Konitz.

Warne Marsh and Lee Koiitz

The Prestige EP features tenor saxophonist Warne Marsh, another legendary player who was in the Tristano orbit. Also on the sessions were pianist Sal Mosca, who feeds chords to the saxophonists and contributes a few good solos, bass player Arnold Fishkin and Denzil Best or Jeff Morton on drums.

Lennie Tristano

The Tristano school stressed harmonic and rhythmic complexity, and linear, sometimes intertwined solos. The Konitz sides show these characteristics well. All have a sinuous quality with the saxophonists seemingly of one mind about the music - although their tones are much different.

Some will find Konitz's vibratoless sound to be uningratiating. Marsh's tone is not as keening, with something of a Lester Young influence. The soloists play together mainly in the opening and out choruses.

The Tristano number - "Subconscious-Lee" - is from a similar sound world, but differs from the above in several respects. First, the pianist is far more active. Second, Marsh is absent; the additional solo line is taken by guitarist Billy Bauer, a much different musician. Finally, the piece greatly benefits from the propulsive drumming of Shelly Manne.

At the time some listeners considered Tristano and his followers to be emotionally distant and their music esoteric. Today, they seem exciting and still innovative. Their music was perhaps less popular than their skills and imagination warranted.

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