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Varese
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Hi All,
I was on a plane reading some jazz magazine, which I forget. I saw mention of upcoming concert in Toronto by Lee Konitz. Does anybody have any info?
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He was master conductor and muscian. Keeper of Shostakovich flame. Odd bit of trivia, he had purchased at auction Rasputiin Diaries. R.I.P
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This is truly sad. I just saw him in Oct (?) in San Francisco with Charles Toliver on trumpet. One of the greatest concerts I had ever seen. R.I.P maestro
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One of mine is a live date he did in S.F with other (then members) of Miles group and a front line of Johnny Griffin and Wes Montgomery. Full House I believe it was called.
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Hello All,
I heard some time ago he was going to be doing some type of performance at the Fresno art Museum. I can not seem to find any info on this. Has anyone heard anything>?
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I strongly disagree that Lee was only comfortable in the hard-bop genre. He had actually recorded Search For the New Land which was far more forward thinking than the boogalo of Sidewinder at around same time. It was the labels decision to release the more commercially viable Sidewinder first. Lee Morgan actually appeared on some very forward thinking albums both pre and post Sidewinder. I had actually read that not only had he felt semi-trapped by Sidewinder which was a huge commercial success but would eventually grow to sort of resent it as he wanted to go in a more modal-experimental direction. It was also after Sidewinders success that Blue Note had a period of wanting every album by every artists in their stable to have a variation of.
With Blue Note, often in the sixties an artist would record many albums and what was released would be chosen by the label, often more challenging faire being unrealsed for years as is the case with Andrew Hill. To cite the string of hard-bop albums Lee Morgan put out as evidence of his preference for had-bop is inaccurate. Most often what saw the light of day was not up to the artist at all.
It's true that to cite the string of albums wouldn't be accurate evidence of any hard bop proclivities - but I don't think that's what anyone has said...I think people have only suggested that they [subjectively, of course] prefer Morgan's playing in more hard bop-ish sessions. It's of course true that he's on Larry Young stuff, Grachan stuff, etc.
That said, I don't know that Search for the New Land is particularly progressive..?
I also think that 'Sidewinder' is not necessarily the paradigm of hard bop, so to say he felt semi-trapped by it is interesting, but I don't know how much it bears on the thesis that he sounded most comfortable in hard bop surroundings. In fact, even if it were a hard bop paradigm, I think it'd still be a consistent position to say that he sounded comfortable in hard bop, notwithstanding that he felt semi trapped by it!
What I was saying was, Search for the New Land, specifically the suite-like title track is forward looking (not "progresive")incorporating things besides just straight out hard-bop. Aside from that there are his appearances on Joe Henderson's Mode for Joe (1966) his own Procrastinator (1967) and Andrew Hill's Grass Roots (1968) which all definitely contain some hard-bop components but also show that he more than experimented with leaving the hard-bop genre. He accords himself more than well on each outing and sounds completely at home. Also the final Live at The Lighthouse recordings point to a more modal-free approach and an artistic evolution which was cut short.
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I strongly disagree that Lee was only comfortable in the hard-bop genre. He had actually recorded Search For the New Land which was far more forward thinking than the boogalo of Sidewinder at around same time. It was the labels decision to release the more commercially viable Sidewinder first. Lee Morgan actually appeared on some very forward thinking albums both pre and post Sidewinder. I had actually read that not only had he felt semi-trapped by Sidewinder which was a huge commercial success but would eventually grow to sort of resent it as he wanted to go in a more modal-experimental direction. It was also after Sidewinders success that Blue Note had a period of wanting every album by every artists in their stable to have a variation of.
With Blue Note, often in the sixties an artist would record many albums and what was released would be chosen by the label, often more challenging faire being unrealsed for years as is the case with Andrew Hill. To cite the string of hard-bop albums Lee Morgan put out as evidence of his preference for had-bop is inaccurate. Most often what saw the light of day was not up to the artist at all.
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New ! Art Ensemble of Chicago / Anthony Braxton
TOUR FOR 40' BIRTHDAY OF AEC & TRIBUTE TO LESTER BOWIE
From May 15th to June 4th, and July 2007 in Europe
Roscoe Mitchell saxes
Anthony Braxton saxes, clarinet
Wanada Leo Smith trompet
George Lewis, trombone, saxophone
Muhal Richard Abrams piano
Jaribu Shahid acoustic bass
Famoudou Don Moye drums, perc
May 25, 2007 Schiltigheim/ France Le Cheval Blanc
Does anybody know the exact dates/venues for this? Obviously very interested in such a historic concert.
lee konitz
in Artists
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Thank You! As an observation, only Jazz fans seem to do this for each other. Were this a movie or sci-fi board, some people would help but there would also be some smarmy comments too. Both here and AAJ boards I have only seen people help!