Lee Konitz & Michel Petrucciani - Toot Sweet (2005)
Lee Konitz & Michel Petrucciani - Toot Sweet (2005)
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 270 MB. & 129 MB.
400dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2005) | Label: OWL/Emarcy | Catalog# 013-432-2 | 48:21 min.
Jazz | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 270 MB. & 129 MB.
400dpi. Complete Scans (JPG) included | WinRar, 3% recovery
Audio CD (2005) | Label: OWL/Emarcy | Catalog# 013-432-2 | 48:21 min.
Review by Ken Dryden ~allmusic.com
This 1982 meeting between the veteran alto saxophonist Lee Konitz and the young pianist (19 at the time of the session) Michel Petrucciani is a success on all counts. Konitz's fragile alto is complemented by Petrucciani's lush backing in "I Hear a Rhapsody," while their abstract approach to "'Round Midnight" and "Lover Man" are both very refreshing. Konitz is unaccompanied for his wandering "Ode," while the pianist is featured alone on his complex portrait "To Erlinda," which is dedicated to his first wife. Petrucciani and Konitz wrote the brief closer, the lively blues "Lovelee," during which they initially play apart from one another before joining forces to close with a flourish. This was only Petrucciani's third recording, yet he plays far beyond his years; this recommended CD will be difficult to find due to the demise of the Owl label.
Lee Konitz & Michel Petrucciani - Toot Sweet (2005)
Tracklist:
01. I Hear a Rhapsody (4:44)
02. To Erlinda (5:03)
03. Round About Midnight (16:00)
04. Lover Man (15:35)
05. Ode (4:47)
06. Lovelee (2:12)
Lee Konitz & Michel Petrucciani - Toot Sweet (2005)
Personnel:
Lee Konitz - alto saxophone
Michel Petrucciani - piano
~wikipedia
Lee Konitz (born October 13, 1927) is an American jazz composer and alto saxophonist born in Chicago, Illinois.
Generally considered one of the driving forces of Cool Jazz, Konitz has also performed successfully in bebop and avant-garde settings. Konitz was one of the few altoists to retain a distinctive sound in the 40s, when Charlie Parker exercised a tremendous influence on other players.
Konitz, like other students of pianist and theoretician Lennie Tristano, was noted for improvising long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Paul Desmond and, especially, Art Pepper were strongly influenced by Konitz.
Konitz's association with the Cool Jazz movement of the 1940s and 50s, includes participation in Miles Davis' epochal Birth of the Cool sessions, and his work with Lennie Tristano came from the same period. During his long career, Konitz has played with musicians from a wide variety of jazz styles.
Life and career
Konitz was born in 1927 in Chicago, Illinois. At age eight Konitz received his first instrument—a clarinet—but later dropped the instrument in favor of the tenor saxophone.
Konitz eventually moved from tenor to alto. His greatest influences at the time were the swing big bands he and his brother listened to on the radio, in particular Benny Goodman. Hearing Goodman on the radio is actually what prodded him to ask for a clarinet. On the saxophone he recalls improvising before ever learning to play any standards.
Konitz began his professional career in 1945 with the Teddy Powell band as a replacement for Charlie Ventura. The engagement apparently did not start out smoothly, as Ventura is said to have banged his head against a wall when Konitz played. A month later the band parted ways. Between 1945 and 1947 he worked off and on with Jerry Wald. In 1946 he first met pianist Lennie Tristano and worked in a small cocktail bar with him. His next substantial work was done with Claude Thornhill in 1947, with Gil Evans arranging and Gerry Mulligan as a composer in most part.
In 1949 he teamed up with the Miles Davis group for one or two weeks and again in 1950 to record Birth of the Cool. Konitz has stated that he considered the group to belong to Gerry Mulligan, and credits Lennie Tristano as the true forebearer of "the cool". His debut as leader also came in 1949, with the release of Subconscious-Lee on Prestige Records. He also turned down an opportunity to work with Benny Goodman that same year—a decision he is on record as regretting.
In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra. In 1961, he recorded Motion with Elvin Jones on drums and Sonny Dallas on bass. This spontaneous session, widely regarded as a classic, consisted entirely of standards. The loose trio format aptly featured Konitz's unorthodox phrasing and chromaticism.
Charlie Parker lent him support on the day Konitz's child was being born in Seattle, Washington with him stuck in New York City. The two were actually good friends, and not the rivals some jazz critics once made them out to be. He has also had problems with his heart which he has received surgery for in the past.
In 1967, Konitz recorded The Lee Konitz Duets, a series of duets with various musicians. The duo configurations were often unusual for the period (saxophone and trombone, two saxophones). The recordings drew on very nearly the entire history of jazz, from Louis Armstrong's "Struttin' With Some Barbecue" with valve trombonist Marshall Brown to two completely free duos: one with a Duke Ellington associate, violinist Ray Nance, and one with guitarist Jim Hall.
Konitz contributed to the film score for Desperate Characters (1971).
Konitz has been quite prolific, recording dozens of albums as a band leader. He has also recorded or performed with Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan, Elvin Jones and others. Amongst his latest recordings are a pair of trio dates with Brad Mehldau and Charlie Haden released on Blue Note as well a live album recorded in 2009 at Birdland and released by ECM in 2011 featuring the same lineup with the addition of drummer Paul Motian.
Konitz has become more experimental as he has grown older, and has released a number of free and avant-garde jazz albums, playing alongside many far younger musicians. He has released albums on contemporary free jazz/improv labels such as hatART, Soul Note, Omnitone and the aforementioned ECM.
He was scheduled to appear at Melbourne's Recital Centre as a key attraction of the Melbourne International Jazz Festival. However he fell ill causing the last minute cancellation of the performance.
for Konitz' discography and more, please visit: http://en.wikipedia.org/wiki/Lee_Konitz
Lee Konitz (born October 13, 1927) is an American jazz composer and alto saxophonist born in Chicago, Illinois.
Generally considered one of the driving forces of Cool Jazz, Konitz has also performed successfully in bebop and avant-garde settings. Konitz was one of the few altoists to retain a distinctive sound in the 40s, when Charlie Parker exercised a tremendous influence on other players.
Konitz, like other students of pianist and theoretician Lennie Tristano, was noted for improvising long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Paul Desmond and, especially, Art Pepper were strongly influenced by Konitz.
Konitz's association with the Cool Jazz movement of the 1940s and 50s, includes participation in Miles Davis' epochal Birth of the Cool sessions, and his work with Lennie Tristano came from the same period. During his long career, Konitz has played with musicians from a wide variety of jazz styles.
Life and career
Konitz was born in 1927 in Chicago, Illinois. At age eight Konitz received his first instrument—a clarinet—but later dropped the instrument in favor of the tenor saxophone.
Konitz eventually moved from tenor to alto. His greatest influences at the time were the swing big bands he and his brother listened to on the radio, in particular Benny Goodman. Hearing Goodman on the radio is actually what prodded him to ask for a clarinet. On the saxophone he recalls improvising before ever learning to play any standards.
Konitz began his professional career in 1945 with the Teddy Powell band as a replacement for Charlie Ventura. The engagement apparently did not start out smoothly, as Ventura is said to have banged his head against a wall when Konitz played. A month later the band parted ways. Between 1945 and 1947 he worked off and on with Jerry Wald. In 1946 he first met pianist Lennie Tristano and worked in a small cocktail bar with him. His next substantial work was done with Claude Thornhill in 1947, with Gil Evans arranging and Gerry Mulligan as a composer in most part.
In 1949 he teamed up with the Miles Davis group for one or two weeks and again in 1950 to record Birth of the Cool. Konitz has stated that he considered the group to belong to Gerry Mulligan, and credits Lennie Tristano as the true forebearer of "the cool". His debut as leader also came in 1949, with the release of Subconscious-Lee on Prestige Records. He also turned down an opportunity to work with Benny Goodman that same year—a decision he is on record as regretting.
In the early 1950s, Konitz recorded and toured with Stan Kenton's orchestra. In 1961, he recorded Motion with Elvin Jones on drums and Sonny Dallas on bass. This spontaneous session, widely regarded as a classic, consisted entirely of standards. The loose trio format aptly featured Konitz's unorthodox phrasing and chromaticism.
Charlie Parker lent him support on the day Konitz's child was being born in Seattle, Washington with him stuck in New York City. The two were actually good friends, and not the rivals some jazz critics once made them out to be. He has also had problems with his heart which he has received surgery for in the past.
In 1967, Konitz recorded The Lee Konitz Duets, a series of duets with various musicians. The duo configurations were often unusual for the period (saxophone and trombone, two saxophones). The recordings drew on very nearly the entire history of jazz, from Louis Armstrong's "Struttin' With Some Barbecue" with valve trombonist Marshall Brown to two completely free duos: one with a Duke Ellington associate, violinist Ray Nance, and one with guitarist Jim Hall.
Konitz contributed to the film score for Desperate Characters (1971).
Konitz has been quite prolific, recording dozens of albums as a band leader. He has also recorded or performed with Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan, Elvin Jones and others. Amongst his latest recordings are a pair of trio dates with Brad Mehldau and Charlie Haden released on Blue Note as well a live album recorded in 2009 at Birdland and released by ECM in 2011 featuring the same lineup with the addition of drummer Paul Motian.
Konitz has become more experimental as he has grown older, and has released a number of free and avant-garde jazz albums, playing alongside many far younger musicians. He has released albums on contemporary free jazz/improv labels such as hatART, Soul Note, Omnitone and the aforementioned ECM.
He was scheduled to appear at Melbourne's Recital Centre as a key attraction of the Melbourne International Jazz Festival. However he fell ill causing the last minute cancellation of the performance.
for Konitz' discography and more, please visit: http://en.wikipedia.org/wiki/Lee_Konitz
~wikipedia
Michel Petrucciani (28 December 1962, Orange, Vaucluse, France – 6 January 1999, New York City, USA) was a French jazz pianist.
Biography
Michel Petrucciani came from an Italo-French family with a musical background. His father Tony played guitar, his brother Louis played bass and his last brother Philippe plays guitar too. Michel was born with osteogenesis imperfecta, which is a genetic disease that causes brittle bones and in his case short stature. It is also often linked to pulmonary ailments. In his early career his father and brother occasionally carried him, literally, because he could not walk far on his own unaided. In certain respects though he considered it an advantage as he got rid of distractions, like sports, that other boys tended to become involved in.
At an early age he became an enthusiast of Duke Ellington and wished to become a pianist like him. Although he trained for years as a classical pianist, jazz remained his main interest. He gave his first professional concert at the age of 13. At this point of his life he was still quite fragile and had to be carried to and from the piano. His size meant that he required aids to reach the piano's pedals, but his hands were average in length. This had its advantages, however: at the beginning of his career Petrucciani's manager would often smuggle him into hotel rooms in a suitcase in a bid to save money. By the age of 18 he was part of a successful trio. He moved to the US in 1982, where he successfully encouraged Charles Lloyd to resume playing actively. On 22 February 1985, with Petrucciani cradled in his arms, Lloyd walked onto the stage at Town Hall in New York City and sat him on his piano stool for what would be an historic evening in jazz history: the filming of One Night with Blue Note. The film's director John Charles Jopson would later recall in the reissued liner notes that the moment moved him to tears. In 1986 Petrucciani recorded a live album with Wayne Shorter and Jim Hall. He also played with diverse figures in the US jazz scene including Dizzy Gillespie.
In 1994 he was granted a Légion d'honneur in Paris.
His own style was initially influenced by Bill Evans although some compare him to Keith Jarrett.
On the personal side he had three significant relationships. One of them was to the Italian pianist Gilda Buttà that ended in divorce. He fathered two children, one of whom inherited his condition. He also had a stepson named Rachid Roperch.
Michel Petrucciani died just after his 36th birthday from a pulmonary infection. He was interred in Le Père Lachaise Cemetery in Paris.
On 12 February 2009 the French music channel Mezzo broadcast a special event paying homage to Petrucciani ten years after his death.
The first two American albums featuring Michel Petrucciani were produced by Gabreal Franklin. The first, 100 Hearts, a solo album, was produced at the famous RCA Studio A, on the Avenue of the Americas in New York City. The second was a trio album, recorded live at Max Gordon's old Village Vanguard club in New York City. These were among the first albums to use newly developed digital recording technology, on Mitsubishi X80 recorders, so early on that the only manuals available were in Japanese; but Franklin and Tom Arrison managed to get them to function by trial and error, and produced excellent results.
for Petrucciani's discography and more, please visit: http://en.wikipedia.org/wiki/Michel_Petrucciani
Michel Petrucciani (28 December 1962, Orange, Vaucluse, France – 6 January 1999, New York City, USA) was a French jazz pianist.
Biography
Michel Petrucciani came from an Italo-French family with a musical background. His father Tony played guitar, his brother Louis played bass and his last brother Philippe plays guitar too. Michel was born with osteogenesis imperfecta, which is a genetic disease that causes brittle bones and in his case short stature. It is also often linked to pulmonary ailments. In his early career his father and brother occasionally carried him, literally, because he could not walk far on his own unaided. In certain respects though he considered it an advantage as he got rid of distractions, like sports, that other boys tended to become involved in.
At an early age he became an enthusiast of Duke Ellington and wished to become a pianist like him. Although he trained for years as a classical pianist, jazz remained his main interest. He gave his first professional concert at the age of 13. At this point of his life he was still quite fragile and had to be carried to and from the piano. His size meant that he required aids to reach the piano's pedals, but his hands were average in length. This had its advantages, however: at the beginning of his career Petrucciani's manager would often smuggle him into hotel rooms in a suitcase in a bid to save money. By the age of 18 he was part of a successful trio. He moved to the US in 1982, where he successfully encouraged Charles Lloyd to resume playing actively. On 22 February 1985, with Petrucciani cradled in his arms, Lloyd walked onto the stage at Town Hall in New York City and sat him on his piano stool for what would be an historic evening in jazz history: the filming of One Night with Blue Note. The film's director John Charles Jopson would later recall in the reissued liner notes that the moment moved him to tears. In 1986 Petrucciani recorded a live album with Wayne Shorter and Jim Hall. He also played with diverse figures in the US jazz scene including Dizzy Gillespie.
In 1994 he was granted a Légion d'honneur in Paris.
His own style was initially influenced by Bill Evans although some compare him to Keith Jarrett.
On the personal side he had three significant relationships. One of them was to the Italian pianist Gilda Buttà that ended in divorce. He fathered two children, one of whom inherited his condition. He also had a stepson named Rachid Roperch.
Michel Petrucciani died just after his 36th birthday from a pulmonary infection. He was interred in Le Père Lachaise Cemetery in Paris.
On 12 February 2009 the French music channel Mezzo broadcast a special event paying homage to Petrucciani ten years after his death.
The first two American albums featuring Michel Petrucciani were produced by Gabreal Franklin. The first, 100 Hearts, a solo album, was produced at the famous RCA Studio A, on the Avenue of the Americas in New York City. The second was a trio album, recorded live at Max Gordon's old Village Vanguard club in New York City. These were among the first albums to use newly developed digital recording technology, on Mitsubishi X80 recorders, so early on that the only manuals available were in Japanese; but Franklin and Tom Arrison managed to get them to function by trial and error, and produced excellent results.
for Petrucciani's discography and more, please visit: http://en.wikipedia.org/wiki/Michel_Petrucciani
Recorded at Centre Musical Bosendorfer, Paris; on May 25, 1982.
Recording Engineer: Jean-Martial Golaz
Liner Notes by Alain Gerber (Jazz Magazine)
Remastered for reissue at Universal Music Studio, France.
Engineer: Jean-Marie Guerin
Prepared for release by Pascal Bod
Art Direction and Design by Bernard Amiard
Photography by Edouard Boubat
Liner Photography by Christian Rose
Produced by Jean-Jacques Pussiau
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 22. January 2010, 19:38
Michel Petrucciani & Lee Konitz / Toot Sweet
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EAC extraction logfile from 22. January 2010, 19:38
Michel Petrucciani & Lee Konitz / Toot Sweet
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Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:43.70 | 0 | 21294
2 | 4:43.70 | 5:03.07 | 21295 | 44026
3 | 9:47.02 | 16:00.33 | 44027 | 116059
4 | 25:47.35 | 15:35.02 | 116060 | 186186
5 | 41:22.37 | 4:46.70 | 186187 | 207706
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Lee Konitz & Michel Petrucciani - Toot Sweet (2005)
(flac links are interchangeable, mp3@320 = single link)