Interviews with Lee Konitz

[Ian Thumwood]

Wondered if anyone had read the andy Hamlton book of interviews with Lee Konitz ?

http://www.amazon.co.uk/Lee-Konitz-C...2665853&sr=1-1

For my money, this is quite simply the best book I hae ever read about the art of improvisation and Konitz is a thought provoking subject with extremely hugh standards and probably the greatest appreciation of what true improvisation is about in the world of jazz. As essential and fascnating as anyhting written by the late Derek Bailey. Several musicians are singled out for praise (most notably Warne Marsh) but equally Konitz tackles various figures who he feels rely on stock phrases and asks some fascinating questions about musicians you employ stock phrases or licks. The main culprit singled out by Konitz is James Moody and he raises some keen observations with regard to how much actually improvisation these kind of players use. He does not slate Moody but identifies him as having an approach 180 degrees different from him one. The chapter about Anthony Braxton is worth the price of the book alone. Don't think I can ever recall a considered and analytical put down of one jazz musician by another. Konitz was clearly offended by Braxton's "hommage" to Lennie Tristano and Hamilton allows Konitz room to expand his negative remarks in "Wire" magazine which obviously illustrate the older musician's critique that Braxton is a charlatan. Comments like changing to rules of music to suit the ability of his playing and his failure to understand what exactly Tristano's approach to improvisation was about abound. Fascinating reading which, having listened to a bit of Braxton on Youtube durig the summer, suggested that maybe I had started to be hoodwinked by Braxton too. Well worth reading , in my opinion.
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[aka Calum Da Jazbo]

that link does not seeem to work for me so here is an alternative

http://books.google.co.uk/books?id=p...page&q&f=false:

it looks a most interesting book all round Ian

[Ian Thumwood]

Calum

Yes, that is the book.

Here is a review:-

http://www.allaboutjazz.com/php/article.php?id=29580

Nothing dry about this book nor too intellectual either. The whole thing was extremely readable and throws up some interesting comments. The whole perspective Konitz has on improvisation is very well considered and, quite frankly, extremely difficult to argue against. Reading this book, it is hard to think of any other jazz musician who considers all the facets that make up improvisation that anyone else and particularly of his generation. He makes some very interesting judgements on the playing of some pretty "heavy gun" players such as Sonny Rollins and Charlie Parker and there is a lot about Martial Solal too that you will particularly find fascinating although I was staggered that Konitz' conclusion about the oianist with whom he has worked almost exactly mirror my impression whenever I have seen him play. (I.e. Great musical mind but there is a disjointed approach to his improvisation and esepcially composition which makes it sound episodal and not entirely successful.) What is great about this book is that Konitz does not savage the approach of other improvisors (except in the case of Braxton which effectively destructs his playing) but skillfully considers just how they might rely on licks, repeat phrases or even approach the construction of a solo.

Part of the book includes probing questions about the likes of Tristano, Thornhill, etc and the alto player's satisfaction or otherwise with earlier recordings. I finished reading this book with the impression that Konitz is clearly one of the very greatest jazz musicians of all times. Having been a fan of his work , it was brilliant to read a book by someone who wasn't improvising by numbers and approached improvisation with the kind of dedication and analytical mind usually only associated with composers. Difficult not to come away from this book very much liking his personality and according his a tremendous amount of respect. I would unreservedly recommend this book if you are interested in just how a jazz musician really "works."

[Tenor Freak]

Wow, someone in the know who agrees with me that Braxton, for all his positives, murders standards.

Sounds like a book well worth checking out (I'm reading the intro at the mo on Google Books)

[charles t]

Observe, please, the quote from Konitz on this cd cover:

[charles t]

"Fascinating reading which, having listened to a bit of Braxton on Youtube durig the summer, suggested that maybe I had started to be hoodwinked by Braxton too. Well worth reading , in my opinion." [member: Ian T]

holy moly godzooks himmel der got, Ian! Such speculation would have gotten thee pilloried on R3 Bored!

Without mentioning names...they know who there are/were.

I'll never forget at Orchestra Hall, Chicago, seeing Konitz, Warne Marsh, and the pailest musician I had ever witnessed - Tristano (indoor living), taking the stage.

And improvising on Yesterdays that literally froze my blood...'coolness' up into the stratosphere!

[charles t]

'pale' as in A Whiter Shade Of Pale...

[Serial_Apologist]

Hmm. Then Konitz isn't the only one who doesn't think much of Braxton's playing. I could name a certain English saxophonist but won't, who considers Braxton to lack the basics necessary to make a great player, though he acknowledged certain interesting tongueing techniques - though Braxton acknowledges somewhere he got these techniques from Evan Parker, if I'm not mistaken. But did Ornette (or quite a few acknowledged free jazz greats) have the basics? I didn't go into this in any depth with said musician, but I gathered he was talking about more than "just" the blues.

IIRC Konitz is alongside Braxton on one or two of those 70s Incus/Company recordings.

S-A

[Ian Thumwood]

Bruce / Charles / SA

The point is that Konitz doesn't seem to appreciate any Braxton. I have started to check his work out and have listened to a fair few clips on Youtube. The best thing, by a long chalk, was an ensemble led by Taylor Ho Bynum which played a Braxton piece that sounded very much like some Charles Ives insofar that is resembled a 1920's jazz band that all of a sudden went haywire.

The contribution of the likes of Joe Lovano in the forward is also informative. I think it is worth bearing in mind that Konitz is making some fascinating judgements about a very high quality of jazz. He is not so positive about Rollins or Parker as you might have expected but if you have digested the mechanics of improvisation as fully a Konitz, I feel that he is probably best placed to be judgemental. There is a lot of good and fascinating information in this book without it being too highbrow.

[Tenor Freak]

Not having listened to all of Prof. Braxton's music, merely a sample (and not just New York Fall 1974 in case anyone asks) I can only state my opinion that he's very good at his own composed works but he isn't sympathetic to playing standards or indeed "inside" music. I have his Tristano album somewhere but it's not one I enjoy much. I can see that Konitz would cop some flak from certain quarters for saying what he does, but he has the advantage of having been right at the source for that music and having spent a life living on his wits as an improvising musician.

What does he have to say about Sonny? And what does Wayne have to say about Lee?

[Tenor Freak]

WNUR is playing Lee playing "Subconscious-Lee" right now.

[charles t]

Ian: Should've combined this thread into my previous Christmas gift thread. I have ordered Conversations via the River.

Have a cool yule.