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| Lee Konitz: Conversations on the Improviser's Art (Jazz Perspectives) | 
 enlarge | Author: Andy Hamilton
Creator: Joe Lovano
Publisher: University of Michigan Press
Category: Book
List Price: $24.95
Buy New: $16.64
You Save: $8.31 (33%)
Buy New/Used from $16.64
Avg. Customer Rating:  (9 reviews)
Sales Rank: 603394
Languages: English (Original Language), English (Unknown), English (Published)
Media: Paperback
Number Of Items: 1
Pages: 320
Shipping Weight (lbs): 2.4
Dimensions (in): 9.2 x 6.1 x 0.9
ISBN: 0472032178
Dewey Decimal Number: 788.73165092
EAN: 9780472032174
ASIN: 0472032178
Publication Date: August 8, 2007
Availability: Usually ships in 1-2 business days
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| Editorial Reviews:
Product Description
DIVP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"?Meticulously researched, detailed and documented, this long awaited overview justly establishes Konitz as one of the most consistently brilliant, adventurous and original improvisers in the jazz tradition?a genius as rare as Bird himself.?/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"?John Zorn/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"?Hamilton?s work may well mark the inception of a format new to writing on Western music, one which avoids both the self-aggrandizing of autobiography and the stylized subjectification of biography.?/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"?IThe Wire/I/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"?An extraordinary approach to a biography, with the man himself speaking for extended sessions. The main vibration I felt from Lee?s words was total honesty, almost to a fault. Konitz shows himself to be an acute observer of the scene, full of wisdom and deep musical insights, relevant to any historical period regardless of style. The asides by noted musicians are beautifully woven throughout the pages. I couldn?t put the book down?it is the definition of a living history.?/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"?David Liebman/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"The preeminent altoist associated with the ?cool? school of jazz, Lee Konitz was one of the few saxophonists of his generation to forge a unique sound independent of the influence of Charlie Parker. In the late 1940s, Konitz began his career with the Claude Thornhill band, during which time he came into contact with Miles Davis, with whom he would later work on the legendary IBirth of the Cool/I sessions. Konitz is perhaps best known through his association with Lennie Tristano, under whose influence much of his sound evolved, and for his work with Stan Kenton and Warne Marsh. His recordings have ranged from cool bop to experimental improvisation and have appeared on such labels as Prestige, Atlantic, Verve, and Polydor./PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"U/U/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"Crafted out of numerous interviews between the author and his subject, the book offers a unique look at the story of Lee Konitz?s life and music, detailing Konitz?s own insights into his musical education and his experiences with such figures as Miles Davis, Stan Kenton, Warne Marsh, Lennie Tristano, Charles Mingus, Bud Powell, and Bill Evans./PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"Andy Hamilton is a jazz pianist and contributor to major jazz and contemporary music magazines. He teaches philosophy, and the history and aesthetics of jazz, at Durham University in the United Kingdom. He is also the author of the book IAesthetics and Music/I (Continuum 2007). /PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"/PP style="MARGIN: 0in 0in 0pt; LINE-HEIGHT: 150%"Joe Lovano is a Grammy Award?winning tenor saxophonist. His most recent album is IStreams of Expression/I./P/DIV
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| Customer Reviews: Read 4 more reviews...
Unique jazz literature December 31, 2008
This was a fascinating read on so many levels. The unique format (short interviews with various musicians - from Sonny Rollins, to Ornette, to Bill Frisell and Wayne - along with conversation format interveiws with Konitz himself, regular bio info, transcriptions, lead sheets of orginals, etc..) was really effective, it really works! I haven't read a book on jazz, or a jazz musician, anything like this. br /br /Reading Lee's philosophy and thoughts on the art form, how he sees himself as an artist, his musical ideals and goals, his personal experiences, and also some of the fairly controversial views he holds...amazing food for thought. Fascinating insight into an often underrated genius and incredible innovator. br /br /Highly recommended!
All about Konitz June 4, 2008
1 out of 1 found this review helpful
At the end of this book, author Andy Hamilton reassures Konitz that it will become a classic of jazz literature. I guess Hamilton was speaking at least half tongue-in-cheek, but, for what it's worth, I also think he's probably right. br /br /As it's been said elsewhere, the author's editorial prowess is phenomenal, and the proof is that the book is extremely easy to read, while, at the same time, it is packed with information and insight. Hamilton has also been able to engage Konitz in some interesting discussions, like his views on several musicians - Anthony Braxton, most memorably - or his assessment of his own playing, and on the actual physical and psychological aspects of the process of improvising music.br /br /This is pretty close to my ideal book on a jazz musician, where the subject has the chance to tell his story while speaking freely to a knowledgeable counterpart.br /br /Highly recommended.
Clarity and Revelation in this great book April 21, 2008
1 out of 1 found this review helpful
I found this book to be one of the most clear, informative and honest books in jazz literature that I have ever read.br /Lee comes across as a candid, humble man, a servant to his art. br /Through the conversational and well researched style that the writer Andy Hamilton adopts, Lee Konitz offers many realistic, straightforward insights into his life and study: and the lives of those around him.br /As a jazz musician myself, this book opens many doors of perception. br /It cuts through the myth and hyperbole that often surround the lives of the truly great ones in this wonderful artform.br /Highly recommended!br /
Talkative Lee April 19, 2008
3 out of 3 found this review helpful
In this book of lively conversations on the improviser's art, Lee Konitz talks about all aspects of his music, from his beginnings (as a student of the clarinet, during the late 1930s) to the early years of the new century, and he does so with great candour. There's lots about the Cool School of playing and Konitz's musical mentor, the blind pianist Lennie Tristano. Tristano's music ran on a parallel track to bebop, but because it wasn't such a hot, sweaty affair it's been dismissed as a pallid version of the real thing, cerebral and abstract, disconnected from feelings, a music to be analysed by beard-strokers rather than enjoyed by foot-tappers. Konitz dismisses these false distinctions and emphasises both the vitality and originality of Tristano's music - points supported by several musician-contributors to the book.br /br /The criticisms and comments that Konitz offers are frank, thoughtful and well-argued. Several of the chapters cover specific decades in his career. Others include: Formative Influences; Working with Tristano; Early Collaborators; The Art of Improvisation; The Instrument; The Material. Embedded within each of the chapters is a series of brief interviews with musicians, most of whom have worked on the bandstand with Konitz or recorded with him, including John Zorn, Phil Woods, Mike Zwerin, George Russell, Clare Fischer, Sal Mosca, Alan Broadbent, Sonny Rollins, Rufus Reid, Ornette Coleman, Harold Danko, Wayne Shorter, Paul Bley, John Tchicai, Greg Osby, Martial Solal and Evan Parker. Although this is fundamentally a book of interviews, Andy Hamilton provides scene-setting introductions to each of the chapters, explanatory links between subsections, and brief comments that help the reader better to contextualise the interview material. His contributions are considerable, but they're done with such a light touch the attention remains firmly on Konitz throughout.br /br /Although Konitz broke with the Tristano school, Tristano's foremost `disciple', tenor saxophonist Warne Marsh, remained in a strong creative partnership with him until the late 1970s. Marsh is undoubtedly the saxophonist whom Konitz admires most, and Konitz's aesthetic, sound and approach to improvisation owe perhaps more to Marsh than any other player. He contrasts Marsh's approach with that of several other major players, including Charlie Parker and John Coltrane, whose solos relied to some degree on pre-prepared material. Throughout the book, there's much useful discussion about the philosophy of music-making.br /br /Konitz is a great talker, with lots of interesting things to say about his own music and the music of Marsh, Tristano, Ornette Coleman, Miles Davis, Gil Evans, Parker, Coltrane, Charles Mingus and a host of others, and the book is peppered with valuable comments about `the jazz life'.br /
A Jazz essay at his best February 13, 2008
1 out of 1 found this review helpful
This is clearly one of the best books about jazz I ever red. I'd put it next to P.Pettinger's "How My Heart Sings", J Szwed's "Space Is The Place" or E.Jost's "Free Jazz". br /Pretty differently, here author chooses an original, extensive interview format, augmented by short essays written with the complete approval -and corrections, is said- of Mr.Konitz himself. Many great insight and analisys of this great, epocal musician are offered for a good work of comprehension of the complexity of Lee Konitz music and his belonging to jazz tendencies such Cool Jazz and Tristano's and others, his relations to many major jazz figures.
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