LENNIE TRISTANO LINE UP PDF

Tristano, who became totally blind as a child, began playing piano in taverns at age Mus, and was a noted performer and teacher before moving to New York City in There his advanced concepts of improvisation and of harmony soon brought him dedicated followers, most notably saxophonists Lee Konitz and Warne Marsh and guitarist Billy Bauer. In Tristano opened a school of jazz, which he ran until , after which he spent most of his time teaching privately. He performed and recorded rarely; his last public appearance in the United States was in

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Reality is not so simple, however. Lennie Tristano is one of those who have not yet received their critical due. Tristano brought to the music of Charlie Parker and Bud Powell a harmonic language that adapted the practices of contemporary classical music; his use of polytonal effects in tunes like "Out on a Limb" was almost Stravinsky -esque, and his extensive use of counterpoint was whether or not he was conscious of it at the time in keeping with the trends being set in mid-century art music.

Until relatively recently, it had seldom been acknowledged that Tristano had been the first to perform and record a type of music that came to be called "free jazz. The two cuts, "Intuition" and "Digression," were created spontaneously, without any pre-ordained reference to time, tonality, or melody.

It influenced, among others, Charles Mingus , whose earliest records sound eerily similar to those of Tristano in terms of style and compositional technique. Tristano was stricken permanently blind as an infant. He first studied music with his mother, an avocational pianist and opera singer. From , he attended a school for the blind in Chicago, where he learned music theory and developed proficiency on several wind instruments.

In , Tristano moved to New York, where he made something of a big splash, performing with many of the leading musicians of the day, including Dizzy Gillespie and Charlie Parker. Tenor saxophonist Warne Marsh began studies with Tristano in , and when Bauer and Konitz came back aboard, he had the core of his great sextet.

The recordings synthesized the Tristano approach: long, rhythmically and harmonically elaborate melodies were played over a smooth, almost uninflected swing time maintained by the bassist and drummer. The complexity of his constructs demanded that his rhythm section provide little more than a solid foundation.

In , Tristano founded a school of jazz in New York, the first of its kind. Its faculty consisted of many of his most prominent students, including Konitz , Bauer , Marsh , and pianist Sal Mosca. His public performances became fewer and farther between; for the rest of his life, Tristano was to concentrate on teaching, mostly to the exclusion of everything else.

He shut down his school in , and began teaching out of his home on Long Island. Recordings became scarce. He toured Europe in ; his last public performance in the U.

Until his death in , Tristano continued to teach. A later generation of his adherents continues to work and thrive in New York to this day.

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Reality is not so simple, however. Lennie Tristano is one of those who have not yet received their critical due. Tristano brought to the music of Charlie Parker and Bud Powell a harmonic language that adapted the practices of contemporary classical music; his use of polytonal effects in tunes like "Out on a Limb" was almost Stravinsky -esque, and his extensive use of counterpoint was whether or not he was conscious of it at the time in keeping with the trends being set in mid-century art music. Until relatively recently, it had seldom been acknowledged that Tristano had been the first to perform and record a type of music that came to be called "free jazz. The two cuts, "Intuition" and "Digression," were created spontaneously, without any pre-ordained reference to time, tonality, or melody. It influenced, among others, Charles Mingus , whose earliest records sound eerily similar to those of Tristano in terms of style and compositional technique. Tristano was stricken permanently blind as an infant.

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Though Tristano was regarded as a stellar and innovative bebop pianist, he had been absent from recording for six years and had founded a jazz school where he focused instead on teaching. The reason was that on those four original tunes -- "Line Up," "Requiem," "Turkish Mambo," and "East Thirty-Second" -- Tristano actually overdubbed piano lines, and sped the tape up and down for effect. While the effect is quite listenable and only jarring in the most splendid sense of the word -- because of the sharp, angular arpeggios and the knotty, involved method of improvising that came directly by improvising against the rhythm section of drummer Jeff Morton and bassist Peter Ind -- it was literally unheard of at the time. The last five tunes on the disc were recorded live with a rhythm section of bassist Gene Ramey and drummer Art Taylor. Lee Konitz plays alto as well. This is a gorgeous album with a beautiful juxtaposition between its first and second halves, with the rhythmic and intervallic genius of Tristano as an improviser on full display during the first half and the pianist as a supreme lyrical and swinging harmonist during the back half. Track Listing.

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Lennie Tristano

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