1947!!! So different and complex harmonically that even today, to most pianists, it sounds like he was combining notes that aren't even on the piano!:

http://www.amazon.com/Supersonic-Album-V...44670&sr=102-15

Lennie's version of "What is this thing called love" with Billy Bauer on guitar.
If you notice, Lennie's scatting the top note of every aggregate.

http://www.amazon.com/East-Thirty-Second...02445505&sr=1-5

True, horn-like phrasing on a piano. Each note has it's own dynamic and duration giving the stretches incredible amounts of forward propulsion without having to resort to "swinging" the eights.

This is what I've been talking about Disciple. Relying on accents rather than the triplet feel. I'm going to point this out to our jazz study group.

That was the major dividing line between Tristano ("cool" jazz) and most jazz players out of the Dizzy/Parker school. Many called Lennie and his crew's playing "too cerebral", or cool and unemotive.
I've explained it before, but to synopsize, Lennie could create the same type of drive and propulsion on his lines without resorting to common jazz triplet swing (more properly, eights notes played with a push, or shuffle, like eighth note trips with the first two tied).

Lennie could acheive the same kind, and transcend that type of METRIC propulsion (swing) with DYNAMICS, the phrasing of his lines. The relationship between the dynamic attack and duration of each note within his lines, causing certain notes to "pop" out from within the macro framework of stretches of sometimes up to 500 notes!
A dynamic profile of one of his lines, say a 25 note line, may look like this (where each note is represented dynamically between a number 1-10, 1 being ppp, and 10 being Sfffz):

3-3-7-3-1-5-10-5-10-3-3-3-1-10-, etc., etc.

Lennie also could create metric subgroups thusly:

10-5-5-10-5-5-10-5-5-10-5-5, etc.

giving a line a THREE feel, even though straight eights in 4/4 time were being played!

or:

10-5-5-5-10-5-10-5-5-5-10-5-10-5-5-5-5 which gives a feeling of playing in 3 while perfectly following the quarters of 4/4 time.

These principles are exactly what's in play on the 317 E 32nd link I posted, and this one:

http://www.amazon.com/Line-Up-LP-Version...56851&sr=102-12

thanks for posting these links. great stuff!

Thanks again, excellent!

I like "Lennie Tristano / The New Tristano".
Are there transcriptions of the solos on that album? I would like to do some analysis of it.

I've done them all. I use 317 E. 32nd Street and Line up with my students on occassion. I'll scan them and post the links.

That would be marvelous and most appreciated. Perhaps you might even share some of your analysis for some parts of the solo.

Here is a youtube video of "317 E 32nd"

http://youtube.com/watch?v=cByCF2IQQWU&feature=related