http://www.amazon.com/All-Things-You-Are...443270&sr=102-2

Lee Konitz. One of the best, and of the more famous Tristano students. His lines are as cool as liquid nitrogen! And all diatonically based.

During the entire solo, of which a small sample is linked above, Lee's stretches maintain a tremendous motivic unity by anticipating the following sets of chord changes, while still playing over the changes that started his phrases!

http://members.aol.com/virtuosic1/music/KonitzATTpg1

http://members.aol.com/virtuosic1/music/KonitzATTpg2

http://members.aol.com/virtuosic1/music/KonitzATTpg3

http://members.aol.com/virtuosic1/music/KonitzATTpg4

solo starts 4 bars before solo chorus (1).

I included the rest of this incredible solo.

Hi Disciple
This is well out of my somewhat underdeveloped envelope of harmonic comfort, so "Lee's stretches" will stretch me.. but supplying the dots will give me a chance to try to make sense of it for myself, so thankyou very much for this!!!

That's great!! Studying the lines de-mystifies them and when you view each set of coming changes and tone centers, it's very obvious what type of improvisatory vehicle Lee is developing material and guiding his lines through. At times, it sounds like he's playing lines unrelated to the current chords, and that's partially true. What he's doing is using BAR-LINE-removed motivic development by devloping his motives frst in the current key, and modulating their development through the coming changes. Then, when the changes catch up to his developing stretch, each phrase ending is powerfully, cohesively diatonic and sound makes perfect sense melodically!

Of course, Leee isn't THINKING about doing this while he's playing. If he was, the technique wouldn't work so well. This is just the way Lee hears, an offshoot of Lennie Tristano's zone, and we can look at it and analyze it AFTER the fact.

Great transcriptions on a classic set of changes, thanks!

Note:

Firefox browser does not recognize the file types without extension (.jpg for example). The files will open with the Internet Explorer browser.

ditto, rintincop....?

It works fine for me - the sheets open as a picture in a new IE window. If you are using a different browser that might cause a problem - or it might be the IE version or settings. Not expert enough to help much more, I am afraid.
Tom

The author of that website didn't put "jpg" at the end of the file names. Some browsers will figure it out anyway, which is why some can see it. To fix, right click on the link and "save target as" (Internet Explorer) to your hard drive, then add the file extension to the name, then view.

Got it. Thanks. From now on, when I upload, I'll be sure to add the jpg. extension.

What a great service you provide here Disciple.

This will be a long term project for me to study this closely. Thank you for sharing this.

I presume this version is on Itunes (hopefully).

You're very welcome. Glad to share these things with you.

Don't really know about itunes. I found the sample on Amazon. The song can be bought from that first amazon link I posted for 99 cents.

That's the best cut on the album becasue Mulligan and the crew basically sit it out once they hear what's coming from Lee and let him blow for as long as he wants, Thank God!

Each phrase is an incredible gem, their total sequential combination far exceeding the sum of the added lines themselves. True INSTANT COMPOSITION. The beauty of that solo as a teaching device is that everything is so crystal clear, Lee's intentions very obvious in crafting each line. With each passing phrase, the astute listener feels, "of course.. how logical and cool!".

It's the perfect solo to study and SCAT, becasue it's not only rich in linear/harmonic diversity but each note, each SPACE/breath, has it's own unique spin and emulating it vocally, trying to capture the essence of each note's spin forming these phrases will build a rich, cool-school dialect in the player's mind with a huge carry-over affect to the individual's OWN playing.

I couldn't recommend a better piece to scat with, then play and scat with and try capturing the essence and subtle nuances of each note in relation to each other. Lee truly SINGS this solo through his horn. THIS is what pianists should aim for when improvising their lines.

The notes are important, but capturing the dialect, and SINGING your solo through your fingers is paramount to jazz. That's why Lennie sounded like THIS at the apex of his craft!:

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

http://www.amazon.com/Line-Up-LP-Version...612642&sr=102-1

http://youtube.com/watch?v=GE_Tjcphzuo

Great Konitz video. No wasted notes. No FILLER (no sequential, repetitive prolongation devices). INCREDIBLE use of space and cool as ice!

An even BETTER Warne Marsh solo. Warne is the pinnacle of the Tristano school. Literally, Lennie on a tenor. Not a copy, but everything Lennie expounded about improvising, Warne DOES! Bar lines, time, mean nothing to Warne. His stretches transcend these boundaries and yet, his lines are always locked right on!

Disciple, if you add the .jpg extension to the files and then everybody can open them.

For example, the Firefox browser does not recognize the file types without an extension. On the eother hand, the files will open if using the Internet Explorer browser without .jpg extensions.

Disciple, the Bb block chord progression you posted a while ago, is it your own or is it a Tristano transcription? Here it is again:

http://members.aol.com/virtuosic1/music/bflatchordprogression

That's Lennie. On my Youtube video, that's in my version at 1:52 to 2:00 although I play it with a few more notes added to many of the aggregates and usually quite a bit faster than Lennie improvised it.

I was getting ready to post the links to the 317 e 32nd st solo but unfortunately, I'm done here because of DNephi:

http://www.pianoworld.com/ubb/cgi-bin/ultimatebb.cgi?/topic/2/17070/2.html

The thread and his continued accusations that I digitalize everything and can't really play the piano are just too aggravating. Take care guys! Keep learning and growing.

-Out

Damn, that's brilliant! I've never really examined Konitz' playing before.

I haven't quite figured out the trick... It's actually difficult to follow the transcription while listening because my ear keeps pulling me ahead to the changes that I'm hearing! Anyway, thanks for this bit of stimulus and inspiration. I get complacent in my musicianship, living as I do in a jazz backwater.

As for that other thread: you've either got to stop feeding the trolls, or stop giving a damn what they say From your vids and posts it's clear that you are a bad mf on the piano. You should remain assured of that within yourself, and not let insults by random internet kids get to you.

Disciple. Please don't let pompous blowhards discourage you from posting. Although I'm a musical infant, I find your posts inspiring and educational in that they help me appreciate how little I know.

There are, unfortunately complacent arrogant types all over this forum who post banal, self-congratulatory tripe that rehashes received wisdom and is hostile to creative thought.

Stick around! Listen to the people you're teaching, not to the mediocrities you're intimidating.

Yeah disciple...
Dont go because...
1 you are as old as me and I need all the contemporary support I can get:-)
2 I am not a bad pianist, but I have already found stuff i can learn from or through you
3 You (like me) have stuff on youtube.. so others can form their own opinion.. some people here have not taken that chance.. judge not lest...
4 You should never be driven from what you enjoy by others
5 Your posts are interesting.. that is true whether you can play the waldstein at 4387 bpm or baa baa black sheep at 3 bpm..
but I have seen your video.. so I know..

Disciple,
Don't leave because...

1) It is obvious that you achieved the level at which you play by not retreating from adversity.
Why should this be any different?

2) I dig Lennie.

fingers

That was shameful how others treated Disciple in the threads. I did not know that was going on or I would have tried to stand up for him. Disciple is perhaps the finest pianist on this forum that I have encountered and undeniably a great master of the instrument. I can imagine how badly I would feel if all that contempt had been thrown at me. Disciple was a great source of information and always willing to help. He actually helped me modify my technique. His knowledge was quite valuable. Why do people like that always need to try to tear down those who are great?