Características
Lee Konitz was one of the few alto players of the 1950s who did not sound like a cousin of Charlie Parker. The cool-voiced saxophonist always had a strong musical curiosity that drove him to keep taking risks and pushing himself - usually with success. Early on, he studied clarinet, switched to alto and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill & His Orchestra (1947). He began studying with Lennie Tristano, who had a great influence on his concept and approach to improvisation.
Konitz accompanied Miles Davis' Birth of the Cool Nonet during its only performance and Capitol recordings (1948-1950). He recorded with Lennie Tristano's innovative Sextet (1949), including the first two free improvisations ever documented. He was interested in finding his own way. In the early 1950s, he began to break away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit amazingly well with Stan Kenton & His Orchestra (1952-1954).
Side A
1. Favela
2. Recado Bossa Nova
3. Dindi
Side B
1. Brazilian Serenade
2. Wave
3. Once I Loved