Lee Konitz: Conversations on the Improviser's Art (Jazz Perspectives) [Paperback] Review

I am, briefly (on pages 164-5), a contributor to his book -- the author interviewed me several years ago about my feelings about Konitz, a longtime favorite of mine -- but the comments that follow, which I sent in an e-mail to the author, Andy Hamilton,a month or more ago, are ones that I would have made even if I had played no role in this book other than the minor one I did:

"Got it [the book] the other day and devoured it. You and Lee did a superb job, and as someone who used to be a journalist, I don't underestimate your contribution in terms of sound and creative organization of material,consistent attentiveness, ability to get along with/stimulate Lee, ability to set up and conduct intelligent interviews with all those other people, etc. I'm pretty sure there's no other book like it in jazz, and while some of that has to do with Lee's willingness to talk about things as much as and in the ways that he does, without your hard work and imagination and good heart, we wouldn't have this. Many thanks."

Larry Kart
Author of "Jazz In Search of Itself" (Yale University Press)

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"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."-John Zorn"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."-The Wire"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."-David LiebmanThe 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 Birth of the Cool 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.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.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 Aesthetics and Music (Continuum 2007). Joe Lovano is a Grammy Award-winning tenor saxophonist. His most recent album is Streams of Expression.



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Lennie Tristano: His Life in Music (Jazz Perspectives) [Hardcover] Review

It is unfortunate that a scholarly treatment of Tristano in book-length form has not appeared until now.Thankfully, the author's decade plus study on Tristano provides, for the most part, a thorough treatment of one of jazz's most enigmatic figures.A word of caution, though: This is not a biography, despite what one of the blurb-writers states.Shim accurately subtitles her work "His Life in Music."Thus the reader should keep in mind two important results of this focus.First, there really is not much depth to Tristano's personal life.There is definitely information that the average reader (like me) would not have come across before.But do not count on coming away from Shim's book feeling like you knew the real man--like, say, in Donald Maggin's "Stan Getz: A Life in Jazz."And that may be a good thing, as I remember having a difficult time ever listening to Getz in the same light after reading about his horrid personal life, especially the way he mistreated his wives.
The second result of Shim's focus is that she disproportionately dwells on serious musical perspectives regarding Tristano.There are 50 pages of sheet music of various Tristano numbers, which is great if you can read music, but rather worthless if you cannot.Also, Shim writes for people schooled in the theory and practice of music.Here's an excerpt from page 185, where she is discussing "Line Up": "The passage in III:1-3, starting with A major and constructed sequentially in 6/4, is striking in that the first chord of the song form is harmonically displaced, betraying the expectation for the tonic chord."Well, sure.

Although I was disappointed in not learning more about Tristano's personal life, Shim does devote a good amount of space to addressing Tristano's chronic complaining at his lack of recognition, as well as his blunt critique of the racial politics involved in jazz.Shim aptly points out on page 116 that "Tristano attributed the problems of his career, including the lack of public recognition, mainly to external forces instead of acknowledging his own choices."Indeed he did.But I think an opportunity was missed here.Had Shim dug deeper into Tristano's personal life, she may have been able to answer the question of why Tristano eschewed public performances while complaining about not being recognized.Shim's treatment of the racial bias within jazz begins well, but she ultimately toes the politically correct line, giving a free pass to the blatantly racist statements of Miles Davis and Dizzie Gillespie.

Shim is at her best--at least for the average reader--in the way she assimilates the countless interviews into the narrative.It's interesting to read various musicians reflect on Tristano and his legacy.I especially enjoyed her treatment of Tristano's students.Most of them appeared to have remained individualistic enough, thus defying the criticism of a Tristano cult, but Warne Marsh is revealed as pathetically slavish in his reverence for Tristano, even going so far as to mimic his voice and movements.

Ultimately, this is an excellent book, despite the limitations any particular reader may have.Shim is a scholar, and the writing style and the focus she maintains on her subject demonstrate that.The real pity is that relatively few people, even in the jazz world, will likely take notice of Shim's work, and Tristano's legacy will continue to languish.

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“In Lennie Tristano: His Life in Music, Shim has provided a comprehensive biographical and analytical account of one of jazz's most important and most frequently misunderstood figures. Her insights into Tristano's personality are well nuanced, and the focus on his teaching makes a unique contribution to the history of jazz. This vividly written study is likely to become a standard work."
-Brian Priestley, author of Chasin' the Bird: The Life and Legacy of Charlie Parker and coauthor of The Rough Guide to Jazz“Eunmi Shim's book is clearly a labor of love. Her thorough examination of Tristano's teaching is particularly important, for no one previously has assembled the thoughts of so many former students. Her illuminating transcriptions of, and commentaries on, Tristano's solos are also valuable. Lennie Tristano is an important contribution to the literature on jazz."-Thomas Owens, author of Bebop: The Music and Its Players“Comprehensive, objective, and acute in its judgments, this is the biography of Lennie Tristano we have been waiting for."-Larry Kart, author of Jazz in Search of Itself

Lennie Tristano occupies a rare position not only in jazz history but in the history of twentieth-century music. Emerging from an era when modernism was the guiding principle in art, Tristano explored musical avenues that were avant-garde even by modernism's experimental standards. In so doing, he tested and transcended the boundaries of jazz.In 1949, years before musicians such as Ornette Coleman and Cecil Taylor took credit for the movement, Tristano made the first recordings of “free jazz," a new kind of group improvisation based on spontaneous interaction among band members without any regard for predetermined form, harmony, or rhythm. Then, in the 1950s, Tristano broke new ground by his use of multitracking.Tristano was also a pioneer in the teaching of jazz, devoting the latter part of his career almost exclusively to music instruction. He founded a jazz school-the first of its kind-among whose students were saxophonists Warne Marsh and Lee Konitz, and pianist Sal Mosca.With its blend of oral history, archival research, and musical analysis, Lennie Tristano sheds new light on the important role Tristano played in the jazz world and introduces this often-overlooked musician to a new generation of jazz aficionados.Eunmi Shim received her Ph.D. in musicology from the University of Illinois at Urbana-Champaign and is now Assistant Professor of Music at Worcester Polytechnic Institute. This is her first book.



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