The Virginian-Pilot
Robert C. Smith – 04/15/1956
Re-recordings of Imperfect Jazz Recordings are Imperative for Modernist Afficionados

The program devoted to re-mastering early and imperfect LPs on the more substantial and higher-fi 12-inch discs moves apace in key jazz companies.

None of the modern jazz companies has a more valuable library for these purposes than Prestige. Two of the company’s latest releases – Lee Konitz with Tristano, Marsh, and Bauer and Mulligan plays Mulligan – touch some of the finest chords in the contemporary tradition.

The historic Konitz session with Lenny Tristano, including Progression and Judy, cut January 11, 1949, the later date with Warne Marsh on June 28 of the same year, and the Rebecca and Palo Alto session with Billy Bauer April 7, 1950, are all included. Rudy Van Gelder’s brilliant re-mastering goes a long way toward bringing out live sound in releases which originally were recorded on noisy services. This LP is a must for anyone who values the experimental end of modern jazz. The Mulligan, also treated to the Van Gelder technique, consists of an Aug. 27, 1951, date in which Gerry blew with Allen Eager, George Wallington and others. One side is a long Mulligan-Eager duel, Mulligan’s Too, while the other includes FunhouseKaper, and others. It is interesting to hear Mulligan’s rougher, less melodically formed baritone driving solidly in this early session.

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Liner Notes by Ira Gitler

Of the Lennie Tristano “school” of music, which predated the Lennie Tristano School of Music, Lee Konitz is the outstanding “pupil.” Naturally Lennie’s music had a great influence on Lee. Other influences are lesser and have been more completely absorbed in to the mainstream of his playing. For instance, in his rhythmic figures you can hear Charlie Parker (Bird left very few untouched and unmoved,) but whatever sources Lee has drawn on have been integrated beautifully into his personal expression. His style and sound are both highly personal. The point of excellence as an individual voice is a signal triumph for any artist.

The three sessions in this LP show Lee off in many different ways with quintet, quartet and duo. The interplay with Tristano, duetting with Billy Bauer and unisons and exchanges with Warne Marsh are all self-illuminating examples of Lee’s early work in this graphic collection of Konitz.

Incidentally, the Subconscious-Lee session not only launched Lee’s career but was the first recording date of this company. New Jazz was then the label.