"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."
"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."
"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."
The 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 largely independent of the influence of Charlie Parker. In the late 1940s, Konitz began his career with the Claude Thornhill band and came into contact with Miles Davis, with whom he worked 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.
Cover photo: Oskar C. Neubauer
"...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."
". . . a thoroughly absorbing read: a must-have for Konitz fans but highly recommended for anyone interested in jazz, the art of musical improvisation, and the creative process."
---Francis Lo Kee, All About Jazz
". . . a fascinating portrait of someone who has developed a distinctive, personal sound on his instrument and remained difficult to categorize. . . . Hamilton was clearly the right man to deal with this complex musician, long admired by fellow players and critics. . . "
"There is no more illuminating window into jazz history and aesthetics than the abundant jazz literature containing the first-person testimony of the musicians who created it. Andy Hamilton's [book] jumps to the top of the list."
"There is much useful and subtle discussion . . . peppered with fascinating critical insights. Konitz's voice turns out to be every bit as distinctive as his saxophone playing: once heard, never forgotten."
---Brian Marley, Signal To Noise
"When I saw an early draft of this book, I felt there might be a little too much of [the author] in here, but actually it is only right and proper that there is as much of him as there is. He prods and pushes Lee when he feels he isn't getting much of an answer, and he makes the conversations a genuine two-way discourse. . . . Several of [them] have a tussle to them which makes the book a page-turner. Yes, it's a classic of the literature."
---Richard Cook, Jazz Review
"What has been admirably achieved here is the realization in print of a highly musical, inquisitive mind, one that habitually bucks the cliche."
---Nic Jones, All About Jazz
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