Track listing
Show track credits
- A1 Becoming 4:31
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composer
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- A2 C Minor Complex 5:47
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composer
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- A3 You Don't Know What Love Is 3:26
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composer
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composer
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- A4 Deliberation 4:48
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composer
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- B1 Scene and Variations
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composer
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- a. Carol 2:51
- b. Tania 4:29
- c. Bud 4:20
- B2 Love Lines 2:18
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composer
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- B3 G Minor Complex 3:49
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composer
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- Total length: 36:19
Rate/Catalog
Catalog
Set listening
Review
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7 Issues
- Release view [combined information for all issues]
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The New Tristano [p] 33 rpm, Mono
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The New Tristano Bonus Tracks, Remastered
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Lennie Tristano featuring: Lee Konitz Bonus Tracks, Remastered
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The New Tristano Remastered
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The New Tristano Limited Edition, Mono, Remastered
5 Reviews
Yace aquí uno de los legítimos artífices de la apertura que atraviesa el jazz en los años 60: Lennie Tristano; un artista que con su manera de tocar otorga una perspectiva innovadora a la forma de delinear las ideas en la improvisación. En las «Sesiones Capitol» que efectúa en 1949 concibe las piedras angulares de la vanguardia por venir, diez años antes que Ornette Coleman; lo hace en medio de la «revolución bebop», deconstruye el discurso de Bird, lo proyecta al infinito y exhibe el futuro del género en composiciones como «Intuition», «Digression» o «Yesterdays», donde alterna métricas dentro de una misma canción, incorpora ingeniosos acentos en las líneas melódicas, realiza un uso intensivo del contrapunto; utiliza acordes sustitutos, de paso, y emprende una exploración sin precedentes de los intervalos musicales. Tristano es dueño de una «concepción armónica y rítmica» que lo conduce a consagrar un fraseo libre y un nuevo «ideal estético» cuya evolución tiene mayor brillo en el formato «Solo Piano»; «The New Tristano» es un buen ejemplo de esto, una pieza en la cual desarrolla su estilo con maestría, osadía y la naturalidad de un «genio sin prensa» poseedor de escasos registros grabados, pero que junto a Thelonious Monk y Cecil Taylor ocupa un lugar de privilegio entre los pianistas más influyentes del jazz moderno.
J A Z Z - Mis álbumes favoritos reseñados
J A Z Z - Mis álbumes favoritos reseñados
Published
WPCR-27259 / 8122-79573-4 CD (2013)
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This isn't a Jazz album that I'll listen to very often but it's super interesting. Most of the music is improvised combining elements of Jazz, Blues, and Classical music to create a palatable form of Free-Jazz.
Published
Lennie Tristano has the reputation of being a cold fish. I don’t know that much of his work (and, considering his influence and importance on jazz, there aren’t that many recordings) and, with a couple of notable exceptions, I’ve never been that taken by his recordings with his small bands. They always show the negative side of ‘cool’: it is as though Tristano instructed his musicians to be the musical equivalent of Alain Delon in La samourai, to show no emotion or inflection, to stare the audience down. A lot is lost in such a stance, but I am unsure what is gained. However, I liked Tristano’s previous solo piano recordings with Atlantic, although he came in for a certain amount of criticism at the time: he added over-dubs, speeded the tape up...this was thought of as cheating for a jazz musician. On this, his second album for Atlantic, he returns with a collection of solo piano recordings...and there has been none of that hanky-panky cheating: it is just Tristano and the piano, recorded over a couple of years. And I like it...I like it a lot. So, what’s it like? Imagine that somewhere in an archive someone has discovered a number of manuscripts by J.S. Bach: a series of keyboard boogie-woogies. There is a wonderful clarity about Tristano’s playing, a clear organization of ideas: temperamentally he is a Bachian. But he draws on the traditions of jazz, you could almost say the archaic background of jazz: yet, he transmutes these traditions into a form of bright, open 1950s modernism. I find this music both accessible and intriguingly intricate. Maybe I will have to go back and give Tristano’s combo work another listening.
Published
The liner notes of The New Tristano proudly state that Tristano appears completely unaccompanied. Nothing is sped up, nothing is overdubbed, he's just jamming out. And, while this statement is clearly in rebuttal to what I assume was something of a backlash for his first Atlantic effort Tristano, it may well have been warranted had all that nonsense not gone down six years prior in the first place. This is some fast and complex material. At a glance one might thing the entire record was a rebuttal but honestly, this is a much more challenging overall recording than the first and I imagine Atlantic just thought there was finally a market for him in 1962.
What lies herein are five rich and complex tunes almost entirely penned by Tristano himself. Immediately the listener notices how pronounced, percussive and seemingly perfunctory the session was. (the three P's!) This is what Lennie is known for, being aggressive, being fresh and being on time. I personally love how dry his piano sounds here, everything really sits in your speakers naked and brilliant. Tristano never pushes things too far out of the box, there are tunes here and it doesn't take too much digging to find them. However, I feel like this, in tandem with a handful of originals, are what holds the album back from absolute greatness. The playing is top notch but there is little to hold on to as a listener, no reference points on the map.
Tristano is one of those mythical beasts in that he was seemingly hell bent on obscurity. It seems as though little of his cannon was released during his lifetime and what sparse recordings there are vary in quality and continuity. What is clear however is the immense talent this strange blind man possessed.
On a side note, Sal Mosca, a disciple in almost every aspect, would later be groomed as something of a Tristano fill in Lee Konitz and Warne Marshe sessions and recordngs. He recorded a similar session in 1992 that far surpasses this sampling here. I for my part need to pick up the Tristano and Marshe Intuition disc. You, for your part, (if you like this album) should go find Sal Mosca's Trickle because it is absolutely great in every respect (and faster!).
What lies herein are five rich and complex tunes almost entirely penned by Tristano himself. Immediately the listener notices how pronounced, percussive and seemingly perfunctory the session was. (the three P's!) This is what Lennie is known for, being aggressive, being fresh and being on time. I personally love how dry his piano sounds here, everything really sits in your speakers naked and brilliant. Tristano never pushes things too far out of the box, there are tunes here and it doesn't take too much digging to find them. However, I feel like this, in tandem with a handful of originals, are what holds the album back from absolute greatness. The playing is top notch but there is little to hold on to as a listener, no reference points on the map.
Tristano is one of those mythical beasts in that he was seemingly hell bent on obscurity. It seems as though little of his cannon was released during his lifetime and what sparse recordings there are vary in quality and continuity. What is clear however is the immense talent this strange blind man possessed.
On a side note, Sal Mosca, a disciple in almost every aspect, would later be groomed as something of a Tristano fill in Lee Konitz and Warne Marshe sessions and recordngs. He recorded a similar session in 1992 that far surpasses this sampling here. I for my part need to pick up the Tristano and Marshe Intuition disc. You, for your part, (if you like this album) should go find Sal Mosca's Trickle because it is absolutely great in every respect (and faster!).
Published
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Catalog
28 Aug 2023
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A1
Becoming
-
A2
C Minor Complex
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A3
You Don't Know What Love Is
-
A4
Deliberation
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B1
Scene and Variations
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B2
Love Lines
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B3
G Minor Complex
7 Aug 2023
4 Aug 2023
28 Jul 2023
10 Jul 2023
8 Jul 2023
7 Jun 2023
2 Jun 2023
1 Jun 2023
15 May 2023
12 May 2023
6 May 2023
5 May 2023
30 Apr 2023
26 Apr 2023
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