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Subconscious-Lee


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Audio CD, February 12, 1996
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$10.99
$5.26 $3.78
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.
                                                                                                                                                                                                                                                                                                                                         

Samples
Song Title Time Price
listen  1. Progression 3:00$0.99  Buy MP3 
listen  2. Tautology 2:43$0.99  Buy MP3 
listen  3. Retrospection 3:06$0.99  Buy MP3 
listen  4. Subconscious-Lee 2:47$0.99  Buy MP3 
listen  5. Judy 2:53$0.99  Buy MP3 
listen  6. Marshmallow 2:53$0.99  Buy MP3 
listen  7. Fishin' Around 3:44$0.99  Buy MP3 
listen  8. Tautology 2:53$0.99  Buy MP3 
listen  9. Sound-Lee 4:05$0.99  Buy MP3 
listen10. Rebecca 3:02$0.99  Buy MP3 
listen11. You Got To My Head 2:35$0.99  Buy MP3 
listen12. Ice Cream Konitz 2:42$0.99  Buy MP3 
listen13. Palo Alto 2:31$0.99  Buy MP3 

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Product Details

  • Audio CD (February 12, 1996)
  • Number of Discs: 1
  • Label: Ojc
  • ASIN: B000000YAD
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Best Sellers Rank: #39,271 in Music (See Top 100 in Music)

Editorial Reviews

Customer Reviews

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Most Helpful Customer Reviews

11 of 12 people found the following review helpful By Matthew Watters on February 6, 2009
Format: Audio CD
I happily gave the other reviewer (jive rhapsodist) a helpful vote because his review is so funny and insightful. He doesn't just praise this music. He buries it. That said, I can't help but feel that all the music that came out of the "schools" of Lennie Tristano and Hall Overton in the late 1940s-early 1950s (see, for instance, the work of Teddy Charles) suffers from just this very sort of over-analysis, all of these over-technical explanations of why the playing doesn't adhere to typical chord changes. While it's the experiments in polytonality and the explorations in sponteneous composition and "free" improvisation nearly a decade before Ornette Coleman exploded on the scene that makes the likes of Tristano and Overton historically significant, what's it like for non-musicians listening to this music? Is Subconscious-Lee a disc that I would only listen to once or twice, out of historical interest (like, I confess, I do with Charlie Parker), or one that I actually enjoy coming back to from time to time? In this case, it's the latter. The music is still married to the simple time structures and instrumental line-ups of Sidney Bechet, with a guitar-bass-drums rhythm section chugging out a simple beat, but the slight emotional abstraction and cool, soul-less tone of the principals is highly appealing, much like the work of Paul Desmond and Dave Brubeck (or Paul Desmond and Jim Hall). That the improvisations also have a slightly spikey feeling that anticipates the avant garde gives this music a certain cerebral appeal, as well. The feeling may not be love, but it is rather like putting on your black turtleneck and hanging out with some really hip, intellectual friends. What's wrong with that?
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4 of 4 people found the following review helpful By Partanen Timo Juhana on June 4, 2010
Format: Audio CD Verified Purchase
A fine collection of "pure" Konitz from 1949 and 1950 in twelve tracks. Warne Marsh appears on five tracks, Tristano on other five. This represents off-Parker avant garde of its time, also memories from the times they came originally out as 78-RPM vinyls: "NOW WHAT'S THIS? WHAT KIND OF BLOWING IS THIS?" - - Lee reached the same heights with Kenton in the lyrical My Lady, but that again appears on another CD, under Kenton. A fine piece of history of improvised music, the Konitz CD.
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By Amazon Customer on October 15, 2014
Format: Audio CD Verified Purchase
Superb!
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1 of 3 people found the following review helpful By Vic7r0n on August 23, 2012
Format: Audio CD Verified Purchase
Words cannot describe this album. Needless to say the sax is brilliant, good guitar, and mind focusing rhythm. The intricacies are worthy of countless a play through.
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11 of 21 people found the following review helpful By jive rhapsodist on June 23, 2008
Format: Audio CD
Something's missing, I don't care what you say. Something between the spiky intervals and those classic chord progressions. Some kind of disconnect - a "form/content" problem? An incomplete revolution? The improvisations rarely as forward reaching as the tunes? The anodyne role given to the rhythm section? The moments of polyphony seeming localized and not sufficiently fleshed out? And yet, you have to give it up - these guys are brilliant. Konitz' acrid tone and abrupt leaps (on the other hand) match perfectly. But - like - take Retrospection (track 3). What does it have to do with These Foolish Things? How does it "signify" on it? How does it riff on it? The chord progression feels like nothing more than a hat rack, and I don't love that. I like to feel some connection - which I feel every time Monk or Parker bases something on an already - existing progression. But you can have fun testing your ear and seeing if you can recognize all of the models. And Konitz is great at doing what he does, even if I think what he does is a little questionable.
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