Over the last months I have been working on a famous solo by Lennie Tristano. The tune is called “Line Up” and is based on the chord. Lennie Tristano’s Line up. pasted-graphic. I’ve been working on this on and off for the last 3 months, trying, just as with the previous. I first heard about Lennie Tristano’s famous improvisation over “All of Me” changes reading Ethan Iverson’s blog post about Tristano and his.

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The Essential Jazz Records: Articles with hAudio microformats. Some describe his playing as cold and suggest that his innovations had little impact; others state that he was a bridge between bebop and later, freer forms of jazz, and assert that he is less appreciated than he should be because commentators found him hard to categorize and because he chose not to commercialize. This page was last edited on 24 Octoberat Tristano first met saxophonist Charlie Parker in For Tristano’s notable students, see List of music students by teacher: Critics disagree on Tristano’s importance lennid jazz history.

Lennie started on the family’s player piano at the age of two or three. In the following year Tristano’s sextet played at the first Newport Jazz Festival.

At its release, the album was controversial for its innovative use of technology, with Tristano overdubbing piano and manipulating tape speed for effect on the first four tracks. Tristano studied for bachelor’s and master’s degrees in music in Chicago before moving to New York City in Tristaho and critics vary in their appraisal of Tristano as a musician.


Tristano later recalled that not a single reviewer questioned the multitracking of those songs. Trio, with Sonny Dallas bassCarol Tristano drums, added in []. Sextet, with Warne Marsh tenor saxLee Konitz alto saxBilly Bauer guitarunknown bassunknown drums ; in concert.

Retrieved from ” https: Retrieved 29 September The First Years”.

Multitrack Recording as Compositional Practice. Tristano recorded his first album for Atlantic Records in ; he was allowed control over the recording process and what to release. Retrieved July 15, This page was last edited on 31 Decemberat Though controversial immediately on release, Tristano’s decision to use the technique was described in by The New York Times as “celebrated”.

Views Read Edit View history. All tracks composed by Lennie Tristanoexcept where noted. The Penguin Jazz Guide: Beauty is a positive thing.

By using this site, you agree to the Terms of Use and Privacy Policy. Tristano had a series of illnesses in the s, including eye pain and lone he smoked for most of his life.

Tristano Transcriptions — Scott Flanigan

The New York Times. Tristano’s recording “Descent into the Maelstrom” was another innovation. There is no lenmie way I could do it so that I could get the rhythms to go together the way I feel them.

Tristano’s innovations continued inwith the first overdubbedimprovised jazz recordings, and two years later, when he recorded an atonal improvised solo piano piece that was based on the development of motifs rather lenhie on harmonies.


With occasional personnel changes, the sextet continued performing into Tristano declined offers to perform in the s; he explained that he did not like to travel, and that the requirement for a career-minded musician to play concerts was not something that he wanted to follow.

Tristano is regarded as one of the first to teach jazz, particularly improvisation, in a structured way. Leonard Joseph ” Lennie ” Tristano March 19, — November 18, was an American jazz pianist, composer, arranger, and teacher of jazz improvisation. Grove Music commented on some aspects of Tristano’s style that were different from most modern jazz: In the s Tristano employed an advanced concept in jazz improvisation tristabo side-slipping, or outside playingwhich creates a form of temporary bitonality when chromatic harmony is superimposed over the standard harmonic progressions.

Tristano Transcriptions

Tristano intensified his use of counterpoint, polyrhythm, and chromaticism in the s[. He played with leading bebop musicians and formed his own small bands, which soon displayed some of his early interests — contrapuntal interaction of instruments, harmonic flexibility, and rhythmic complexity.

He developed further via polyrhythms and chromaticism into the s, but was infrequently recorded. Retrieved September 15,