A1 	Lennie Tristano – 	I Surrender Dear 		
A2 	Lennie Tristano – 	How Deep Is The Ocean 		
  	(Untitled Medley)
A3.1 	Lennie Tristano – 	52nd Street Theme 		
A3.2 	Lennie Tristano – 	Everything I Have Is Yours 		
  	-
A4 	Lennie Tristano – 	Tea For Two 		
A5 	Lennie Tristano – 	Don't Blame Me 		
A6 	Boyd Raeburn – 	Unknown Title (Theme) 		
A7 	Boyd Raeburn – 	Foolish Little Boy 		
A8 	Boyd Raeburn – 	Cartaphilius 		
B1 	Boyd Raeburn – 	Amnesia 		
B2 	Boyd Raeburn – 	I Can't Believe That You're In Love With Me 
  	(Untitled Medley)
B3.1 	Boyd Raeburn – 	Mood Indigo 		
B3.2 	Boyd Raeburn – 	C-Jam Blues 		
B3.3 	Boyd Raeburn – 	Sophisticated Lady 		
B3.4 	Boyd Raeburn – 	It Don't Mean A Thing 		
  	-
B4 	Boyd Raeburn – 	Tush

Featuring – Charlie Parker, Dizzy Gillespie, Fats Navarro, Sarah Vaughan

LENNIE TRISTANO & BOYD RAEBURN New Sounds In The Forties (1974 Italian 12-track LP featuring Lennie with the Barry Ulanov All Stars & Boyd with his Orchestra, also including contributions by Charlie Parker, Dizzy Gillespie, Sarah Vaughan, FatsNavarro & more, picture sleeve with Italian sleeve notes on the back. Apart from a creased top right corner, the sleeve shows just light shelfwear & the vinyl is flawless BLJ8007) --- 991.com

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1 Remember Tristano 7:40
2 Pennies Tristano 5:45
3 Foolish Things Tristano 4:06		play
4 Indiana Tristano 5:42
5 I'm No Good Without You Tristano 4:19
6 Glad Am I Tristano 2:57
7 This Is Called Love Tristano 2:42		play
8 Blame Me Tristano 2:42
9 I Found My Baby Tristano 2:42

Personnel: 
Lennie Tristano (piano), 
Warne Marsh (tenor saxophone), 
Billy Bauer (guitar), 
Arnold Fishkin (bass), 
Jeff Morton (drums).

All music written by Lennie Tristano.
Tracks 6-9 were recorded in Chicago, Illinois in 1945.

The name Lennie Tristano was conspicuously absent from Ken Burns' monolithic jazz documentary. That's no small omission; Tristano's group, which included the saxophonists Warne Marsh and Lee Konitz (also ignored by Burns) was the first to record what later came to be known as free jazz -- music improvised without pre-ordained melodies, harmonies, or meter. Needless to say, that wasn't mentioned by Burns, either. Tristano did it in 1949, the year this record was recorded, with what is essentially the same band (Konitz is absent here, though he was a regular member of Tristano's group at the time). This record gives no direct evidence of the band's free jazz experiments -- although Tristano is given composer's credit on all cuts, the disc is comprised mostly of standard harmonic frameworks played without reference to theme. However, it does reflect the band's prevailing emphasis on unfettered linear improvisation. The quintet tracks here were recorded by the group's bassist, Arnold Fishkin, during performances at the old Birdland in New York.

The solo piano cuts were recorded in Chicago, four years earlier. The sound's rough, but not unlistenable, especially given the historical implication of the music. Listening to this is like being a fly on the wall of the world's most famous jazz club, witnessing history in the making. It really can't be said that Tristano's piano style was cut from whole cloth -- there's too much of a Bud Powell influence -- but there have been few musicians on any instrument who played with more spontaneous melodic invention. Two others who did were Marsh and guitarist Billy Bauer, also present here; this band placed great importance of creating "in the moment," and listening to this music made over 50 years ago reminds listeners of the value in such an approach. Little jazz being made at the turn of the millennium rivals this set in terms of raw creativity. Popular misconceptions aside, this is an important document. ---Chris Kelsey

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01 Just Prez    (Tristano)  7:57
02 Palo Alto Scene    (Tristano)  7:36
03 It's Personal    (Tristano)  7:40
04 Note To Note    (Tristano)  9:42
05 There Will Always Be You    (Tristano)  7:33

Musicians:
Lennie Tristano (piano)
Sonny Dallas (bass)
Carrol Tristano (drums)

The original tapes were recorded by Lennie Tristano at his studio on Palo Alto Street in Hollis, New York, during informal sessions with Sonny Dallas in 1964-1965. It was Lennie's wish that this music be released with drums added. The music was re-recorded with Carol Tristano in 1993.

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1. Smog Eyes
2. Ear Conditioning
3. Lover Man
4. Quintessence
5. Jazz of Two Cities
6. Dixies Dilemma
7. Tschaikovsky's 0pus No.42 Third movement
8. I Never Knew
9. Ear Conditioning (mono take)
10.Lover Man (mono take)
11.Jazz of Two Cities (mono take)
12.I Never Knew (mono take)
13.Wow
14.Cross Current
15.Yesterdays
16.Marionette
17.Sax of a Kind
18.Intuition
19.Digression

Ronnie Ball 	Piano
Billy Bauer 	Guitar
Denzil Best 	Drums
Ted Brown 	Sax (Tenor)
Arnold Fishkind 	Bass
Harold Granowsky 	Drums
Lee Konitz 	Sax (Alto)
Warne Marsh 	Sax (Tenor)
Jeff Morton 	Drums
Lennie Tristano 	Piano
George Tucker 	Bass 

The Warne Marsh album that begins this CD was issued in mono as "Jazz Of Two Cities" (Imperial LP 9027) and in stereo as "Winds Of Marsh" (Imperial LP 12013). The mono and stereo takes of "Jazz Of Two Cities" and "I Never Knew" are completely different. The second saxophone solo on "Ear Conditioning" and the piano solo on "Lover Man" differ on the stereo and mono masters. Both versions of these four tunes are therefore included here.

Tracks 1 to 4, 9 & 10 recorded on October 3, 1956 at Radio Recorders in Los Angeles.
Tracks 5 to 8, 11 & 12 recorded on October 11, 1956 at Radio Recorders in Los Angeles.
Tracks 13 & 14 recorded on March 4, 1949 in New York.
Tracks 15 recorded on March 14, 1949 in New York.
Tracks 16 to 19 recorded on May 16, 1949 in New York.

This CD brings back a formerly rare set by Warne Marsh, plus seven classic performances that serve as the high point of Lennie Tristano's career. Oddly enough, the Tristano date is programmed second. First is a full-length album which matches Warne Marsh with the cooler but complementary tone of fellow tenor Ted Brown (plus pianist Ronnie Ball, bassist George Tucker, and drummer Jeff Morton). The original eight selections are joined by four alternate takes recorded in mono. Marsh and Brown blend together well, Ball has several creative solos, and most of the "originals" are based closely on familiar standards. However, the main reason to acquire this CD is for the seven remarkable Tristano tracks which feature his finest group (consisting of the pianist/leader, altoist Lee Konitz, Marsh on tenor, guitarist Billy Bauer, bassist Arnold Fishkin, and either Harold Granowsky or Denzil Best on drums). Tristano's music was unique and even more advanced than most bop of the late '40s. While he confined the rhythm section to very quiet timekeeping, the vibrato-less horns and Tristano himself played very long melodic lines, constantly improvising. The stunning unisons performed by Konitz and Marsh (particularly on "Wow") still sound remarkable today, as does the interplay of the two horns on "Sax of a Kind." "Intuition" and "Digression" were the first recorded free improvisations in jazz, but are quite coherent due to the musicians' familiarity with each other. Due to the Lennie Tristano performances, this CD reissue (which has over 75 minutes of music) is essential for all jazz collections. ---Scott Yanow, AllMusic Review

Chicago-born pianist Lennie Tristano remains one of jazz's most criminally unsung pioneers. First making a name for himself in the jazz world of the mid-1940s, Tristano pushed the boundaries of the music with his advanced use of harmonics, polytonal effects, and counterpoint. His work helped bridge the gap between swinging bop and 20th-century art music. With his greatest band, which featured Tristano protégé Warne Marsh on tenor sax, he also recorded the earliest known examples of free jazz, cutting two tracks of fully improvised, free-form music a good 10 years before Ornette Coleman did the same and became famous for it. The 1996 compilation CD Intuition collects together a clutch of Tristano's greatest performances, including his two seminal free-jazz recordings, making it an ideal place to sample the pianist's rare and beautiful gifts.

Tristano and his band treated bop with a rare sensitivity and sophistication. "Wow" provides an excellent example of the band's prowess, with Tristano's layered, shaded chords set against a typically intoxicating solo from Marsh and delicate, absorbing fretwork from guitarist Billy Bauer. The title track comes near the end of the disc and is the first of Tristano's two free-jazz experiments (along with the similarly well-titled "Digression"). Here the band is let loose, free of rhythmic, tonal, or melodic constraints. Of course these musicians knew each other well, and the piece comes off as wonderfully unified in spite of its open form. It's like dipping into a jazz wonderland where everything goes topsy-turvy but somehow still makes perfect sense.

The CD also features a rare set from one of Marsh's own bands, without Tristano, recorded in 1956. "Smog Eyes" starts off the selection with Marsh leading his band through a bright, ambling melody. This is smart, lovely jazz, the kind that lights up a room in golden hues with its fine musicality and good-natured swing. And if the Marsh cuts on Intuition aren't quite as groundbreaking and effortless as Tristano's efforts, they still provide a worthy accompaniment, making this reissue a perfect double bill of classic, underheard jazz. ---Madisyn Taylor, dailyom.com

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01. Deliberation (4:51) 
02. You Don't Know What Love Is (3:28)         play
03. C Minor Complex (5:50) 
04. Becoming (4:32) 
05. Love Lines (2:20) 
06. G Minor Complex (3:52) 
07. Scene And Variations (Carol, Tania, Bud) (11:43) 
08. Rehearsal From Recording Date (4:33) 
09. 317 East 32nd (7:03) 
10. Lennie - Bird (6:05)                       play
11. April (8:07) 

Musicians:
Lennie Tristano - Piano 
Lee Konitz -  Sax Alt 
Gene Ramey – Double Bass 
Art Taylor – Drums

One of several Lennie Tristano retrospectives issued in 1998 by the Giants of Jazz label, this compilation is somewhat misleadingly subtitled "Featuring Lee Konitz." To be sure, alto saxophonist Konitz is heard in live performance with Tristano, bassist Gene Ramey and drummer Art Taylor in the cozy confines of the Sing Song Room deep within the Confucius Restaurant in New York on June 11, 1955. But this material only occupies the last three tracks, which amount to 21 out of 60 minutes of jazz. The rest of the music heard here -- tracks one through eight -- are piano solos recorded at Tristano's home studio (located at "317 East 32nd") during a time period extending from 1960 to 1962. The quartet recordings are as magnificent as the solo works are fascinating. This wonderful music improves with age, and one suspects that it will sound even better in the distant future. Listeners who fall in love with these sounds may wish to obtain more Lennie Tristano recordings. Some will need to hear them all and then will wish for more.

Lee Konitz (born October 13, 1927) is an American jazz composer and alto saxophonist born in Chicago, Illinois. Generally considered one of the driving forces of Cool Jazz, Konitz has also performed successfully in bebop and avant-garde settings. Konitz was one of the few altoists to retain a distinctive sound in the 40s, when Charlie Parker exercised a tremendous influence on other players. Konitz, like other students of pianist and theoretician Lennie Tristano, was noted for improvising long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Paul Desmond and, especially, Art Pepper were strongly influenced by Konitz. Konitz's association with the Cool Jazz movement of the 1940s and 50s, includes participation in Miles Davis' epochal Birth of the Cool sessions, and his work with Lennie Tristano came from the same period. During his long career, Konitz has played with musicians from a wide variety of jazz styles.

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1 	Wow 	8:27
2 	Remembrance 	3:53
3 	April Fool	9:51
4 	Subconscious-Lee	3:51
5 	Fugue In D Minor, BWV 899	1:04
6 	Chord Interlude 	0:27
7 	Sound-Lee	7:52
8 	Do The Things You Do 	3:32
9 	No Figs 	7:42

Alto Saxophone – Lee Konitz
Guitar – Billy Bauer
Piano – Lennie Tristano (tracks: 1 to 4, 6 to 9)
Tenor Saxophone – Warne Marsh 

As is true of the Jazz label's CDs, there are no liner notes on this release and the total time falls into the range of an LP, but this is a rare live performance by pianist Lennie Tristano's finest group. The identities of the bassist and drummer (who are both relegated to quiet timekeeping) are unknown but the other musicians are quite distinctive. With altoist Lee Konitz, tenor-saxophonist Warne Marsh and guitarist Billy Bauer contributing their voices, Tristano explores a variety of common chord changes, a brief Fugue by Bach and his remarkable title cut. Well worth acquiring. ---Scott Yanow, allmusic.com

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1 - Glad Am I
2 - This Is Called Love
3 - Blame Me
4 - I Found My Baby
5 - I Can't Get Started With You
6 - I Surrender Dear                  play
7 - Blues
8 - Interlude
9 - Blue Boy                          play
10 - Atonement
11 - Lennie Tristano - Coolin' With Ulanov
12 - I Surrender Dear (2)
13 - Hot House
14 - How Deep Is the Ocean
15 - Don't Blame Me

1 - 4: Lennie Tristano: Piano Solo (Nov 1945)
5 - 8: Lennie Tristano: Piano, Billy Baur (Guitar); Clyde Lombardy (bass); (Oct 1946)
9 - 11:Lennie Tristano: Piano;Billy Baur (Guitar); Bob Leninger (MAy 23 1947)
12: Lennie Tristano: Piano, Billy Baur (Guitar); Ray Brown (Bass) (Sep 17 1947)
13: Lennie Tristano: Piano, Billy Baur (Guitar); Dizzy Gillespie (Trumpet);
 Charlie Parker (Alto Sax); Ray Brown (Bass); Max Roach (Drums) (sep 13 1947)
14: Lennie Tristano: Piano, Billy Baur (Guitar); Dizzy Gillespie (Trumpet); Charlie Parker (Alto Sax);
 John LaPorta (Clarinet); Ray Brown (Bass); Max Roach (Drums) (sep 20 1947)
15: Lennie Tristano: Piano, Billy Baur (Guitar); Tommy Porter (Bass); 
 Buddy Rich (Drums) (Nov 8 1947)

Leonard Joseph Tristano (19 March 1919 – 18 November 1978) was a jazz pianist, composer and teacher of jazz improvisation. He performed in the cool jazz, bebop, post bop and avant-garde jazz genres. He remains a somewhat overlooked figure in jazz history, but his enormous originality and dazzling work as an improviser have long been appreciated by knowledgeable jazz fans. In addition, his work as a jazz educator meant that he has exerted a substantial influence on jazz through figures such as Lee Konitz and Bill Evans.

Tristano was always explicit about acknowledging his enormous debt to Charlie Parker and Bud Powell. (Other key ingredients in his style were Nat King Cole and Art Tatum, influences most audible in his early drummerless trio recordings.) Though he and his followers remained at something of a slant to mainstream bebop, Tristano did on occasion play and record with bebop's preeminent figures such as Dizzy Gillespie and Charlie Parker, and Tristano was a pallbearer at Parker's funeral. Often the "Tristano school" has been contrasted with bebop, however, by being labelled "cool jazz", though this risks lumping his music in with unrelated styles like the West Coast cool jazz of the 1950s.

Leonard Joseph Tristano (ur. 19 marca 1919 w Chicago, zm. 18 listopada 1978 w Nowym Jorku) – amerykański kompozytor i pianista jazzowy.

Pierwszą płytę nagrał w 1949 r. dla Capitolu. Teoretycznie uznany za twórcę cool jazzu. Muzyka szkoły Tristano w znacznym stopniu uformowała wyobrażenia laików o cool jazzie jako o muzyce chłodnej, intelektualnej, pozbawionej emocji. Z pewnością właśnie Lennie Tristano i jego muzycy improwizowali ze szczególną swobodą, a centrum ich zainteresowania stanowiła improwizacja linearna. Stronił od występów publicznych. W 1962 r. nagrał płytę solową "The New Lennie Tristano", która została uznana za kamień milowy w historii pianistyki jazzowej. Występował okazjonalnie w Blue Note. Pomimo że był Amerykaninem, wyznawał europejską koncepcję sztuki, dlatego też był znacznie popularniejszy w Anglii i Francji niż w rodzinnym kraju. Był jednym z niewielu, którzy wywarli wpływ na rozwój jazzu i przyczynili się do tego, że ten gatunek muzyki został uznany za sztukę. Nie dążył ani do sławy ani do zaszczytów. Powiedział kiedyś: "Sztuka nie jest komercyjna – kiedy staje się towarem, przestaje być sztuką".

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