[SACD-R][OF] Lee Konitz & The Brazilian Band - Brazilian Serenade - 1996/2017 (Jazz, Bossa Nova, Post Bop)

foobar2000 1.3.17 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта:  2017-12-13 19:26:05
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Анализ:   LEE KONITZ & THE BRAZILIAN BAND / Brazilian Serenade
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DR         Пики         RMS           Продолжительность трека
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DR9       -1.70 дБ   -12.59 дБ      7:17 01-Favela
DR8       -2.06 дБ   -12.37 дБ      6:28 02-Once I Loved
DR9       -2.18 дБ   -12.27 дБ      5:20 03-Recado Bossa Nova
DR9       -2.40 дБ   -12.88 дБ      6:02 04-September
DR8       -2.78 дБ   -12.67 дБ      7:16 05-Dindi
DR8       -2.21 дБ   -12.75 дБ      5:39 06-Wave
DR11      -2.35 дБ   -14.78 дБ      6:34 07-Meditation
DR9       -2.29 дБ   -12.73 дБ      7:46 08-Blazilian Serenade
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Количество треков: 8
Реальные значения DR: DR9
Частота:   2822400 Гц / Частота PCM: 352800 Гц
Каналов:   2
Разрядность:   1
Битрейт:   5645 кбит/с
Кодек:   DSD64
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Lee Konitz, alto sax
Tom Harrell, trumpet
Romero Lubambo, guitar
David Kikoski, piano
David Finck, bass
Duduka Dafonseca, drums
Waltinho Anastacio, percussions

One of the most individual of all altoists (and one of the few in the 1950s who did not sound like a cousin of Charlie Parker), the cool-toned Lee Konitz has always had a strong musical curiosity that has led him to consistently take chances and stretch himself, usually quite successfully. Early on he studied clarinet, switched to alto, and played with Jerry Wald. Konitz gained some attention for his solos with Claude Thornhill & His Orchestra (1947). He began studying with Lennie Tristano, who had a big influence on his conception and approach to improvising. Konitz was with Miles Davis' Birth of the Cool Nonet during their one gig and their Capitol recordings (1948-1950) and recorded with Lennie Tristano's innovative sextet (1949), including the first two free improvisations ever documented. He was interested in finding his own way; by the early '50s he started breaking away from the Tristano school. Konitz toured Scandinavia (1951), where his cool sound was influential, and he fit in surprisingly well with Stan Kenton & His Orchestra (1952-1954), being featured on many charts by Bill Holman and Bill Russo.
"Lee Konitz has long been a versatile jazz musician, adaptable to many different styles. This Brazilian-flavored session is one of two that the alto saxophonist recorded during the mid-'90s for Venus... As expected, Konitz's light sound works well with the Brazilian favorites they perform, with Harrell being a particularly inspired foil for the leader. The works of Antonio Carlos Jobim are well represented, including breezy takes of 'Favela' and 'Wave.' Harrell's lyrical 'September' (featuring him in a fine muted solo) and Konitz's 'Brazilian Serenade' also fit the mood of this relaxing CD very well. This rewarding release is well worth investigating." - Ken Dryden, AllMusic