The Future of Jazz is Now is a benchmark 14-track contemporary jazz showcase compiled and released in 2001 by the acclaimed independent label Palmetto Records. Designed to highlight the label's forward-thinking roster at the turn of the millennium, the collection balances established post-bop luminaries with pioneering modern voices. The compilation features vital compositions from bass mastermind Ben Allison, pianist Andrew Hill, saxophonist Dewey Redman, and legendary altoist Lee Konitz alongside The Axis String Quartet. Grounded in inventive arrangements, rich acoustic interplay, and adventurous improvisation, the album provides a comprehensive overview of progressive 21st-century jazz.

The matchup of the cool-toned trumpeter Chet Baker with the advanced but equally mellow-toned altoist Lee Konitz (in a pianoless quartet with bassist Michael Moore and drummer Beaver Harris) was a very logical combination. This CD reissues the original five-song LP program while adding three more selections from the same concert, all of them jazz standards. Baker and Konitz very much inspired each other on this frequently superb and exciting set. Recorded in 1974.

On this legendary, historic archival compilation, Original Jazz Classics reissues a monumental crossroads in the birth of modern jazz. Appropriately titled Conception, this pristine high-fidelity release compiles seminal studio sessions captured by audio pioneer Rudy Van Gelder between 1949 and 1951, documenting the thrilling transition from fiery bebop into the sophisticated, relaxed architecture of Cool Jazz. The album serves as a masterclass in mid-century improvisation, bringing together an unmatched, mind-boggling assembly of jazz giants including Miles Davis, Stan Getz, and Lee Konitz at the dawn of their creative empires. The music bristles with adventurous genius, running from Lee Konitz's angular, brilliant George Russell-penned charts like "Odjenar" and "Ezz-Thetic" to the breathtakingly smooth, linear tenor work of Stan Getz on "Intoit" and the deep, soulful trumpet lyricism of Miles Davis on the title track. Backed by powerhouse rhythm section royalty including Max Roach, Art Blakey, and Roy Haynes, this essential collection stands as an invaluable historical document of jazz's great evolutionary leap.

On Zo-Ko-Ma, three absolute monoliths and defining structural visionaries of global jazz history—Hungarian guitar pioneer Attila Zoller, American cool jazz alto saxophone legend Lee Konitz, and German trombone master Albert Mangelsdorff—converge in the studio to deliver a towering, historically explosive, and masterfully synchronized collaborative document. Recorded in March 1968 at the mythical MPS Studio in Villingen, Black Forest, this foundational milestone stands as a monumental peak in the development of transatlantic avant-garde improvisation. Spanning over 45 minutes of immaculate high-fidelity spatial design, the 9-track landscape operates with an intense, mercurial, and beautifully balanced kinetic energy. Supported by the elite rhythm tandem of bassist Barre Phillips and drummer Stu Martin, the group constructs a radical bridge between intricate modal cool jazz and completely uninhibited abstraction—firing off magnificent tracking highlights like the thorny, hard-driving full-quintet opener Zores Mores, the playful geometric trio dialogue of Feeling-in and Filing-in in Villingen, and the deep, brassy counterpoint of the duo piece Freeline Fräulein. Driven by Zoller's sharp chordal innovations, Konitz's fluidly analytical horn lines, and Mangelsdorff's multiphonic trombone velocity, this pristine archive remains an indispensable masterpiece for serious free jazz purists and creative music collectors worldwide.

Lee Konitz has had many opportunities to record with European artists over the decades, but this session is a bit unusual, in that all the compositions are by bassist Giovanni Tommaso and Konitz doesn't stick strictly to alto saxophone. Joining them are pianist Franco D'Andrea (with whom Konitz worked on a number of Philology CDs decades later), trumpeter Enrico Rava and drummer Gegé Munari. Tommaso's charts delve into bop and cool, with Konitz primarily playing the Varitone (a form of electronic saxophone that was experimented with briefly and abandoned by reed players in the late '60s), though he does play some alto sax and also makes a rare appearance on flute (doubling on it in "Take Seven"). While the music from this 1968 session is enjoyable, even though the sound quality of the Varitone pales when compared to a regular saxophone, this remains one of Lee Konitz's more obscure recordings from the '60s.

This exceptional 1977 studio collaboration brings together three distinct generations of master improvisers for an intimate exercise in spontaneous chamber jazz. Released on pianist Paul Bley's avant-garde imprint, Improvising Artists Inc., the session captures veteran cool jazz saxophonist Lee Konitz interacting fluidly with Bley's abstract harmonic concepts and the versatile guitar work of Return to Forever alumnus Bill Connors. Alternating between acoustic and electric variants of their instruments, the trio constructs fragile, sparse soundscapes that challenge the traditional boundaries of free improvisation. Rather than relying on aggressive sonic bursts, the performances are defined by patient listening, lyrical dialogue, and understated geometric beauty. From spacious abstract blues explorations to tightly knit acoustic conversations, this historical date stands as a monument of cerebral and deeply cohesive contemporary avant-jazz integration.

“Three Guys” brings together three masterful jazz musicians—Lee Konitz, Steve Swallow, and Paul Motian—in a refined and highly interactive trio setting that emphasizes subtlety, communication, and deep musical intuition. The album showcases a minimalist yet expressive approach, where each player contributes with precision and sensitivity rather than excess. Konitz’s unmistakable alto saxophone lines float effortlessly over Swallow’s melodic electric bass work, while Motian’s drumming provides a fluid and textural foundation that enhances the trio’s conversational dynamic. The repertoire blends standards with original compositions, each interpreted with a fresh perspective that prioritizes space, phrasing, and tonal nuance. The result is an intimate and sophisticated recording that rewards attentive listening, highlighting the trio’s ability to create rich musical landscapes through restraint and interaction. “Three Guys” stands as a testament to mature artistry within the post-bop tradition, offering a deeply engaging and thoughtful jazz experience.

“Lee Konitz with Warne Marsh” is a landmark recording in the cool jazz movement, showcasing the refined interplay between two of the most distinctive saxophonists of the era. Lee Konitz on alto saxophone and Warne Marsh on tenor saxophone create a fluid and conversational dynamic, emphasizing melodic invention and subtle harmonic exploration over overt virtuosity. The album reflects the influence of the Lennie Tristano school, characterized by linear improvisation, intricate phrasing, and a relaxed yet intellectually engaging approach to jazz. Supported by an exceptional rhythm section featuring Oscar Pettiford, Kenny Clarke, Billy Bauer, and pianists Ronnie Ball and Sal Mosca, the music maintains a delicate balance between structure and spontaneity. The performances are both understated and sophisticated, with a focus on clarity, interaction, and nuance. This recording remains an essential example of cool jazz, highlighting the elegance and innovation of mid-20th century jazz artistry.

“So Many Stars” is a 1993 collaborative album featuring legendary saxophonist Lee Konitz, vocalist Tiziana Ghiglioni, and pianist Stefano Battaglia. The album presents an intimate and exploratory approach to jazz standards and original improvisations, blending cool jazz aesthetics with post-bop sensibilities. Konitz’s lyrical and understated phrasing interacts fluidly with Ghiglioni’s expressive vocal interpretations, while Battaglia provides a sensitive and harmonically rich foundation. The recording emphasizes spontaneity and interplay, offering multiple takes of select standards and creating a reflective, chamber-like jazz atmosphere.

A unique all-star set recorded in various combinations between 1949 and 1951, Conception is an underappreciated masterpiece of cerebral cool jazz. Although Miles Davis gets top billing, he appears on only half the album and then most often as a sideman with only occasional solos. Saxophonists Lee Konitz, Stan Getz, and Gerry Mulligan are the true stars of the album, with Konitz particularly shining.
His two duets with guitarist Billy Bauer, a relaxed take on Victor Herbert's standard "Indian Summer" and his own "Duet for Saxophone and Guitar," are outstanding examples of cool jazz as the term was originally understood before it came to signify new age-leaning elevator music; Konitz's solos in "Indian Summer" disassemble the melody entirely while remaining accessibly tonal, and Bauer's filigree guitar lines stay clear of the uninspired comping…

Pianist Lennie Tristano was an early inspiration and a major influence on the playing of altoist Lee Konitz and tenor saxophonist Warne Marsh. Their very notable and highly original Capitol recordings of 1949 – with the quiet metronomic rhythm section, advanced melodic improvising, and reharmonizations – stood apart from the typical bop of the period. By 1955, when the earliest performances on this 1997 limited-edition, six-CD set were recorded, the trio was not working together very often; in fact, Tristano was mostly functioning as a teacher, only surfacing for occasional records and club dates. Despite the title of the box, Tristano, Konitz, and Marsh never all appeared on the same Atlantic record. However, their individual projects and collaborations during the era were of consistently high quality. Included on the set are a live quartet date with Konitz and Tristano, a couple of the pianist's solo and trio sessions (including a few controversial items where he overdubbed and even sped up piano parts), several Konitz quartet sets (with such sidemen as pianists Sal Mosca and Jimmy Rowles, and guitarist Billy Bauer), a Marsh trio/quartet album, and a stimulating meeting between Konitz and Marsh (with Mosca and Bauer) in a sextet. Four of the performances were previously unreleased, and one of the Konitz albums was formerly only available in Japan. Although the inventive music often utilizes familiar chord changes, there are plenty of surprises in the cool-toned solos, and this is well worth acquiring by bop collectors.

Taking Turns, recorded in New York’s Avatar Studio a decade ago, finds Danish guitarist Jakob Bro joined by a multi-generational cast of improvisers, highly distinctive players all. Lee Konitz, Andrew Cyrille, Bill Frisell, Jason Moran and Thomas Morgan lend their energies to a session that bypasses conventions of the “all-star” band and puts the emphasis on teamwork. Bro’s space-conscious music encourages fresh responses: an atmospheric hint, or a fragment of gentle melody, opening up new trails to explore. “My compositions are about catching a glimpse of a feeling, sketching it down and then unfolding it as we record”, said Jakob Bro at the time.

Lee Konitz is one of the great and genuine improvisers, a musician who can be counted on to take risks, striving to invent in the moment. In these live recordings from Los Angeles's Jazz Bakery, he's heard exploring familiar standards that have long been part of his repertoire, but every phrase seems newly minted by Konitz's dry sound and his slightly hesitant, always searching, line. Tunes that often receive pat performances, like "Cherokee" and "Round Midnight," appear here as unknown terrains. Veteran bassist Charlie Haden displays the intense listening skills that distinguish his playing, shadowing Konitz's invention and anchoring the harmony. Pianist Brad Mehldau, a rising star, extends his musical reach here, accepting Konitz's terms and playing jazz in its most naked and challenging form. –Stuart Broomer

This LP comprises one of altoist Lee Konitz's greatest sessions. In 1967 he recorded a series of very diverse duets, all of which succeed on their own terms. Konitz is matched with valve trombonist Marshall Brown on a delightful version of "Struttin' with Some Barbecue" and matches wits with the tenor of Joe Henderson on "You Don't Know What Love Is." He plays "Checkerboard" with pianist Dick Katz, "Erb" with guitarist Jim Hall, "Tickle Toe" with the tenor of Richie Kamuca (Konitz switches to tenor on that cut), and an adventurous and fairly free "Duplexity" with violinist Ray Nance. Konitz also has three different duets in five versions of "Alone Together" and, on "Alphanumeric," welcomes practically everyone back for a final blowout. The music ranges from Dixieland to bop and free, and is consistently fascinating.

Always eager to record in new situations, on this CD Lee Konitz is showcased with a string sextet (two violins, violas and cellos), bassist Michael Formanek and drummer Matt Wilson. The cool-toned altoist pays tribute during a dozen songs to both Billie Holiday and (in a more subtle fashion) tenor great Lester Young, two of his early idols. Daniel Schnyder contributed all of the arrangements for the set. Rather than weighing down the proceedings, Schnyder has the strings adding rich harmonies and phrases that seem to anticipate the leader's phrases, and they even swing. Lee Konitz, who added a vibrato to his sound for the project so he could recreate some of Billie Holiday's feeling, handles the ballads and medium-tempo material beautifully. Highlights include "The Man I Love," "I Cried For You," "All Of Me" and "Easy Living." A memorable and heartfelt effort by all concerned.