He was a no-bullshit delight and a generous soul. His most cherished times were those shared with Joyce over food (she was a gourmet cook) and music and memories over experiences like playing piano for Lester Young for a week at Storyville in the early ‘50s. George was also fortunate to share a life with his wife Joyce who had many skills and complimented George and his musical activities seamlessly. Louis, Simone Ginibre, John Philips and Danny Melmick who dedicated their lives to pulling off great events and treating musicians with love and kindness.
He also built an amazing international staff with people like Marie St. He loved musicians and he loved the road. George’s taste were traditional, but he was a prime promoter in the careers of trailblazers like Miles Davis, Stan Getz, John Coltrane, Archie Shepp and so many more. But those were disciplines that came with the job.
Some complained about not getting on one tour or another and others griped about being held to 50 minutes stage time. He was a restless pianist who ended up being a club owner, record producer, concert promoter and festival creator/director. He loved music and wine and lived his life in pursuit of both on the highest level. George Wein who died this week at 95 years old was an extraordinary person, who was often misunderstood. There’s never been a more comprehensive portrait of this genius. The 6 discs cover his early trio with Billy Bauer, his superhuman solo piano work, the sextet with Konitz and Marsh, the ‘50s trio with Peter Ind, duets with Sonny Dallas and live material from the Half Note in 1962. This 6-CD set of previously unreleased material from Lennie’s personal tape collection chronicles his growth and accomplishments from 1946 to 1970.Ĭarol Tristano carefully curated this set of her father’s music and separated great performances by context. Nonetheless, Lennie Tristano led a variety of groups and continued to record and perform live when opportunities presented themselves. In some ways, his performances and recording took a back seat to his teaching goals. He built a deep empathy with his sidemen which was necessary to keep his music fresh and intuitive.ĭespite the accolades he received after arriving in New York in 1946, winning the Metronome poll, the support of artists like Charlie Parker and recording opportunities with Keynote and Capitol, Tristano developed a reputation as a great teacher, sharing his rhythmic and harmonic theories with his students.
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He even performed completely free jazz in the late ‘40s. He often altered the roles of the left and right hands on the piano, built original chord sequences and gave rhythm a flexibility. He applied his prodigious technique to new ways of creating improvised jazz. Even in a world shaped by iconoclastic creative geniuses, Lennie Tristano stood out.
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