Lee Konitz - Prisma

Message for saxophonists and conductors of orchestras: If you are interested to perform PRISMA take a look at my website www.guenter-buhles.net and get in contact with me. The complete set of scores can be supplied for performances of the concerto.

thanks for the music !

Review on PRISMA on CD QFTF/O040:

Lee Konitz and the German composer Guenter Buhles met 20 years ago, they liked each other and worked together. The output was the symphonic double concert Prisma for saxophone and piano that makes the border lines between so-called serious music and entertainment obsolete. Powerful rhythms might have been joy for the players and the audience alike. At the same time the four movements of the concerto deliver moments of pure beauty. (Jazzthetik, July 2018)

Being fond of music of the late Romantic period Lee Konitz asked composer Guenter Buhles for a made-to-order concerto. Over 17 minutes Buhles unfolds with Prisma an orchestral sound that is colorful and complex, also suggesting the gesture of Cool Jazz. Konitz eagerly improvises on the motifs and moves for one idea to another. (Jazz Podium, 7-8/18)

Recorded in 2000, Prisma captures Lee Konitz interpreting Guenter Buhles’ concerto for alto saxophone and orchestra. Prisma is a fairly concise work, but Buhles’ orchestration exudes a sweeping majesty and is rich in detail. Prisma is a significant archival release, perhaps a unique entry in Konitz’ substantial discography. (All Abut Jazz, Philadelphia, June 19, 2018)

Apparently Konitz requested Buhles write him a concerto after hearing the composer’s “Concerto for Orchestra”. Konitz’s contributions to Prisma amount to a series of commentaries on the concerto’s various thematic elements. Konitz finds the setting more than congenial, unwinding that cool sound of his in all sorts of sinuous ways. Cast aside any ideas that this might correspond to Stan Getz and “Focus” – this is not a jazz concerto, rather a classical endeavor into which Konitz slots his melodic meanderings and very pleasing it is. (Jazzwise, London, August/September 2018)

The nearly legendary alto saxophonist Lee Konitz has established himself among the most important musicians of jazz. He achieved this especially when he played with the pianist Lennie Tristano and the Stan Kenton orchestras well as in the legendary recordings with Miles Davis’ “Birth of the Cool” (1948-1950). These new recordings (Prisma) he made with the Brandenburg State Orchestra on November 1st 2000 in the four movements Allegro, Adagio, Scherzo and Allegro molto-Allegretto. (Salt Peanuts, Oslo, August 9 2018)

Musiker, die dieses Werk spielen möchten, wenden
sich an den Komponisten Guenter Buhles  www.guenter-buhles.net , gedruckte
Partituren und/oder PDFS sind erhältlich. – Musicians who would like to play
this work address to the composer Guenter Buhles  www.guenter-buhles.net , printed scores and/or PDFs are available on contact and order. – Musiciens
qui sont intéressés à jouer cet œuvre s’adressent au compositeur Guenter Buhles
www.guenter-buhles.net , des
partitions imprimées ou des PDFs sont à recevoir.

Lee Konitz in a completely new context....very impressive the courage of Gunter Buhles and Lee Konitz to just do it and present new impressionistic music featuring one of the greatest innovators of Jazz ( Lee Konitz) in this young work of Gunter Buhle, a jazz musician himself. This kind of a cooperation is just possible between musicians who do know both genres - Jazz and the classic music of the 20 th century- inside out. This is the way the concert music of the 21st Century has to go. The time of the only reading interpreters is definitely gone!

Thank you Gunter and Lee!

Klaus-Werner Pusch

Sendung über Lee Konitz und "Prima" ist am 8. März über den Sender "Quasselstrippen" in Flensburg gelaufen.