Man oh man, Lee Konitz. This is some prime Lee. I used to sing these solos back in college but never transcribed them to the horn - just doing that now and they're masterworks of economy and melody.

Otherworldly. I've been a jazz fan for decades... but I'm just realizing how revolutionary these guys were. Tristano has always been easy to appreciate. Surprisingly I'm becoming obsessed with Marsh and particularly the way Marsh and Konitz play together. Like what they do at 15:50 is just so different than anything anyone else has done to this day. The dedication they have to their collective aesthetic is so diligent... and impressive. Truely art for art's sake. They teach us how to hear.

as a saxophone teacher I only can say.... lets please connect our kids to this fabulous source !!!!

Warne Marsh: certainly one of the most underrated saxophonists in jazz. His across the bar harmonic/rhythmic concept was truly "modern" and WAY AHEAD of his time.

So spectacular that this was recorded! All the great cats, Sonny, Lee, Warne, Nick! Like the Dead Sea scrolls this) I think what the guy is saying is great!

Rec’d in person at The Half Note, 06 JUN 1964: Lee Konitz as/ Warne Marsh ts/ Lennie Tristano p/ Sonny Dallas b/ Nick Stabulas d [band members from credits rolled at the end] 1. Subconscious Lee (Lee Konitz) - almost 6 min 2. @ 317 East 32nd Street (Lennie Tristano; Out of Nowhere changes) - almost 10 min 3. Background Music (Warne Marsh) - almost 8 mins :I:

Once the heads are over, we're listening to intensely creative piano solos on three standards: Subsconscious Lee is based on What Is This Thing Called Love; 317 East 32 is based on Out of Nowhere; and Background Music is based on All of Me. Lennie's solo on this last one is simply stupefying!!!

Although at 68 years old I definitely heard of Phineas Newborne Jr. and Lennie Tristano this morning is the first time I heard 👂them. So cool to know that there is music that's not new in 2021 but new to my ears.

Fond memories of hanging out, digging the music and meeting Warne & Lennie for drinks one afternoon in between matinee sets!

Lennie it's still ahead of our time

Thanks for sharing this video! Came across 317 32nd from Mark Turner and nice to discover Lennie/Warne/Lee, I didn't know this footage existed!

amazing! thanks so much for posting this.

These cats were so far ahead of their times - but still connected to the roots of bop.

That's how you play drums with Lennie!!

WOW! My parents might have been at this show- and left me at home with the babysitter on 79th and Amsterdam... THANK YOU! :)

Don't know if anyone mentioned it, but Tristano was never recorded in the company of Konitz or Marsh after this. I had heard some of it on record, but never thought I'd see the footage. THANK you!

Very important for jazz history ! Thanks

What a treat. Thanks for posting. Lennie's solo on Subconscious Lee (What is This Thing Called Love) is simply astounding.

We need this audio to be remastered

time capsule...love it. Thanks for posting

One of the best videos of this incredible group! Thank you!

The audience has 2 kinds of people those who "Get it" and those who don't hear "it"

Fantastic, this is incredible! Thanks!

Thanks! Merci! We're lucky to have acces to this amazing archive! Nous sommes chanceux d'avoir accès à ces archives inspirantes!

This is a gem, thanks!

Never followed Tristano much though was much aware of his great playing. Seemed to be a bit angular, you could never tell where he was going.... so gifted

Thank you very much!

Sound isn't the greatest but you can't hide good music. So glad it's available

“what is this thing called love” played in a very cerebral brainy fashion. Thanks for this!

I heard that band, and I loved that club. $2 meatball hero's!

Good times. Thank you Tadeus !!!!

this is amazingly great!!!

Warne Marsh practicing fingering during Konitz's solo. Dedication!

There was an article in the magazine "Jazz" about convincing the Canterinos (owners of the Half Note) to buy a new grand piano before Tristano was willing to play. With a new piano, I heard this group at the club and they were spectacular.

The whole thing in one piece at last! THANKS!

Subconscious-Lee!!!

Precious footage. Great playing by all. I love Tristano. I never listened much to Konitz and Marsh - but I like their stuff here. I am hearing a lot of lyric Bird licks in Konitz' solos. 'The What is this thing called Love' progression is so dramatic. Konitz captures it well.

yes,,,this is just great,,wow!!!

LENNIE TRISTANO UN ADELANTADO EN LA ÉPOCA!!

From a time where folks knew how to dress & behave properly, and wonderful music being played by Giants !

Lennie Tristano performs for the CBS television at Manhattan's Half Note Club on June 6, 1964. Personnel: Lennie Tristano, piano Lee Konitz, alto sax Warne Marsh, tenor sax Sonny Dallas, bass Nick Stabulas, drums. Set List: 1 "Subconscious Lee" 2 "317 East 32nd Street" 3 "Background Music". Footage filmed for the CBS TV show "Look up and Live" narrated by Dr. William Hamilton. Dr. Hamilton surely is a pompous ass... the band starts a tune and HE WON'T SHUT UP!

Lennie seems always surprising... wonderful chorus on Out of/Street

With Sonny Dallas (bass) and Nick Stabulas (drums). Poor sound, awesome music!!!

2nd tune.... Out of Nowhere

Unfortunately my Uncle Nick Stabulas passed away too young in 1973 car crash .

Wow.

This is the way it was.

Check out the changes of the other tunes on jazzrealities blog. There is a list of the Tristano et al. tunes with changes. And more information. jazzrealities ( a friend of Lee since more than 30 years)

"East of the Sun and West of the Moon" is in there somewhere.

The host of the TV broadcast is highly disrespectful of the musicians and the audience, yelling his comments while the band grooves and the audience tries to listen. What a loser! The lighting is terrible -- we never get to see Konitz, except in shadow, ditto for Stabulus. Now for the good part -- this is a real time capsule of a classic band I've listened to on record, but never thought I'd get to see. I've heard Konitz in clubs several times, first around 1965, most recently in 2014, and still playing with as much imagination as ever. And Warne played a week with SuperSax at a Chicago club where I was doing sound. What a treat!

aahhh, to go to a joint, smoke, have someone bring you a cocktail and listen to a bit of jazz.

❤️😃🍀

nice very rear this one, Tristano an his deciples 5star stuf this guys.

Hey bro do you still have the full footage of solo Lennie?

Espero que lo goces mucho mas que yo

Tune, "Out of No where"?

Second piece is based on You Come to Me From Out of Nowhere, is it not?

I don't see much smoke in the air. With those camera lights on the audience, you'd expect to see clouds and clouds of it. Did they ask the patrons to "cool it" in the cig department?

what is the name of the second tune??

Sonny Dallas on bass?

7:52 - 317 10:10 - Lennie solo

Audience member totally vining the host at 17:47 hahahah

Yes scarfacejosh123 and Sam Greenfield, you’re so right. This Dr. William Hamilton seems to think that “Background Music” is supposed to be background music. I actually listened to some of this doggedly persistent bloviation. Hamilton was apparently part of the God Is Dead revival. He maintained that divine transcendence had lost its relevance in the contemporary world. While this may be true, we all would have prayed to God that he would have listened to himself, “...but finally the protestant task here, is not to impose meaning, but to listen, listen, and listen...”, and shut the fuck up.

Great music, but few shots of Konitz for some reason. He was really hot during this period. Everyone was playing superbly. Konitz was playing the half note then with Sonny Dallas and Elvin Jones which resulted in a fantastic record(s). Jazz clubs in NYC were (and are) tiny places with the audience stuffed in like sardines. This was not Ramsey Lewis. These people had to be serious about jazz to be out listening to Lennie Tristano. The Half Note was one of the best clubs at this time. Folks this was a "religious" (serious variety) program, thus the attempt to put it in a Christian context. I think I saw this or something similar to it featuring Tristano, etc. on CBS in the middle 70s, but it was interrupted midway by a report from the UN. Maybe they were rerunning it or it was a new version or a different CBS program that focused on the arts. Anyway it was Sunday morning and the local station (Cleveland) preempted it regularly. I had to wait until the summer to catch it from Toledo when the conditions for VHF skipping were right. From the internet: Look Up and Live was a series that ran on CBS from 1954 until 1979. The show featured a number of inspirational and religious speeches designed to provide viewers with enough hope to last the week. There were a number of hosts on the show including Reverend Lawrence McMasters and Merv Griffin. At times, the host would alternate every season. The 30-minute show aired every Sunday morning and was targeted for religious audiences throughout the United States. Look Up and Live (religious anthology) (CBS Sunday Mornings, 1954 - 1979) [a rare network-sponsored program dealing with the subject of religion; in fulfilling the former mandate of the F.C.C. for stations and networks to produce programs "in the public interest, convenience and necessity", and in view of the fact stations and network licenses were up for renewal periodically, not only were public service programs produced, but non-demoninational or omni- denominational programs were sometimes a part of that mix; As in this series, this kind of "religious anthology" format followed the familiar "dramatic anthology" pattern well-known to TV viewers of the 1950s, except there was a spiritual angle to the story; To be fair to many faiths and denominations, there were many different pastors and priests included in the story line; but primarily the series focused on stories of Judao-Christian traditional values; The hosts of this religious anthology series ranged from the Reverend Lawrence McMaster to Merv Griffin]

why doesn t some jazz institution clean up the audio and preserve these films

7:51

That Paul Motian ...??

What is this thing called love

I can't understand either..!

17:35 lol this guy

From time to time just to amuse myself I make lists. For jazz I pick my top three players on each instrument. For piano Lennie Tristano is number two (after Oscar Peterson); On tenor Warne Marsh is number three (after Zoot Sims and Stan Getz) and on alto Lee Konitz is number one after nobody.

man, what's up with this guy talking filosofy at 18'??? I wanna listen and see the musicians!

Our host, Dr. William Hamilton: "Johann Sebastian Bach fought pietism vigorously--and it's being fought today by such magazines as Playboy"!!! Baby, that is CLASSIC!!! Hip Protestantism, 1964 style!

The host, Dr. William Hamilton, was pissing out of the pot, I do not know whether Lennie Tristano, or any other musician, was an atheist, but many Christians like me, like Jazz independently their religion beliefs.

Al the Waiter ? 7:35

who,s on drums? he's so good.

Isn't this the obvious Brubeck dream team precursor?

Still In 1964 - a all white audience.

A little to noisy for me. Two saxes soloing together and the constant pounding of the drummer. My problem i guess. Nice to see though, a rare video. I actually bought Tristanos solo LP around 1964. In that one he plays a walking bass with his left hand and bebop lines with his right. An interesting sound.

no beatniks in the audience.....the folk/rock scene was in full swing then......I surmise jazz was for the old and square by 1964

All well and good, and I think highly of Warne too. But not ONE black person in the audience, for a JAZZ group? What's THAT about? And the 'best' jazz group, with all the greats still around? Not a slam on Tristano or his group, just a comment on how divided the races were (still are, let's be real) and how the commentator was, as a result, equipped to praise only the jazz coming from the culture he understood and came out of...

Interesting comments around 18:00. Couple observations: 1.) How far we have become as a society away from even considering these questions, since Christianity has been so dismissed from the public arena. Faith must now keep it's "proper" place which is out of the public square altogether. Is this a good thing? 2.) True, Tristano's music is both emotional and intellectual. If we were to ever even consider the God question again, perhaps some appropriate questions would be: Where does intellect and emotion stem from? And what of creativity; specifically the kind (like jazz) that seems to instantaneously create something out of virtually nothing? Is this not what Genesis shows us? Except God had no chord changes to accompany Himself. Or do we attribute this great gift to evolution? What was once so sure in the Cathedrals of science is becoming more and more questioned. Most musicians and critics would now scoff at these observations preferring to keep God out and man autonomous. Guess we've "evolved" past these ideas. Where is the closed mind?

I have great respect for Tristano, Konitz and Marsh. But that commentator needs to be edited out. It's Incoherent babble trying to sound intellectually cool - and that's on top of the fact that there's an implied racism to his words, which completely disregards the music's origins.

I suspect that the only way to smuggle some good jazz onto TV was to dress it up as a religious experience. In the UK, the BBC won't broadcast any music on Radio 3 without commentary - so even a broadcast of Beethoven's 5th has to be prefaced by someone telling us who Beethoven was, and that he had previously written three earlier symphonies for symphony orchestra...............Yes, the man is absurd; but maybe now we can just enjoy the way he parodies himself, and if that's the price of the chance to see this band, then so be it.

Tristano has such dignity that this video points up the embarrassing silliness of the club audience, not to mention the absurd commentary that deserves to be shouted down by the music!

Hamilton is not only pompous, he's unnecessary, adding little or nothing to the music. He looks to be in his thirties in 1964; so, do the math: he's probably in his nineties now if he's still alive. If he's no longer alive, I'll give him this much credit: he's spinning in his grave over the foul anti-semitism expressed here. There's no room for this kind of hatred, or any other kind, in music.

Yeah, guys like the Rev. Dr. Hamilton are what killed jazz -- the same thing that killed classical music -- taking it too seriously. Since when does music need commentary?

MUCH THANKS INDEED FOR THIS DELIGHTFULL VIDEO. I WASN'T AWARE OF IT EXISTED.