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<http://dbpedia.org/resource/Lee_Konitz>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Lee Konitz (* 13. Oktober 1927 in Chicago, Illinois, USA; \u2020 15. April 2020 in Greenwich Village, New York) war ein Saxophonist des Modern Jazz. Auf seinem Hauptinstrument, dem Altsaxophon, stellte er am Ende der 1940er Jahre den einzigen origin\u00E4ren Beitrag neben Charlie Parker dar und zugleich beginnend mit seiner ersten Einspielung von Subconscious-Lee \u201Eden wichtigsten neuen Einfluss nach diesem\u201C. In seiner motivischen Arbeit erreichte die Soloimprovisation Martin Kunzler zufolge \u201Eeinen \u00E4sthetischen und inhaltlichen H\u00F6hepunkt.\u201C Mit seiner linearen Spielhaltung pr\u00E4gte der neben Lennie Tristano \u201Ebedeutendste Cool-Innovator\u201C Musiker wie Paul Desmond oder Bill Evans ebenso wie Hans Koller und Albert Mangelsdorff und schlie\u00DFlich sogar Avantgardisten wie Anthony Braxton."@de .
<http://dbpedia.org/resource/Lee_Konitz>	<http://dbpedia.org/ontology/abstract>	"Leon Konitz (October 13, 1927 \u2013 April 15, 2020) was an American composer and alto saxophonist. He performed successfully in a wide range of jazz styles, including bebop, cool jazz, and avant-garde jazz. Konitz's association with the cool jazz movement of the 1940s and 1950s includes participation in Miles Davis's Birth of the Cool sessions and his work with pianist Lennie Tristano. He was one of relatively few alto saxophonists of this era to retain a distinctive style, when Charlie Parker exerted a massive influence. Like other students of Tristano, Konitz improvised long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Other saxophonists were strongly influenced by Konitz, such as Paul Desmond and Art Pepper. He died during the COVID-19 pandemic from complications brought on by the disease."@en .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://dbpedia.org/ontology/abstract>	"Leon Konitz (13 Oktober 1927 \u2013 15 April 2020) adalah seorang komposer Amerika dan pemain alto saxophonist. Dia tampil sukses dalam berbagai gaya jazz, termasuk bebop, cool jazz, dan avant-garde jazz. Asosiasi Konitz dengan gerakan jazz keren tahun 1940-an dan 1950-an mencakup partisipasi dalam Miles Davis sesi dan karyanya dengan pianis . Dia adalah salah satu dari sedikit pemain saksofon alto pada era ini yang mempertahankan gaya khasnya, ketika Charlie Parker memberikan pengaruh besar. Seperti siswa Tristano lainnya, Konitz mengimprovisasi baris-baris melodi yang panjang dengan ketertarikan ritmis yang berasal dari aksen ganjil, atau pengelompokan not ganjil yang menunjukkan pengenaan tanda tangan satu kali di atas yang lain. Pemain saksofon lainnya sangat dipengaruhi oleh Konitz, seperti Paul Desmond dan Art Pepper. Dia meninggal selama Pandemi koronavirus karena komplikasi yang disebabkan oleh penyakit."@in .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://dbpedia.org/ontology/abstract>	"Lee Konitz (* 13. Oktober 1927 in Chicago, Illinois, USA; \u2020 15. April 2020 in Greenwich Village, New York) war ein Saxophonist des Modern Jazz. Auf seinem Hauptinstrument, dem Altsaxophon, stellte er am Ende der 1940er Jahre den einzigen origin\u00E4ren Beitrag neben Charlie Parker dar und zugleich beginnend mit seiner ersten Einspielung von Subconscious-Lee \u201Eden wichtigsten neuen Einfluss nach diesem\u201C. In seiner motivischen Arbeit erreichte die Soloimprovisation Martin Kunzler zufolge \u201Eeinen \u00E4sthetischen und inhaltlichen H\u00F6hepunkt.\u201C Mit seiner linearen Spielhaltung pr\u00E4gte der neben Lennie Tristano \u201Ebedeutendste Cool-Innovator\u201C Musiker wie Paul Desmond oder Bill Evans ebenso wie Hans Koller und Albert Mangelsdorff und schlie\u00DFlich sogar Avantgardisten wie Anthony Braxton."@de .
<http://dbpedia.org/resource/Lee_Konitz>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Leon Konitz (October 13, 1927 \u2013 April 15, 2020) was an American composer and alto saxophonist. He performed successfully in a wide range of jazz styles, including bebop, cool jazz, and avant-garde jazz. Konitz's association with the cool jazz movement of the 1940s and 1950s includes participation in Miles Davis's Birth of the Cool sessions and his work with pianist Lennie Tristano. He was one of relatively few alto saxophonists of this era to retain a distinctive style, when Charlie Parker exerted a massive influence. Like other students of Tristano, Konitz improvised long, melodic lines with the rhythmic interest coming from odd accents, or odd note groupings suggestive of the imposition of one time signature over another. Other saxophonists were strongly influenced by Konitz, such as Pau"@en .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://www.w3.org/2000/01/rdf-schema#comment>	"\u041B\u0456 \u041A\u043E\u043D\u0456\u0446 (\u0430\u043D\u0433\u043B. Lee Konitz; 13 \u0436\u043E\u0432\u0442\u043D\u044F 1927, \u0427\u0438\u043A\u0430\u0433\u043E \u2014 15 \u043A\u0432\u0456\u0442\u043D\u044F 2020, \u041D\u044C\u044E-\u0419\u043E\u0440\u043A) \u2014 \u0430\u043C\u0435\u0440\u0438\u043A\u0430\u043D\u0441\u044C\u043A\u0438\u0439 \u0434\u0436\u0430\u0437\u043E\u0432\u0438\u0439 \u043C\u0443\u0437\u0438\u043A\u0430\u043D\u0442, \u0441\u0430\u043A\u0441\u043E\u0444\u043E\u043D\u0456\u0441\u0442 \u0456 \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0442\u043E\u0440. \u041D\u0430\u0440\u043E\u0434\u0438\u0432\u0441\u044F \u0432 \u0441\u0456\u043C'\u0457 \u0454\u0432\u0440\u0435\u0457\u0432-\u0456\u043C\u043C\u0456\u0433\u0440\u0430\u043D\u0442\u0456\u0432 \u0410\u0431\u0440\u0430\u043C\u0430 \u041A\u043E\u043D\u0456\u0446\u0430 (1898-1959) \u0456 \u0410\u043D\u043D\u0438 \u0413\u0435\u0442\u043B\u0456\u043D (\u0443\u0440\u043E\u0434\u0436\u0435\u043D\u043A\u0438 \u041F\u0456\u043D\u0441\u044C\u043A\u0430, 1900-1964). \u0427\u0438 \u041A\u043E\u043D\u0456\u0446 \u043F\u043E\u0447\u0438\u043D\u0430\u0432 \u043C\u0443\u0437\u0438\u043A\u0430\u043D\u0442\u043E\u043C-\u0441\u0430\u043C\u043E\u0443\u0447\u043A\u043E\u044E. \u0423 1938 \u0440\u043E\u0446\u0456 \u0432\u0456\u043D \u043A\u0443\u043F\u0443\u0454 \u043A\u043B\u0430\u0440\u043D\u0435\u0442 \u0456 \u0441\u0430\u043C\u043E\u0432\u0447\u0438\u0442\u0435\u043B\u044C \u0433\u0440\u0438, \u0430 \u0432 1939 \u0440\u043E\u0446\u0456 \u2014 \u0442\u0435\u043D\u043E\u0440-\u0441\u0430\u043A\u0441\u043E\u0444\u043E\u043D. \u0417\u0433\u043E\u0434\u043E\u043C \u0433\u0440\u0430\u0432 \u0432 \u043E\u0441\u043D\u043E\u0432\u043D\u043E\u043C\u0443 \u043D\u0430 \u0430\u043B\u044C\u0442-\u0441\u0430\u043A\u0441\u043E\u0444\u043E\u043D\u0456. \u041E\u0441\u0432\u0456\u0442\u0443 \u0437\u0434\u043E\u0431\u0443\u0432 \u0432 \u043A\u043E\u043B\u0435\u0434\u0436\u0456 \u0420\u0443\u0437\u0432\u0435\u043B\u044C\u0442\u0430. \u0423 1992 \u0440\u043E\u0446\u0456 \u043C\u0443\u0437\u0438\u043A\u0430\u043D\u0442 \u0431\u0443\u0432 \u0443\u0434\u043E\u0441\u0442\u043E\u0454\u043D\u0438\u0439 \u0434\u0430\u043D\u0441\u044C\u043A\u043E\u0457 \u043F\u0440\u0435\u043C\u0456\u0457 \u0414\u0436\u0430\u0437\u043F\u0430\u0440, \u0443 \u0440\u043E\u0437\u043C\u0456\u0440\u0456 200.000 \u0434\u0430\u043D\u0441\u044C\u043A\u0438\u0445 \u043A\u0440\u043E\u043D."@uk .
<http://dbpedia.org/resource/Lee_Konitz>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Lee Konitz (ur. 13 pa\u017Adziernika 1927 w Chicago, zm. 15 kwietnia 2020 w Nowym Jorku) \u2013 ameryka\u0144ski saksofonista jazzowy. Laureat NEA Jazz Masters Award 2009. Znany ze wsp\u00F3\u0142pracy z takimi muzykami jak Miles Davis, Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan czy Elvin Jones. W 1949 nagra\u0142 z Milesem Davisem epokowy album Birth of the Cool, wsp\u00F3\u0142pracowa\u0142 z Gilem Evansem, Lenniem Tristano, cz\u0119sto wyst\u0119puje z Danem Tepferem. W lecie 2007 wyst\u0105pi\u0142 w Zielonej G\u00F3rze z zespo\u0142em Joachima Mencla z okazji \u201EOgrod\u00F3w Sztuki\u201D. Zmar\u0142 w wyniku powik\u0142a\u0144 choroby COVID-19."@pl .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://dbpedia.org/ontology/abstract>	"\u0644\u064A \u0643\u0648\u0646\u064A\u062A\u0632 (\u0628\u0627\u0644\u0625\u0646\u062C\u0644\u064A\u0632\u064A\u0629: Lee Konitz)\u200F (\u0648.13 \u0623\u0643\u062A\u0648\u0628\u0631 1927 - 15 \u0623\u0628\u0631\u064A\u0644 2020) \u0643\u0627\u0646 \u0645\u0624\u0644\u0641\u064B\u0627 \u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u062C\u0627\u0632 \u0648\u0639\u0627\u0632\u0641 \u0633\u0627\u0643\u0633\u0641\u0648\u0646 \u0623\u0644\u062A\u0648 \u0627\u0644\u0623\u0645\u0631\u064A\u0643\u064A\u0629. \u0643\u0627\u0646 \u064A\u0639\u062A\u0642\u062F \u0623\u0646\u0647 \u0623\u062D\u062F \u0627\u0644\u0623\u0634\u062E\u0627\u0635 \u0627\u0644\u0631\u0626\u064A\u0633\u064A\u064A\u0646 \u0627\u0644\u0645\u0634\u0627\u0631\u0643\u064A\u0646 \u0641\u064A \u062D\u0631\u0643\u0629 \u0627\u0644\u062C\u0627\u0632 \u0627\u0644\u0631\u0627\u0626\u0639\u0629 \u0641\u064A \u0627\u0644\u0623\u0631\u0628\u0639\u064A\u0646\u064A\u0627\u062A \u0648\u0627\u0644\u062E\u0645\u0633\u064A\u0646\u064A\u0627\u062A \u0645\u0646 \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u0639\u0634\u0631\u064A\u0646. \u0642\u0627\u0645 \u0643\u0648\u0646\u064A\u062A\u0632 \u0628\u0623\u062F\u0627\u0621 \u0646\u0627\u062C\u062D \u0641\u064A \u0645\u062C\u0645\u0648\u0639\u0629 \u0648\u0627\u0633\u0639\u0629 \u0645\u0646 \u0623\u0646\u0645\u0627\u0637 \u0627\u0644\u062C\u0627\u0632\u060C \u0628\u0645\u0627 \u0641\u064A \u0630\u0644\u0643 \u0627\u0644\u0628\u064A\u0628\u0648\u0628 \u0648\u0645\u0648\u0633\u064A\u0642\u0649 \u0637\u0644\u064A\u0639\u064A\u0629. \u0648\u0644\u062F \u0643\u0648\u0646\u064A\u062A\u0632 \u0641\u064A \u0634\u064A\u0643\u0627\u063A\u0648 \u0641\u064A 13 \u0623\u0643\u062A\u0648\u0628\u0631 1927. \u062A\u0648\u0641\u064A \u0643\u0648\u0646\u064A\u062A\u0632 \u0641\u064A \u0627\u0644\u0645\u062F\u064A\u0646\u0629 \u0646\u064A\u0648\u064A\u0648\u0631\u0643 \u0641\u064A 15 \u0623\u0628\u0631\u064A\u0644 2020 \u0646\u062A\u064A\u062C\u0629 \u0627\u0644\u0625\u0635\u0627\u0628\u0629 \u0628\u0640 COVID-19 ."@ar .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://dbpedia.org/ontology/abstract>	"Lee Konitz (ur. 13 pa\u017Adziernika 1927 w Chicago, zm. 15 kwietnia 2020 w Nowym Jorku) \u2013 ameryka\u0144ski saksofonista jazzowy. Laureat NEA Jazz Masters Award 2009. Znany ze wsp\u00F3\u0142pracy z takimi muzykami jak Miles Davis, Dave Brubeck, Ornette Coleman, Charles Mingus, Gerry Mulligan czy Elvin Jones. W 1949 nagra\u0142 z Milesem Davisem epokowy album Birth of the Cool, wsp\u00F3\u0142pracowa\u0142 z Gilem Evansem, Lenniem Tristano, cz\u0119sto wyst\u0119puje z Danem Tepferem. W lecie 2007 wyst\u0105pi\u0142 w Zielonej G\u00F3rze z zespo\u0142em Joachima Mencla z okazji \u201EOgrod\u00F3w Sztuki\u201D. Zmar\u0142 w wyniku powik\u0142a\u0144 choroby COVID-19."@pl .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Leon Konitz (13 Oktober 1927 \u2013 15 April 2020) adalah seorang komposer Amerika dan pemain alto saxophonist. Dia tampil sukses dalam berbagai gaya jazz, termasuk bebop, cool jazz, dan avant-garde jazz. Asosiasi Konitz dengan gerakan jazz keren tahun 1940-an dan 1950-an mencakup partisipasi dalam Miles Davis sesi dan karyanya dengan pianis . Dia adalah salah satu dari sedikit pemain saksofon alto pada era ini yang mempertahankan gaya khasnya, ketika Charlie Parker memberikan pengaruh besar. Seperti siswa Tristano lainnya, Konitz mengimprovisasi baris-baris melodi yang panjang dengan ketertarikan ritmis yang berasal dari aksen ganjil, atau pengelompokan not ganjil yang menunjukkan pengenaan tanda tangan satu kali di atas yang lain. Pemain saksofon lainnya sangat dipengaruhi oleh Konitz, seper"@in .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Lee Konitz, all'anagrafe Leon Konitz (Chicago, 13 ottobre 1927 \u2013 New York, 15 aprile 2020), \u00E8 stato un sassofonista e compositore statunitense di musica jazz."@it .
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Lee Konitz; 13 \u0436\u043E\u0432\u0442\u043D\u044F 1927, \u0427\u0438\u043A\u0430\u0433\u043E \u2014 15 \u043A\u0432\u0456\u0442\u043D\u044F 2020, \u041D\u044C\u044E-\u0419\u043E\u0440\u043A) \u2014 \u0430\u043C\u0435\u0440\u0438\u043A\u0430\u043D\u0441\u044C\u043A\u0438\u0439 \u0434\u0436\u0430\u0437\u043E\u0432\u0438\u0439 \u043C\u0443\u0437\u0438\u043A\u0430\u043D\u0442, \u0441\u0430\u043A\u0441\u043E\u0444\u043E\u043D\u0456\u0441\u0442 \u0456 \u043A\u043E\u043C\u043F\u043E\u0437\u0438\u0442\u043E\u0440. \u041D\u0430\u0440\u043E\u0434\u0438\u0432\u0441\u044F \u0432 \u0441\u0456\u043C'\u0457 \u0454\u0432\u0440\u0435\u0457\u0432-\u0456\u043C\u043C\u0456\u0433\u0440\u0430\u043D\u0442\u0456\u0432 \u0410\u0431\u0440\u0430\u043C\u0430 \u041A\u043E\u043D\u0456\u0446\u0430 (1898-1959) \u0456 \u0410\u043D\u043D\u0438 \u0413\u0435\u0442\u043B\u0456\u043D (\u0443\u0440\u043E\u0434\u0436\u0435\u043D\u043A\u0438 \u041F\u0456\u043D\u0441\u044C\u043A\u0430, 1900-1964). \u0427\u0438 \u041A\u043E\u043D\u0456\u0446 \u043F\u043E\u0447\u0438\u043D\u0430\u0432 \u043C\u0443\u0437\u0438\u043A\u0430\u043D\u0442\u043E\u043C-\u0441\u0430\u043C\u043E\u0443\u0447\u043A\u043E\u044E. \u0423 1938 \u0440\u043E\u0446\u0456 \u0432\u0456\u043D \u043A\u0443\u043F\u0443\u0454 \u043A\u043B\u0430\u0440\u043D\u0435\u0442 \u0456 \u0441\u0430\u043C\u043E\u0432\u0447\u0438\u0442\u0435\u043B\u044C \u0433\u0440\u0438, \u0430 \u0432 1939 \u0440\u043E\u0446\u0456 \u2014 \u0442\u0435\u043D\u043E\u0440-\u0441\u0430\u043A\u0441\u043E\u0444\u043E\u043D. \u0417\u0433\u043E\u0434\u043E\u043C \u0433\u0440\u0430\u0432 \u0432 \u043E\u0441\u043D\u043E\u0432\u043D\u043E\u043C\u0443 \u043D\u0430 \u0430\u043B\u044C\u0442-\u0441\u0430\u043A\u0441\u043E\u0444\u043E\u043D\u0456. \u041E\u0441\u0432\u0456\u0442\u0443 \u0437\u0434\u043E\u0431\u0443\u0432 \u0432 \u043A\u043E\u043B\u0435\u0434\u0436\u0456 \u0420\u0443\u0437\u0432\u0435\u043B\u044C\u0442\u0430. \u0423 1948 \u0440\u043E\u0446\u0456 \u041A\u043E\u043D\u0456\u0446 \u0433\u0440\u0430\u0454 \u0432 \u041D\u044C\u044E-\u0419\u043E\u0440\u043A\u0443 \u0440\u0430\u0437\u043E\u043C \u0437 \u041C\u0430\u0439\u043B\u0441\u043E\u043C \u0414\u0435\u0432\u0456\u0441\u043E\u043C \u0456 \u0413\u0456\u043B\u043E\u043C \u0415\u0432\u0430\u043D\u0441\u043E\u043C . \u0426\u0456 \u0432\u0438\u0441\u0442\u0443\u043F\u0438 \u0432 1948-1950 \u0440\u043E\u043A\u0430\u0445 \u043B\u044F\u0433\u043B\u0438 \u0432 \u043E\u0441\u043D\u043E\u0432\u0443 \u0441\u0442\u0438\u043B\u044E \u043A\u0443\u043B-\u0434\u0436\u0430\u0437. \u0423 1952 \u0440\u043E\u0446\u0456 \u0432\u0456\u043D \u0432\u0438\u0441\u0442\u0443\u043F\u0430\u0454 \u0432 \u0422\u043E\u0440\u043E\u043D\u0442\u043E, \u043F\u043E\u0442\u0456\u043C \u2014 \u0432 1952\u20141954 \u0440\u043E\u043A\u0430\u0445 \u2014 \u0432 \u0434\u0436\u0430\u0437-\u0431\u0435\u043D\u0434\u0456 \u0421\u0442\u0435\u043D\u0430 \u041A\u0435\u043D\u0442\u043E\u043D. \u0423 1952 \u0440\u043E\u0446\u0456 \u0432\u0456\u043D \u0431\u0435\u0440\u0435 \u0443\u0447\u0430\u0441\u0442\u044C \u044F\u043A \u0441\u043E\u043B\u0456\u0441\u0442 \u0432 \u0437\u0430\u043F\u0438\u0441\u0443 \u0437\u043D\u0430\u043C\u0435\u043D\u0438\u0442\u043E\u0433\u043E \u043A\u0435\u043D\u0442\u043E\u043D\u0441\u044C\u043A\u043E\u0433\u043E \u0430\u043B\u044C\u0431\u043E\u043C\u0443 \u00ABNew Concepts of Artistry in Rhythm\u00BB, \u0432 1953 \u0440\u043E\u0446\u0456 \u0437\u0430\u043F\u0438\u0441\u0443\u0454\u0442\u044C\u0441\u044F \u0440\u0430\u0437\u043E\u043C \u0437 \u0414\u0436\u0435\u0440\u0440\u0456 \u041C\u0430\u043B\u043B\u0456\u0433\u0435\u043D\u043E\u043C. \u0423 \u0441\u0456\u0447\u043D\u0456 1956 \u0440\u043E\u043A\u0443 \u041B. \u041A\u043E\u043D\u0456\u0446, \u0440\u0430\u0437\u043E\u043C \u0437 \u0413\u0430\u043D\u0441\u043E\u043C \u041A\u043E\u043B\u043B\u0435\u0440\u043E\u043C, \u0417\u0443\u0442\u043E\u043C \u0421\u0456\u043C\u0441\u043E\u043C \u0456 \u041B\u0430\u0440\u0441\u043E\u043C 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\u0432\u0438\u0441\u0442\u0443\u043F\u0430\u0432 \u0437 \u0414\u0435\u0439\u0432\u043E\u043C \u0411\u0440\u0443\u0431\u0435\u043A\u043E\u043C, \u041E\u0440\u043D\u0435\u0442\u0442\u043E\u043C \u041A\u043E\u0443\u043B\u043C\u0430\u043D\u043E\u043C, \u0427\u0430\u0440\u043B\u044C\u0437\u043E\u043C \u041C\u0456\u043D\u0433\u0443\u0441\u043E\u043C, \u0414\u0436\u0435\u0440\u0440\u0456 \u041C\u0430\u043B\u043B\u0456\u0433\u0430\u043D\u043E\u043C, \u0415\u043B\u0432\u0456\u043D\u043E\u043C \u0414\u0436\u043E\u043D\u0441\u043E\u043C \u0442\u0430 \u0456\u043D\u0448\u0438\u043C\u0438. \u0421\u0435\u0440\u0435\u0434 \u0439\u043E\u0433\u043E \u043E\u0441\u0442\u0430\u043D\u043D\u0456\u0445 \u0437\u0430\u043F\u0438\u0441\u0456\u0432 \u0454 \u043A\u0456\u043B\u044C\u043A\u0430 \u0437 \u0411\u0440\u0435\u0434\u043E\u043C \u041C\u0435\u043B\u0434\u0430\u0443 \u0456 \u0427\u0430\u0440\u043B\u0456 \u0425\u0435\u0439\u0434\u0435\u043D\u043E\u043C, \u0430 \u0442\u0430\u043A\u043E\u0436 \u043A\u043E\u043D\u0446\u0435\u0440\u0442\u043D\u0438\u0439 \u0430\u043B\u044C\u0431\u043E\u043C, \u0437\u0430\u043F\u0438\u0441\u0430\u043D\u0438\u0439 \u0432 2009 \u0440\u043E\u0446\u0456 \u043D\u0430 Birdland \u0456 \u0432\u0438\u043F\u0443\u0449\u0435\u043D\u0438\u0439 ECM \u0432 2011 \u0440\u043E\u0446\u0456 \u0437\u0430 \u0443\u0447\u0430\u0441\u0442\u044E \u0446\u0438\u0445 \u043C\u0443\u0437\u0438\u043A\u0430\u043D\u0442\u0456\u0432, \u0430 \u0442\u0430\u043A\u043E\u0436 \u0431\u0430\u0440\u0430\u0431\u0430\u043D\u0449\u0438\u043A\u0430 \u041F\u043E\u043B\u0430 \u041C\u043E\u0443\u0448\u0435\u043D\u0430. \u0412 \u043E\u0441\u0442\u0430\u043D\u043D\u0456 \u0440\u043E\u043A\u0438 \u041B\u0456 \u041A\u043E\u043D\u0456\u0446 \u0432 \u0441\u0442\u0430\u0440\u043E\u0441\u0442\u0456 \u0432\u0438\u043F\u0443\u0441\u0442\u0438\u0432 \u0440\u044F\u0434 \u0444\u0440\u0456-\u0434\u0436\u0430\u0437\u043E\u0432\u0438\u0445 \u0442\u0430 \u0430\u0432\u0430\u043D\u0433\u0430\u0440\u0434\u043D\u0438\u0445 \u0430\u043B\u044C\u0431\u043E\u043C\u0456\u0432, \u0433\u0440\u0430\u044E\u0447\u0438 \u043F\u043B\u0456\u0447-\u043E-\u043F\u043B\u0456\u0447 \u0437 \u043D\u0430\u0431\u0430\u0433\u0430\u0442\u043E \u043C\u043E\u043B\u043E\u0434\u0448\u0438\u043C\u0438 \u043C\u0443\u0437\u0438\u043A\u0430\u043D\u0442\u0430\u043C\u0438. \u041A\u043E\u043D\u0456\u0446 \u043F\u043E\u0432\u0438\u043D\u0435\u043D \u0431\u0443\u0432 \u0432\u0438\u0441\u0442\u0443\u043F\u0438\u0442\u0438 \u043D\u0430 \u043A\u043E\u043D\u0446\u0435\u0440\u0442\u0456 \u0432 Recital Centre \u041C\u0435\u043B\u044C\u0431\u0443\u0440\u043D\u0430 \u0432 \u044F\u043A\u043E\u0441\u0442\u0456 \u043A\u043B\u044E\u0447\u043E\u0432\u043E\u0457 \u0444\u0456\u0433\u0443\u0440\u0438 \u043D\u0430 Melbourne International Jazz Festival \u0432 2011 \u0440\u043E\u0446\u0456, \u043F\u0440\u043E\u0442\u0435 \u0437\u0430\u0445\u0432\u043E\u0440\u0456\u0432, \u0449\u043E \u0441\u0442\u0430\u043B\u043E \u043F\u0440\u0438\u0447\u0438\u043D\u043E\u044E \u0441\u043A\u0430\u0441\u0443\u0432\u0430\u043D\u043D\u044F \u043A\u043E\u043D\u0446\u0435\u0440\u0442\u0443 \u0432 \u043E\u0441\u0442\u0430\u043D\u043D\u044E \u0445\u0432\u0438\u043B\u0438\u043D\u0443. \u0423 \u0441\u0435\u0440\u043F\u043D\u0456 2012 \u0440\u043E\u043A\u0443 \u041B\u0456 \u041A\u043E\u043D\u0456\u0446 \u0437 \u0430\u043D\u0448\u043B\u0430\u0433\u043E\u043C \u0432\u0438\u0441\u0442\u0443\u043F\u0430\u0432 \u0443 \u043A\u043B\u0443\u0431\u0456 Blue Note \u0432 \u0413\u0440\u0456\u043D\u0432\u0456\u0447-\u0412\u0456\u043B\u043B\u0456\u0434\u0436 \u0432 \u0440\u0430\u043C\u043A\u0430\u0445 Terribles Enfants \u0440\u0430\u0437\u043E\u043C \u0437 \u0411\u0456\u043B\u043B\u043E\u043C \u0424\u0440\u0456\u0437\u0435\u043B\u043E\u043C, \u0413\u0435\u0440\u0456 \u041F\u0456\u043A\u043E\u043A \u0456 \u0414\u0436\u043E\u0443\u0457 \u0411\u0430\u0440\u043E\u043D\u043E\u043C. \u041A\u043E\u043D\u0456\u0446 \u043F\u043E\u043C\u0435\u0440 \u0432 \u043B\u0456\u043A\u0430\u0440\u043D\u0456 \u041B\u0435\u043D\u043E\u043A\u0441 \u0425\u0456\u043B\u043B \u0432 \u041D\u044C\u044E-\u0419\u043E\u0440\u043A\u0443 15 \u043A\u0432\u0456\u0442\u043D\u044F 2020 \u0440\u043E\u043A\u0443 \u0432 \u0440\u0435\u0437\u0443\u043B\u044C\u0442\u0430\u0442\u0456 \u043F\u043D\u0435\u0432\u043C\u043E\u043D\u0456\u0457, \u0432\u0438\u043A\u043B\u0438\u043A\u0430\u043D\u043E\u0457 \u043A\u043E\u0440\u043E\u043D\u0430\u0432\u0456\u0440\u0443\u0441\u043E\u043C."@uk .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://www.w3.org/2000/01/rdf-schema#comment>	"\u0644\u064A \u0643\u0648\u0646\u064A\u062A\u0632 (\u0628\u0627\u0644\u0625\u0646\u062C\u0644\u064A\u0632\u064A\u0629: Lee Konitz)\u200F (\u0648.13 \u0623\u0643\u062A\u0648\u0628\u0631 1927 - 15 \u0623\u0628\u0631\u064A\u0644 2020) \u0643\u0627\u0646 \u0645\u0624\u0644\u0641\u064B\u0627 \u0644\u0645\u0648\u0633\u064A\u0642\u0649 \u0627\u0644\u062C\u0627\u0632 \u0648\u0639\u0627\u0632\u0641 \u0633\u0627\u0643\u0633\u0641\u0648\u0646 \u0623\u0644\u062A\u0648 \u0627\u0644\u0623\u0645\u0631\u064A\u0643\u064A\u0629. \u0643\u0627\u0646 \u064A\u0639\u062A\u0642\u062F \u0623\u0646\u0647 \u0623\u062D\u062F \u0627\u0644\u0623\u0634\u062E\u0627\u0635 \u0627\u0644\u0631\u0626\u064A\u0633\u064A\u064A\u0646 \u0627\u0644\u0645\u0634\u0627\u0631\u0643\u064A\u0646 \u0641\u064A \u062D\u0631\u0643\u0629 \u0627\u0644\u062C\u0627\u0632 \u0627\u0644\u0631\u0627\u0626\u0639\u0629 \u0641\u064A \u0627\u0644\u0623\u0631\u0628\u0639\u064A\u0646\u064A\u0627\u062A \u0648\u0627\u0644\u062E\u0645\u0633\u064A\u0646\u064A\u0627\u062A \u0645\u0646 \u0627\u0644\u0642\u0631\u0646 \u0627\u0644\u0639\u0634\u0631\u064A\u0646. \u0642\u0627\u0645 \u0643\u0648\u0646\u064A\u062A\u0632 \u0628\u0623\u062F\u0627\u0621 \u0646\u0627\u062C\u062D \u0641\u064A \u0645\u062C\u0645\u0648\u0639\u0629 \u0648\u0627\u0633\u0639\u0629 \u0645\u0646 \u0623\u0646\u0645\u0627\u0637 \u0627\u0644\u062C\u0627\u0632\u060C \u0628\u0645\u0627 \u0641\u064A \u0630\u0644\u0643 \u0627\u0644\u0628\u064A\u0628\u0648\u0628 \u0648\u0645\u0648\u0633\u064A\u0642\u0649 \u0637\u0644\u064A\u0639\u064A\u0629. \u0648\u0644\u062F \u0643\u0648\u0646\u064A\u062A\u0632 \u0641\u064A \u0634\u064A\u0643\u0627\u063A\u0648 \u0641\u064A 13 \u0623\u0643\u062A\u0648\u0628\u0631 1927. \u062A\u0648\u0641\u064A \u0643\u0648\u0646\u064A\u062A\u0632 \u0641\u064A \u0627\u0644\u0645\u062F\u064A\u0646\u0629 \u0646\u064A\u0648\u064A\u0648\u0631\u0643 \u0641\u064A 15 \u0623\u0628\u0631\u064A\u0644 2020 \u0646\u062A\u064A\u062C\u0629 \u0627\u0644\u0625\u0635\u0627\u0628\u0629 \u0628\u0640 COVID-19 ."@ar .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://dbpedia.org/ontology/abstract>	"Lee Konitz (Chicago, 13 de outubro de 1927 \u2013 Nova Iorque, 15 de abril de 2020), foi um compositor e saxofonista alto de jazz, norte-americano, de estilo cool jazz e post-bop. Konitz foi um dos m\u00FAsicos que gravaram Birth of the Cool (1957), de Miles Davis, um dos mais c\u00E9lebres discos da hist\u00F3ria do jazz. Lee Konitz come\u00E7ou a sua carreira na d\u00E9cada de 1940, tocando com Charlie Parker, e Stan Kenton, entre outros. Era mestre na improvisa\u00E7\u00E3o, e esteve ligado ao cool jazz\u201Da partir das d\u00E9cadas de 1950 e 1960. Konitz morreu em Nova Iorque no dia 15 de abril de 2020, aos 92 anos, em decorr\u00EAncia de complica\u00E7\u00F5es da COVID-19."@pt .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Lee Konitz (13. \u0159\u00EDjna 1927, Chicago, Illinois, USA \u2013 15. dubna 2020 Greenwich Village, Manhattan) byl americk\u00FD jazzov\u00FD altsaxofonista a hudebn\u00ED skladatel. Byl tak\u00E9 \u010Dlenem skupiny Milese Davise, se kter\u00FDm nahr\u00E1l alba Birth of the Cool (1949) a Miles Ahead (1957)."@cs .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://dbpedia.org/ontology/wikiPageWikiLink>	<http://dbpedia.org/resource/Benny_Carter> .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://dbpedia.org/ontology/abstract>	"Lee Konitz (1927ko urriaren 13a - 2020ko apirilaren 15a) estatubatuar musikagilea izan zen. Jazz estilo sorta zabal batean jo zuen arrakastaz, bebop, cool jazz eta barne. 1940ko eta 1950eko hamarkadetako cool jazz mugimenduarekin Miles Davisen saioetan parte hartzea eta piano jotzailearekin egindako lana biltzen ditu. Garai honetan nabarmena izan zen estilo bereizgarri bat mantendu zuen altu samarretako bat bezala, Charlie Parkerrek eragin masiboa izan zuen garaian. Tristanoren beste ikasle batzuk bezala, Konitz, lerro melodiko luzeak inprobisatzeagatik nabarmendu zen, azentu arraroetatik zetorren interes erritmikoarekin, edo konpas bat beste baten gainean ezartzea iradokitzen zuten nota multzo arraroekin. Beste saxofoi-jotzaile batzuk Konitzen eragin handia izan zuten, bereziki eta ."@eu .
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<http://dbpedia.org/resource/Lee_Konitz>	<http://www.w3.org/2000/01/rdf-schema#comment>	"Lee Konitz (Chicago, Illinois, el 13 d'octubre de 1927 - Nova York, 15 d'abril de 2020) fou un saxofonista i compositor nord-americ\u00E0 de jazz. \u00C9s considerat com un dels impulsors del Cool Jazz. Va ser el primer saxofonista alt que es va alliberar del model bebop i de la influ\u00E8ncia del seu amic Charlie Parker, als anys cinquanta."@ca .
<http://dbpedia.org/resource/Lee_Konitz>	<http://dbpedia.org/ontology/wikiPageWikiLink>	<http://dbpedia.org/resource/Charlie_Parker> .