While Davis, Lewis, Mulligan, and Shearing's efforts were rooted in bebop, other musicians were less indebted to that style. In New York, pianist Lennie Tristano and saxophonist Lee Konitz developed a "somewhat atonal cerebral alternative to bop which concentrated on linear improvisation and interweaving rhythmic complexities". In California, Dave Brubeck hired alto saxophonist Paul Desmond, forming a quartet. Both Konitz and Desmond used an approach that ran counter to bebop, in the sense that neither player employed a sound or style heavily indebted to Charlie Parker (or Parker's blues elements). In a 2013 interview, Konitz noted that "the blues never connected with me," and further explained "I knew and loved Charlie Parker and copied his bebop solos like everyone else. But I didn't want to sound like him. So I used almost no vibrato and played mostly in the higher register. That's the heart of my sound."