Find album reviews, stream songs, credits and award information for Lee Konitz with Warne Marsh – Lee Konitz, Warne Marsh on AllMusic – – Altoist Lee. Warne Marsh – Background Music – Music. 1, Topsy. 2, There Will Never Be Another You. 3, I Can’t Get Started. 4, Donna Lee. 5, Two Not One. 6, Don’t Squawk. 7, Ronnie’s Line. 8, Background Music.
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Streams Videos All Posts. Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. Their renditions of “originals” based on common chord changes along with versions of “Topsy,” “There Will Never Be Another You” and musicc Lee” are quite enjoyable and swing ,arsh yet fall into the category of cool jazz. Tracklistings come from MusicBrainz. Find out more about our use of this dataand also our policy on profanity Find out more about our use of this data.
Find out more about our use of this dataand marsg our policy on profanity. A welcome reissue for baxkground session from Lee Konitz and Warne Marsh on alto and tenor respectively.
This set is worth searching for, as are all of the Konitz – Marsh collaborations. Drinking Hanging Out In Love. Both saxophonists put in time with Lennie Tristano before becoming inextricably associated with the cool school, and as such were often criticised as being over cerebral or even worse, lacking in swing a heinous bacground indeed in the eyes of the jazz police. Both saxophonists had by this time evolved highly individual vocabularies; Konitz had somehow managed to avoid the influence of Charlie Parker, and Marsh had similarly developed a distinctive voice that owed little to the prevailing tenor tradition except maybe late Lester Young.
Very understated music, but tough and restlessly curious inside.
Background Music Warne Marsh. Clips taken from original discs may contain strong language. Introspection Late Night Partying. Find out more about page archiving. No such complaints here, as support comes from the classic bop rhythm section of Kenny Clarke on drums and Oscar Pettiford on bass.
This is also a London concert featuring Konitz, but from and in partnership with the late Warne Marsh, the extraordinary Californian saxophonist, whose brittle, woody, soprano-sax-like tone on a tenor drawn from Lester Young, but one of the most individual of mysic spin-offs from him and astonishingly sustained linear inventiveness were unique contributions to jazz that have mostly been overlooked.
Donna Lee Charlie Parker. Jazz Latin New Age. But on a repertoire that mostly concentrates on Broadway standards rather than the genre’s high priest Lennie Tristano, there’s some exquisite playing. Sexy Trippy All Moods.
Background Music, a song by Lee Konitz, Warne Marsh on Spotify
BBC Review Graceful, intelligent improvising that swings – masrh more could you want? This page has been archived and is no longer updated. Marsh sticks mostly to the upper register of his horn, making differentiation even trickier. I Can’t Get Started.
Live at the Montmartre Club: Jazz Exchange, Vol. 1
BBC – Music – Review of Lee Konitz – with Warne Marsh
Even by the mid-’50s when they were wrane as influenced by Lennie Tristano as previously particularly Konitztheir long melodic lines and unusual tones caused them to stand out from the crowd. Find out more about our use of this data.
This work is licensed mrash a Creative Commons Licence. Marsh’s own Background Music is a fast cat-and-mouse two-sax scramble, Konitz wraps silvery tracery around Marsh’s theme statement on It’s You Or No-One, Konitz is meditatively inventive on You Go To My Head, and they eventually both play the piece of genuine Bach counterpoint much of the ensemble work has sounded like all along.
Lee Konitz/ Warne Marsh: London Concert
A padding, understated hybrid of bebop and a kind of baroque counterpoint, it might be a little subdued and doodly-sounding for some. Tristano’s “Two Not One” brings out the best in the duo, it’s fractured, boppish melody provoking a joyous solo from Konitz and an unusually gritty response from Marsh one of his rare excursions to marshh lower frequencies.
Introspection Reflection Relaxation Sunday Afternoon. The young American Mark Turner is one of the few contemporary saxophonists who sounds as if he’s listened to Marsh.
Moreover they had built up an almost telepathic rapport; when soloing together as on “I Can’t Get Started” it becomes quickly pretty impossible to tell who’s who as their lines curl and fold in on each other. It’s fascinating to hear them dissect Parker’s “Donna Lee”; Konitz resists the urge to grandstand and somehow his playing maintains its floating, aerated quality even at this high tempo; even Clarke’s trademark Klook bomb drops don’t faze mussic.
Two Not One Lennie Tristano.
Indeed from the opening “Topsy”, a tune most associated with Count Basie, Clarke and Pettiford display an urgent, warm propulsion which they maintain throughout the session. Links Reviews available at www. You can add or edit information about with Warne Marsh at musicbrainz. Rainy Day Relaxation Road Trip.
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