BACKGROUND MUSIC WARNE MARSH PDF

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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Clips taken from original discs may contain strong language. Links Reviews available at www. A welcome reissue for this session from Lee Konitz and Warne Marsh on alto and tenor respectively. 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.

If you choose to use this review on your site please link back to this page. Drinking Hanging Out In Love. Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team.

Marsh sticks mostly to the upper register of his horn, making differentiation even trickier. Donna Lee Charlie Parker. Very understated music, but tough and restlessly curious inside.

BBC Review Graceful, intelligent improvising that swings – what more could you want? Introspection Reflection Relaxation Sunday Afternoon. This page has been archived and is no longer updated. Tristano’s “Two Not One” brings out the best in the duo, it’s fractured, boppish melody provoking a joyous solo from Bcakground and an unusually gritty response from Bafkground one of his rare excursions to the lower frequencies.

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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 crime indeed in the eyes of the jazz police.

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CD: Lee Konitz/ Warne Marsh: London Concert | Music | The Guardian

Introspection Late Night Partying. AllMusic relies heavily on JavaScript. Even by the mid-’50s when they were not as influenced by Lennie Tristano as previously particularly Konitztheir long melodic lines musid unusual tones caused them to stand out from the crowd. Two Not One Lennie Tristano. 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 him.

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 musoc individual of all spin-offs from him and astonishingly sustained linear inventiveness were unique contributions to jazz that have mostly been overlooked.

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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 marsg each other. But on a repertoire that mostly concentrates on Broadway standards rather than the genre’s high priest Lennie Tristano, there’s some exquisite playing.

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.

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Jazz Latin New Age. This work is licensed musif a Creative Commons Licence. You can add or marsj information about with Warne Marsh at musicbrainz. Their renditions of “originals” based on common chord changes along with versions of “Topsy,” “There Will Never Be Another You” and “Donna Lee” are quite enjoyable and swing hard yet fall into the category of cool jazz. Tracklistings come from MusicBrainz.

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Background Music

Background Music Warne Marsh. 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. This set is worth searching for, as are all of the Konitz – Marsh collaborations.

Graceful, intelligent improvising that swings – bacmground more could you want? Sexy Trippy All Moods. Rainy Day Relaxation Road Trip. The young American Mark Turner is one of the muslc contemporary saxophonists who sounds as if he’s listened to Marsh.