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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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.
This work is licensed under a Creative Commons Licence. Rainy Day Relaxation Road Trip. Find out more about our use of this dataand also warnr policy on profanity.
If you choose to use this review on your site please link back to this page. 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 the lower frequencies. No such complaints here, as support comes from the classic bop rhythm section of Kenny Clarke on drums and Oscar Pettiford on bass.
Marsg padding, understated hybrid of bebop and a kind of baroque counterpoint, it might be a little subdued and doodly-sounding for some. 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.
I Can’t Get Started. Find out more about our use of this dataand also our policy on profanity Find out more about our use of this data. BBC Review Graceful, intelligent improvising that swings – what more could you want?
Find out more about our use of this data. Very understated music, but tough and restlessly curious inside. Two Not One Lennie Tristano. Jazz Latin New Age. Moreover they had built up an almost telepathic rapport; when soloing marsy 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.
CD: Lee Konitz/ Warne Marsh: London Concert | Music | The Guardian
Introspection Reflection Relaxation Sunday Afternoon. Drinking Hanging Out In Love. This page has been archived and is no longer updated. You can add or edit information about with Warne Marsh at musicbrainz. Tracklistings come from MusicBrainz. Romantic Evening Sex All Themes. Introspection Late Night Partying. A welcome reissue for warrne session from Lee Konitz and Warne Marsh on alto and tenor respectively.
Graceful, intelligent improvising that swings – what more could you backgground 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 magsh maybe late Lester Young.
Links Reviews available at www. But on a repertoire that mostly concentrates on Broadway standards rather than the genre’s high priest Lennie Tristano, there’s some exquisite playing.
Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. This set is worth searching for, as are all of the Konitz – Marsh collaborations.
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. 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.
Background Music – Lee Konitz, Warne Marsh | Song Info | AllMusic
Clips taken from original discs may contain strong language. Streams Videos All Posts. 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 all spin-offs from him and astonishingly sustained linear inventiveness were unique contributions to jazz that have mostly been overlooked.
The young American Mark Turner is one of the few contemporary saxophonists who sounds as if he’s listened to Marsh. Marsh sticks mostly to the upper register of his horn, making differentiation even trickier.