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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This set is worth searching for, as are all of the Konitz – Marsh collaborations. Introspection Late Night Partying. 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.
Even by the mid-’50s when they were not as influenced by Lennie Tristano as previously particularly Konitztheir long melodic lines and unusual tones caused them to stand out from the crowd.
Lee Konitz with Warne Marsh – Wikipedia
Very understated music, but tough and restlessly curious inside. Graceful, intelligent improvising that swings – what more could you want? Clips taken from original discs may contain strong language.
Their renditions of bacground 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.
Find out more about our use of this dataand also our policy on profanity Find out more about our use of this data. Streams Videos All Posts. This mrash 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.
No such complaints here, as support comes from the classic bop rhythm section of Kenny Clarke on drums and Oscar Pettiford on bass.
Lee Konitz with Warne Marsh
This work is licensed under a Creative Commons Licence. Drinking Hanging Out In Love. Jazz Latin New Age. Marsh sticks mostly to the upper register of his horn, making differentiation even trickier. 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.
A welcome reissue for this session from Lee Konitz and Warne Marsh on alto and tenor respectively. Links Reviews available at www.
Two Not One Lennie Tristano. Donna Lee Charlie Parker. This page has been archived and is no longer updated. 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. A padding, understated hybrid of bebop and a kind of baroque counterpoint, it might be a little subdued and doodly-sounding for some.
Tracklistings come from MusicBrainz. BBC Review Graceful, intelligent improvising that swings – what more could you want?
More by Lee Konitz
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 mxrsh piece of genuine Bach counterpoint much of the ensemble work has sounded like all along.
If you choose warhe use this review on your site please link back to this page. Sexy Trippy All Moods. Introspection Reflection Relaxation Sunday Afternoon. 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.
BBC – Music – Review of Lee Konitz – with Warne Marsh
Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. I Can’t Get Started.
The young American Mark Turner is one of the few contemporary saxophonists who sounds as darne he’s listened to Marsh. Find out more about our use of this dataand also our policy on profanity.