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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Lee Konitz with Warne Marsh
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Very understated music, but tough and restlessly curious inside. Links Reviews available at www.
Live at the Montmartre Club: Jazz Exchange, Vol. 1
No such complaints here, as support comes from the classic bop rhythm section of Kenny Clarke on drums and Oscar Pettiford on bass. This work is licensed under a Creative Commons Licence.
Find out more about page archiving. Even by the mid-’50s when they were not as influenced by Lennie Tristano as previously particularly Konitztheir long melodic lines and unusual bacjground caused them to stand out from the crowd. A welcome reissue for this session from Lee Konitz and Warne Marsh on alto and tenor respectively.
Sexy Trippy All Moods. Background Music Warne Marsh.
Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. I Can’t Get Started. Clips taken from original discs may contain strong language. 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.
Graceful, intelligent improvising that swings – what more could you want? This is also a London concert featuring Konitz, backgfound 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.
Introspection Late Night Partying. 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.
Find out more about our use of this data. You can add or edit information about with Warne Marsh at musicbrainz. A padding, understated hybrid of bebop and a kind of baroque badkground, it might be a little subdued and doodly-sounding for some.
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Marsh sticks mostly to the upper register of his horn, making differentiation even trickier. Tracklistings come from MusicBrainz. Find out more about our use of this dataand also our policy on profanity.
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. Please enable Warrne in your browser to use the site fully. Introspection Reflection Relaxation Sunday Afternoon.
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 Bac,ground counterpoint much of the ensemble work has sounded like all along. Tristano’s “Two Not One” brings out the best in musi 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.
But on a repertoire that mostly concentrates on Broadway standards rather than the genre’s high priest Lennie Tristano, there’s some exquisite playing. Rainy Day Relaxation Road Trip.
Key & BPM for Background Music by Lee Konitz, Warne Marsh | Tunebat
Two Not One Lennie Tristano.
Lee Konitz with Warne Marsh – Wikipedia
This set is worth searching for, as are all of the Konitz – Marsh collaborations. Romantic Evening Sex All Themes.
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.
Donna Lee Charlie Parker. 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. Streams Videos All Posts. Drinking Hanging Out In Love.