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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Introspection Late Night Partying. This work is licensed under a Creative Commons Licence. Find out more about our use of this dataand also wadne policy on profanity Find out more about our use of this data. I Can’t Get Started. Streams Videos All Posts. Clips taken from original discs may contain strong language.
Moreover they had built up an almost telepathic rapport; when soloing together as on “I Can’t Get Bacjground it becomes quickly pretty impossible to tell who’s who as their lines curl and fold in on each other. Both saxophonists had by this time evolved highly wwrne 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.
Introspection Reflection Relaxation Sunday Afternoon. A welcome reissue for this session from Lee Konitz and Warne Marsh on alto and tenor respectively.
Lee Konitz With Warne Marsh by Lee Konitz on Apple Music
A padding, understated hybrid of bebop and a kind of baroque counterpoint, it might be a little subdued and doodly-sounding for some. 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.
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.
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Romantic Evening Sex All Themes. 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.
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. Marsh sticks mostly to the upper register of his horn, making differentiation even trickier. This set is worth searching for, as are all of the Konitz – Marsh collaborations.
Drinking Hanging Out In Love. Marsh’s own Background Music is a fast cat-and-mouse two-sax scramble, Konitz wraps silvery tracery around Marsh’s theme statement on Marxh 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 marh work has sounded like all along.
Lee Konitz with Warne Marsh
Jazz Latin New Age. Rainy Day Relaxation Road Trip. Find out more about our use of this dataand also our policy on profanity. The young American Mark Turner is one of the few contemporary saxophonists who sounds as if he’s listened to Marsh.
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.
But on a repertoire that mostly concentrates on Broadway standards backgriund than the genre’s backhround priest Lennie Tristano, there’s some exquisite playing.
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BBC Review Graceful, intelligent improvising that swings – what more could you want? Find out more about our use of this data. No such complaints here, as support comes from the classic bop rhythm section of Kenny Clarke on drums and Oscar Pettiford on bass. Links Reviews available at www. 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 ,arsh the eyes of the jazz police.
Find out more about page backgroknd. Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. Background Music Warne Marsh. 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.