BACKGROUND MUSIC WARNE MARSH PDF

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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This set is worth searching for, as are all of the Konitz – Marsh collaborations. Sexy Trippy All Moods. Find out more about our use of this dataand also our policy on profanity.

Background Music – Lee Konitz, Warne Marsh | Song Info | AllMusic

A welcome reissue for this bacgkround from Lee Konitz and Warne Marsh on alto and tenor respectively. Romantic Evening Sex All Themes. Introspection Late Night Partying. This work is licensed under a Creative Commons Licence.

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. Tristano’s “Two Not One” brings ,arsh 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. Graceful, intelligent improvising that swings – what more could you want?

Moreover they had built up an almost telepathic rapport; when soloing together as on “I Can’t Get Started” it becomes backgroynd pretty impossible to tell who’s who as their lines curl and fold in on each other.

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BBC Review Graceful, intelligent improvising that swings – what more warnne you want? Drinking Hanging Out In Love. But on a repertoire that mostly concentrates on Broadway standards rather than the genre’s high priest Lennie Tristano, there’s some exquisite playing.

You can add or edit information about with Warne Marsh at musicbrainz. 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.

Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. Find out more about our use of this data. A padding, backgrround hybrid of bebop and a kind of baroque counterpoint, it might be a little subdued and doodly-sounding for some. Tracklistings come from MusicBrainz. This page has been backggound and is no longer updated.

Links Reviews available at www. AllMusic relies heavily on JavaScript. Two Not One Lennie Tristano. Introspection Reflection Relaxation Sunday Afternoon.

The young American Mark Turner is one of the few contemporary saxophonists who sounds as if he’s listened to Marsh. Jazz Latin New Age. If you choose to use this review on your site please link back to this page.

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. 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.

Streams Videos All Posts. Clips taken from original discs may contain strong language. Rainy Day Relaxation Road Trip. Very understated music, but tough and restlessly curious inside.

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Their renditions of “originals” based on common chord changes along with versions of “Topsy,” “There Will Never Be Another You” and “Donna Mwrsh are quite enjoyable and swing hard yet fall into the category of cool jazz.

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Lee Konitz/ Warne Marsh: London Concert

Marsh sticks mostly to the upper register of his horn, making differentiation even trickier. No such complaints here, as support comes from the classic bop rhythm section of Kenny Clarke on drums and Oscar Pettiford on bass. Please enable JavaScript in your browser to use the site fully. 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 is also a London concert featuring Konitz, but from and in partnership with the muzic 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.

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 mafsh that owed little to the prevailing tenor tradition except maybe late Lester Young.