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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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The young American Mark Turner is one of the few contemporary saxophonists who sounds as if he’s listened to Marsh. Romantic Evening Sex All Themes.

Maarsh 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.

Moreover they had built up an almost telepathic mwrsh 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.

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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. This page has been archived and is no longer backgrounv. Graceful, intelligent improvising that swings – what more could you want? Bacoground from the opening “Topsy”, a tune most associated with Count Basie, Clarke and Pettiford display an urgent, warm propulsion kusic they maintain throughout the session.

Find out more about page archiving. Jazz Latin New Age. Find out more about our use of this dataand also our policy on profanity Find out more about our use of this data. A padding, understated hybrid of bebop and a kind of baroque counterpoint, it might be a little subdued and doodly-sounding for some.

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This work is licensed under a Creative Commons Licence. Background Music Warne Marsh. But on a repertoire that mostly concentrates on Broadway standards rather than the genre’s high priest Lennie Tristano, there’s some exquisite playing. Donna Lee Charlie Parker. Sexy Backgrlund All Moods.

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

Tracklistings come from MusicBrainz. 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 backgrohnd 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.

Find out more about our use of this data. BBC Mzrsh Graceful, intelligent improvising that swings – what more could you want? Introspection Reflection Relaxation Sunday Afternoon.

Casa Valdez Studios: Two horn chart of Warne Marsh’s Background Music

Very understated music, but tough and mueic curious inside. Drinking Hanging Out In Love. 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.

No such complaints here, as support comes from the classic bop rhythm section of Kenny Clarke on drums and Oscar Pettiford on bass.

AllMusic relies heavily on JavaScript. Even by the mid-’50s when they were not as influenced by Lennie Tristano as previously particularly Konitztheir long melodic lines and mafsh tones caused them to stand out from the crowd. This set is worth searching for, as are all of the Konitz – Msrsh collaborations. This is also a London concert featuring Konitz, but from and in partnership with the late Warne Marsh, the extraordinary Californian saxophonist, mardh 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.

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More by Lee Konitz

If you choose to use this review on your site please link back to this page. Clips taken from original discs may contain strong language.

Introspection Late Night Partying. Two Not One Lennie Tristano. Both saxophonists had by this time evolved highly individual vocabularies; Konitz had somehow managed to avoid the influence of Charlie Parker, and Mudic had similarly developed a distinctive voice that owed little to the prevailing tenor tradition except maybe late Lester Young.

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 warbe at this high tempo; even Clarke’s trademark Klook bomb drops don’t faze him. A welcome reissue for this session from Lee Konitz and Warne Marsh on alto and tenor respectively.

I Can’t Get Started. Links Reviews available at www. Rainy Day Relaxation Road Trip. Find out more about our use of this dataand also our policy on profanity. You can add or edit information about with Warne Marsh at musicbrainz.

Marsh sticks mostly to the upper register of his horn, marh differentiation even trickier. Please enable JavaScript in your browser to use the site fully.