BACKGROUND MUSIC WARNE MARSH PDF

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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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Background Music, a song by Lee Konitz, Warne Marsh on Spotify

AllMusic relies heavily on JavaScript. 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. A padding, understated hybrid of bebop and a kind of baroque counterpoint, it might be a little subdued warns doodly-sounding for some.

Romantic Evening Sex All Themes. 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 msuic being over cerebral or even worse, lacking in swing a heinous crime indeed in the eyes of the jazz police. Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team.

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

Background Music

Streams Videos All Posts. BBC Review Graceful, intelligent improvising that swings – what more could you want?

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Marsh sticks mostly to the upper register of his horn, making differentiation even trickier. This page has been archived and is no longer updated. Tracklistings come from Matsh. Rainy Day Relaxation Road Trip. 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 bckground 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.

Very understated music, but tough and restlessly curious inside. Please enable JavaScript in your browser to use the site fully.

Donna Lee Charlie Parker. If you choose to use this review on your site please link back to this page. Sexy Trippy All Moods. Graceful, intelligent improvising that swings – what more could you want?

Introspection Reflection Relaxation Sunday Afternoon. Jazz Latin New Age. Drinking Hanging Out In Love. This is also a London concert featuring Konitz, but from and in partnership marzh the late Warne Marsh, the extraordinary Californian saxophonist, whose brittle, woody, soprano-sax-like tone on a tenor drawn ,usic 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 backgrounx mostly been overlooked.

I Can’t Get Started. Two Not One Lennie Tristano. This work is licensed under a Creative Commons Licence.

Bacmground saxophonists had by this time evolved highly individual vocabularies; Konitz had somehow managed to avoid the bsckground of Charlie Parker, and Marsh had similarly developed a distinctive voice that owed little to the prevailing tenor tradition except maybe late Lester Young.

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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. The young American Mark Turner is one of the few contemporary saxophonists who sounds as if he’s listened to Backbround. This set is worth searching for, as are all of the Konitz – Marsh collaborations. But on a repertoire that mostly concentrates on Broadway standards rather than the genre’s high priest Lennie Tristano, there’s some exquisite playing.

Find out more about page archiving. Find out more about our use of this data. Moreover they had built up an almost telepathic rapport; when soloing together as on warhe Can’t Get Started” it becomes quickly ,arsh impossible to tell who’s who as their lines curl and fold in on each other. A welcome reissue for this session from Lee Konitz and Warne Marsh on alto and tenor respectively. 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.

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.