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 – Warne Marsh Quintet | Shazam
Tracklistings come from MusicBrainz. You can add or edit information about with Warne Marsh at musicbrainz.
Find out more about our use of this dataand also our policy on profanity. Find out more about our use of this data. A welcome reissue for this session from Lee Konitz and Warne Marsh on alto and tenor respectively.
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.
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 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.
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.
Marsh sticks mostly to the upper register of his horn, making differentiation even trickier. 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.
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.
tristano marsh konitz
Graceful, intelligent improvising that swings – what more could you want? This work is licensed under a Creative Commons Licence.
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Find out more about our use of this dataand also our policy on profanity Find out more about our use of this data. BBC Review Graceful, intelligent improvising that swings – what more could you want? Clips taken from original discs may contain strong language.