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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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Jazz Latin New Age. This is also a London concert featuring Konitz, but from and in partnership with the late Warne Marsh, the extraordinary Californian saxophonist, whose bqckground, 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.

A welcome reissue for this session from Lee Konitz and Warne Marsh on alto and tenor respectively. Sexy Trippy All Moods. 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.

Graceful, intelligent improvising that swings – what more could you want? Find out more about page archiving. 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. Clips taken from original discs may contain strong language. 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 Mars 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.

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Introspection Reflection Relaxation Sunday Afternoon. Introspection Late Night Partying. This set is worth searching for, as are all of the Konitz – Marsh collaborations. If you choose mueic use this review on your site please link back to this page.

AllMusic mafsh heavily on JavaScript. Very understated music, but tough and restlessly curious inside.

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 backgfound rare excursions to the lower frequencies. But on a repertoire that mostly concentrates on Broadway standards rather than the genre’s high priest Lennie Tristano, there’s some exquisite playing. Drinking Hanging Out In Love. Romantic Evening Sex All Themes. Find watne more about our use of this dataand also our policy on profanity.

Background Music Warne Marsh. Rainy Day Relaxation Road Trip. 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. I Can’t Get Started. Streams Videos All Posts.

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

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. Marsh sticks mostly to the upper register of his horn, making differentiation even trickier.

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Lee Konitz/ Warne Marsh: London Concert

Links Reviews available at www. Find out more about our use of this data. Altoist Lee Konitz and tenor-saxophonist Warne Backgrojnd always made for a perfect team. Tracklistings come from MusicBrainz. BBC Review Graceful, intelligent improvising that swings – what more could you want? This page has been archived and is no longer updated. A padding, understated hybrid of bebop and a kind of baroque counterpoint, it might backgroknd a little subdued and doodly-sounding for some.

BBC – Music – Review of Lee Konitz – with Warne Marsh

Moreover they had built up an almost telepathic rapport; when soloing together as on “I Can’t Get Bcakground it becomes quickly pretty impossible to tell who’s who as their lines curl and fold in on each other. Donna Lee Charlie Parker. You can add or edit information about with Warne Marsh at musicbrainz. The young American Mark Turner is one of the few contemporary saxophonists who sounds as if he’s listened to Badkground.

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 marh.