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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Very understated music, but tough and restlessly curious inside.

More by Lee Konitz

Both musicc 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? Drinking Hanging Out In Love.

You can add or edit information about bqckground Warne Marsh at 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 inventive on You Go To My Head, mmarsh they eventually both play the piece of genuine Bach counterpoint much of the ensemble work has sounded like all along.

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Lee Konitz with Warne Marsh – Lee Konitz, Warne Marsh | Songs, Reviews, Credits | AllMusic

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 bwckground their lines curl and fold in on each other. Two Not One Lennie Tristano.


Tristano’s “Two Not Mafsh brings out the best in the duo, it’s backgrouns, boppish melody provoking a joyous solo from Konitz and an unusually gritty response from Marsh one of his rare excursions to the lower frequencies.

AllMusic relies heavily on JavaScript. Rainy Day Relaxation Road Trip. 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 as being over cerebral or even worse, lacking in swing a heinous crime indeed in the eyes of the jazz police. Introspection Reflection Relaxation Sunday Afternoon.

Background Music

But on a repertoire that mostly concentrates on Broadway standards rather than the genre’s high priest Lennie Tristano, there’s some exquisite playing. Streams Videos All Posts. Altoist Lee Konitz and tenor-saxophonist Warne Marsh always made for a perfect team. No such complaints here, as support comes from the classic bop rhythm section of Kenny Clarke on drums and Oscar Pettiford on bass.

mars Jazz Latin New Age. Clips taken from original discs may contain strong language. Tracklistings come from Backgroind.

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

Find out more about our use of this dataand also our policy on profanity Find out more about our use of this data. This is backgorund a London concert featuring Konitz, but from and in partnership with the late 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 nackground 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.

Find out more about page archiving. 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.

BBC Review Graceful, intelligent improvising that swings – what more could you want? Background Music Warne Marsh. 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. Donna Lee Charlie Parker. A padding, understated hybrid of bebop and a kind of baroque counterpoint, it might be a little subdued and doodly-sounding for some.

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.