Jazz The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://www.theblues-thatjazz.com/en/jazz/2563.html Thu, 25 Apr 2024 23:05:31 +0000 Joomla! 1.5 - Open Source Content Management en-gb Warne Marsh - Ne Plus Ultra (1969) http://www.theblues-thatjazz.com/en/jazz/2563-warne-marsh/20097-warne-marsh-ne-plus-ultra-1969.html http://www.theblues-thatjazz.com/en/jazz/2563-warne-marsh/20097-warne-marsh-ne-plus-ultra-1969.html Warne Marsh - Ne Plus Ultra (1969)

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1.You Stepped Out Of A Dream (9:05)
2.Lennie's Pennies (4:23)
3.317 E. 32nd (8:17)
4.Subconscious-Lee (4:17)
5.Touch And Go (15:24)
6.Two Part Invention # 13 (0:59)

Warne Marsh - tenor sax
Gary Foster - alto sax
Dave Parlato - bass
John Tirabasso – drums

Herrick Chapel Lounge,LA.
September - October 1969

 

This was tenor saxophonist Warne Marsh's first recording as a leader since 1960. Teamed up with complementary altoist Gary Foster (who was most influenced by Marsh's former musical partner Lee Konitz), bassist Dave Parlato and drummer John Tirabasso, Marsh runs through some of his favorite chord changes, including "Lennie's Pennies," "Subconscious-Lee" and "You Stepped Out of a Dream." In addition, there is a fairly free group improvisation (the 15-minute "Touch and Go") and a brief rendition of Bach's "Two-Part Inventions #13." A strong all-around CD reissue that was originally released by the Revelation label. --- Scott Yanow, Rovi

 

A largely unsung classic, originally released in 1969, and featuring the most purist of all the followers of Cool School guru Lennie Tristano's ascetically linear method of jazz improvising. West Coast saxophonist Warne Marsh (like all the Tristanoites) liked staying in a narrow dynamic range, but within it he could perform miracles of melodic invention and rhythmic audacity - though almost always performing the latter over a metronomically steady drummer's groove. Marsh plays much of this music as a sax chase often ending in a contrapuntal tussle with the Konitz/Charlie Parkerish altoist Gary Foster and the music features two typical extended-bop Tristano originals, Konitz's Subconscious-Lee and variations on Bach's Two Part Invention No 13.

It's an outwardly orthodox jazz record (obligatory drum solos before the return to the theme and all) but close listening to the improvising confirms what a quiet giant Marsh was. A galloping Subconscious-Lee sounds like a long-connected couple finishing each other's sentences, Touch and Go is a free-improvisation that begins brooding, gets lighter and becomes exuberant swing, and the minute or so of Bach is a contrapuntal exercise that points to the uncanny links between baroque music and this kind of jazz-making. ---John Forham, theguardian.com

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administration@theblues-thatjazz.com (bluesever) Warne Marsh Wed, 27 Jul 2016 13:24:27 +0000
Warne Marsh – Live In Las Vegas (1962) http://www.theblues-thatjazz.com/en/jazz/2563-warne-marsh/9329-warne-marsh-live-in-hollywood-1952.html http://www.theblues-thatjazz.com/en/jazz/2563-warne-marsh/9329-warne-marsh-live-in-hollywood-1952.html Warne Marsh – Live In Las Vegas (1962)

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1 	317 E. 32nd 	5:27
2 	Joy Spring 	3:19
3 	You Stepped Out Of A Dream 	6:05
4 	Hello Young Lovers 	8:21
5 	Kary's Trance 	4:27
6 	Subconscious-Lee 	8:16
7 	The Best Thing For You 	4:35
8 	People Will Say We're In Love 	7:52
9 	The Best Things In Life 	4:49
10 	Feather Bed 	7:10

Warne Marsh – tenor saxophone
Don Overberg – guitar
Carson Smith – bass
Frank Severino – drums

Recorded in Las Vegas, February 28, 1962.

 

Warne Marsh was one of Lennie Tristano's most important students. Following the pianist's lead, he enjoyed exploring complex reworkings of standards, whether penned by a fellow student like Lee Konitz or one of his own. Joined by guitarist Don Overberg, bassist Carson Smith, and drummer Frank Severino, this informal recording (possibly made by one of the participants during a rehearsal, since there is some conversation at the end of performances with no audience response), documents the quartet in 1962. The audio quality varies widely, suggesting that the tapes were made over several session. "317 E. 32nd Street" is marred with dropouts and a few spots where it sounds like the microphone was bumped, while the recorder seems to have been set up very close to the drums, with the result that Marsh's tenor sax is somewhat distant sounding. It also sounds a little labored. Marsh uncharacteristically emits a few reed squeaks in the breezy setting of "Joy Spring." Things gel best in the uptempo romp, through Konitz's "Subconsciouslee" (based on "What is This Thing Called Love") and an easygoing "The Best Things in Life." While this cheaply packaged CD (which lacks liner notes or composer credits) falls short of being an essential purchase for Warne Marsh fans, the performances and audio quality are sufficient to merit its acquisition. ---Ken Dyden, Rovi

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administration@theblues-thatjazz.com (bluesever) Warne Marsh Tue, 31 May 2011 08:36:23 +0000