Great music. I was lucky to catch both in a New York club in the 1964. I was lost my diary for more details but it was a great night of music. I live in sunny Milton Keynes in England but I have such happy memories of those long ago stays in the Big Apple and the music that the city had - from the early pioneers to the Be-Boppers and beyond.
These two guys were among the very best! Students / Colleagues of Lennie Tristano! Happily I met Lennie & Warne in the Half Note for Cocktails during one Matinee!
This has to be one of my favorite pairings in all of jazz. All of their recordings are so incredible. I did sound for Lee a few times at Birdland about 15 years ago and he was a sweetheart except when it came to the subject of gaspacho. And I had no idea Warne moved his jaw so much while he's playing!
dont know if anyone cares but if you guys are stoned like me during the covid times then you can stream pretty much all the new series on InstaFlixxer. I've been binge watching with my brother recently =)
Alain James I know what you mean. But there is a certain reserved tone , and I’m talking about the actual tone of Konitz and Marsh. Which is not to say that it’s bloodless or all head and no spirit.
Everything about this is beautiful.great arranging, great blowing and a stonking rhythm section. Thanks for posting this. It's given me a new lease of life on what is this thing.
I couldn’t tell the difference, alto or tenor. The use of unison saxophones has never been done, it’s genius writing. You never hear of this, certainly very creative. Had to be written out or it wouldn’t be unison, Great piece! T Kipfer
The finest pairing in the history of improvised music. Lee Konitz and Warne Marsh were telepathic. This TV session is not even that well representative of their contrasting and complimentary styles. Konitz: densely chromatic using unusual accenting that overshot ‘classical’ measures (bar structure). Marsh: richly diatonic but using advanced scalar extensions and chordal inversions that made him difficult to follow in relation to the song structure until you knew his playing well. Both saxophonists bypassed the natural resolution points created by the near universal AABA form of the American songbook, creating a linear (eg. ABCD). Bach-like counterpoint unparalleled in modern jazz but thoroughly rooted in jazz. Criminally underexposed but never underrated. A book needs writing on the pair. Works exist on each individually. Together they were from another dimension. The emergence of rock, free jazz, fusion took its toll. As it did across the professional jazz world. Konitz and Marsh were, in different ways, quite uncompromising. Their only occasional collaborations peaked when they toured Europe in the mid-1970s. Thankfully 3 albums emerged with good sound engineering. Several other bootlegs are available. That 1975-6 tour, using different rhythm sections, was exquisite. Reprising a delight from their formative days with Lennie Tristano, the pair would perform 2-Part Inventions by Bach played straight. The packed venues would explode with applause knowing full well they were there when history was made.
I'll never forget Gerry Mulligan saying to me, "Never belabor a fast tempo tune. Light touch, always. You have to just try to float above it." Easier said than done!
Though Mundell Lowe is known for having written scores for film and TV (Billy Jack, Starsky and Hutch), is there any doubt but that his name alone ought to be cause for celebration? Who can resist it, composed as it is of two last names? Ditmar Fontelle, Haddix Schaeffer, Strang Kuhlamn. Oh, when such giants walked the earth.
@Aaron True. Dixieland is much simpler; however, as here, instruments play SIMULTANEOUSLY in Dixieland. This music is more akin to Bach, with complex lines and counterpoint going at a rapid clip.
@Aaron it's the concept not the surface. I understand his comparison. I would also say that they were closer to free jazz than usually thought ... the way they didn0t restrain to conventions and developed an higer level of inteplay extending it
@@johnlindstrom9994 To play dixieland isn't simple (I do that even if I usually play free jazz): to master a three part collective isn't simple and most musicians aren't able to... :) (and the choice of notes is very demanding since you can't get too much chromatically) it needs a long training and deep listening art. Bach... everyone thinks to Bach when counterpoint is the point... but counterpoint si something wider... they probably thought to some kind of classical counterpoint, but... theirs is really different - it somehow reminds me some XX's century classical music... somehow. but the freedom they join each other (they doesn't play four bars or two bars chases) reminds me more New Orleans Jazz where even soloes are often freely accompained... or certain kind of free jazz (Ornette's epithome album for instance) - even if I think that probably they wouldn't agree with me :)
Hey Warne Marsh fans! Nows the time! Join forces and let's get the documentary by his son K.C. made: www.seedandspark.com/studio/warne-marsh-improvised-life
K.C. Marsh its an old "cigar cutter"made before the sixties. legend says some musicians would cut their cigars on the brass v shape at the top. the mark VI eliminated that with the solid top with the selmer initial "S".
smythe d. Most likely a Buescher Aristocrat. They are a popular alternative to the traditional Selmer. Wayne Shorter and Sonny Rollins played them at times. I've seen a video of Joe Lovano playing one as well.
Great music. I was lucky to catch both in a New York club in the 1964. I was lost my diary for more details but it was a great night of music. I live in sunny Milton Keynes in England but I have such happy memories of those long ago stays in the Big Apple and the music that the city had - from the early pioneers to the Be-Boppers and beyond.
R.I.P. Lee. You're such an inspiration for pure and honest improvisation
warne is a better improvisor
These two guys were among the very best! Students / Colleagues of Lennie Tristano! Happily I met Lennie & Warne in the Half Note for Cocktails during one Matinee!
used to drop by the half-note for some rum and cokes and some great 🎷...
This has to be one of my favorite pairings in all of jazz. All of their recordings are so incredible. I did sound for Lee a few times at Birdland about 15 years ago and he was a sweetheart except when it came to the subject of gaspacho. And I had no idea Warne moved his jaw so much while he's playing!
These guys play at stratospheric level
rip Lee Konitz , 4-15-2020 covid19
still great after almost sixty years!!!
Rest in Peace Lee (October 13, 1927 - April 15, 2020).
dont know if anyone cares but if you guys are stoned like me during the covid times then you can stream pretty much all the new series on InstaFlixxer. I've been binge watching with my brother recently =)
@Stanley Declan yea, have been using InstaFlixxer for since december myself :D
@Stanley Declan Definitely, I have been watching on InstaFlixxer for months myself :)
What exciting music! How anyone could call this "cool" escapes me. It's burning!
Alain James
I know what you mean. But there is a certain reserved tone , and I’m talking about the actual tone of Konitz and Marsh. Which is not to say that it’s bloodless or all head and no spirit.
Just buzzwords...Bud Powell's ballads aren't really "bebop" either.
TV in the 1950's had some intellectual content!
Incredible! Warne is so fantastic!
Everything about this is beautiful.great arranging, great blowing and a stonking rhythm section. Thanks for posting this. It's given me a new lease of life on what is this thing.
I love the verb, "stonking." Entirely new to me.
Warne Marsh is amazing
Nice. RIP Mr. Lee Konitz.
I couldn’t tell the difference, alto or tenor. The use of unison saxophones has never been done, it’s genius writing. You never hear of this, certainly very creative. Had to be written out or it wouldn’t be unison, Great piece! T Kipfer
Sweet and lovely as it gets on alto and tenor.
You get the feeling they could finish each other's sentences...
they could finish each other syllables!
RIP Lee Konitz.
et en lus de tout ce qui a déjà été dit une walking bass de rêve, rebondissante et idéalement placée avec un super son
tight, sounds like the future if the future be good
Linee melodiche geniali( Grandissimi Merci)
the art of the line!
What is This Thing Called Love. Counterpoint runs amok here! Great! Bach has to be smiling.
Reminds me of "Two of a Mind" (Mulligan and Desmond). Konitz and Marsh blend SO beautifully together.
If it doesn't run amok how can it be love?
@@marvfriedenn8052 Correct.
@@marvfriedenn8052 Excellent!
Very nice.Thank you for posting it.
The finest pairing in the history of improvised music. Lee Konitz and Warne Marsh were telepathic. This TV session is not even that well representative of their contrasting and complimentary styles. Konitz: densely chromatic using unusual accenting that overshot ‘classical’ measures (bar structure). Marsh: richly diatonic but using advanced scalar extensions and chordal inversions that made him difficult to follow in relation to the song structure until you knew his playing well. Both saxophonists bypassed the natural resolution points created by the near universal AABA form of the American songbook, creating a linear (eg. ABCD). Bach-like counterpoint unparalleled in modern jazz but thoroughly rooted in jazz. Criminally underexposed but never underrated. A book needs writing on the pair. Works exist on each individually. Together they were from another dimension. The emergence of rock, free jazz, fusion took its toll. As it did across the professional jazz world. Konitz and Marsh were, in different ways, quite uncompromising. Their only occasional collaborations peaked when they toured Europe in the mid-1970s. Thankfully 3 albums emerged with good sound engineering. Several other bootlegs are available. That 1975-6 tour, using different rhythm sections, was exquisite. Reprising a delight from their formative days with Lennie Tristano, the pair would perform 2-Part Inventions by Bach played straight. The packed venues would explode with applause knowing full well they were there when history was made.
Magic sound of them together like one mind.
Magici lee & warne.
What a beautiful, cooking performance.
But Safranski's right hand technique on the bass makes my fingers hurt.
Amazing
Bill Frisell does a lovely version of this tune on the History Mystery album
OMG Boy does this help!! "Whats this thing called...."
Che TEMAAAAAAAAAAAAA
GOOD !!!!!!!
fantástico
I'll never forget Gerry Mulligan saying to me, "Never belabor a fast tempo tune. Light touch, always. You have to just try to float above it." Easier said than done!
If it ain't got that swing, it don't mean a thing
Though Mundell Lowe is known for having written scores for film and TV (Billy Jack, Starsky and Hutch), is there any doubt but that his name alone ought to be cause for celebration? Who can resist it, composed as it is of two last names? Ditmar Fontelle, Haddix Schaeffer, Strang Kuhlamn. Oh, when such giants walked the earth.
Quel sax parla
Konitz-alto; Marsh-tenor.
Like Dixieland, with more sophistication. Two horns, going full bore on top of each other in complete agreement!
@Aaron True. Dixieland is much simpler; however, as here, instruments play SIMULTANEOUSLY in Dixieland. This music is more akin to Bach, with complex lines and counterpoint going at a rapid clip.
@Aaron it's the concept not the surface. I understand his comparison. I would also say that they were closer to free jazz than usually thought ... the way they didn0t restrain to conventions and developed an higer level of inteplay extending it
@@johnlindstrom9994 To play dixieland isn't simple (I do that even if I usually play free jazz): to master a three part collective isn't simple and most musicians aren't able to... :) (and the choice of notes is very demanding since you can't get too much chromatically) it needs a long training and deep listening art. Bach... everyone thinks to Bach when counterpoint is the point... but counterpoint si something wider... they probably thought to some kind of classical counterpoint, but... theirs is really different - it somehow reminds me some XX's century classical music... somehow. but the freedom they join each other (they doesn't play four bars or two bars chases) reminds me more New Orleans Jazz where even soloes are often freely accompained... or certain kind of free jazz (Ornette's epithome album for instance) - even if I think that probably they wouldn't agree with me :)
💻💻💻💻
Hey Warne Marsh fans! Nows the time! Join forces and let's get the documentary by his son K.C. made: www.seedandspark.com/studio/warne-marsh-improvised-life
K.C. Marsh its an old "cigar cutter"made before the sixties. legend says some musicians would cut their cigars on the brass v shape at the top. the mark VI eliminated that with the solid top with the selmer initial "S".
What the hell tenor is Warne playing here? It's not a selmer BA or a VI.
smythe d. Most likely a Buescher Aristocrat. They are a popular alternative to the traditional Selmer. Wayne Shorter and Sonny Rollins played them at times. I've seen a video of Joe Lovano playing one as well.
+smythe d. Selmer VI
@pindaric mark turner
bird contrafact
8 crétins seulement, l'humanité est-elle en progrès ?