[guido]

Warne would have been 84 today. Along with Lee Konitz he provided one of the strongest voices in the Tristano inspired "Cool-School". He was perhaps the purest example of spontaneous improvisation. His recordings with Konitz are breathtaking for their intricate statements of the complex heads of the Tristano book and the telepathic exchanges of fours and twos. In his later years he produced such masterpieces as "All Music" (Check out the amazing evolution of "I've got a good one for you" -- every take is an entirely different solo -- pure improvisation at its finest!) and the wonderful duets with Red Mitchell. He was also a fantastic teacher.

He died in 1987 mid chorus while playing "Out of Nowhere".

I am remembering Warne today by listening to "April" on the 1959 "Live at the BlueNote" recording that came out under Lee Konitz's name.

Thank you Warne for such an amazing inspiration!

 

[saxguy1953]

Happy Birthday Warne Marsh!

To me, he belongs right up there in the pantheon of greats. A true creator; I heard or read a comparison of his playing to a tightrope walker working without a net.

Nice one Guido, thanks.

 

[FawltyTenor]

I'd say he was one of the most creative voices in all of jazz...and for whatever reason, he seemed to really thrive on collaboration with other saxophonists. Not exactly competitive, but very complimentary. And, I love his accross the bar line playing. It seemed he could begin and end his phrases at any point in the form, sounding terrific (melodic, logical)...effortlessly. A true master.

That 1955 Konitz/Marsh recording is one of those that totally blew me away, just as much as some of the Miles things (which I was really into at that time)...so good. Great bebop record.

a few YT links...

Marshmallow (w Lee Konitz 1949)

Rapunzel with Pete Christlieb

Ornithology w Kenny Drew (1980)

 

[Tim Price]

Warne would have 84 today. Along with Lee Konitz he provided one of the strongest voices in the Tristano inspired "Cool-School". He was perhaps the purest example of spontaneous improvisation. His recordings with Konitz are breathtaking for their intricate statements of the complex heads of the Tristano book and the telepathic exchanges of fours and twos. In his later years he produces such masterpieces as "All Music" (Check out the amazing evolution of "I've got a good one for you" -- every take is an entirely different solo -- pure improvisation at it's finest!) and the wonderful duets with Red Mitchell. He was also a fantastic teacher.

He died in 1987 mid chorus while playing "Out of Nowhere".

I am remembering Warne today by listening to "April" on the 1959 "Live at the BlueNote" recording that came out under Lee Konitz's name.

Thank you Warne for such an amazing inspiration!

THANK YOU....For mentioning him here. It is very important people remember him.
There are people here who NEED to hear him and SHOULD check him out.
He represented freedom to me. He choose a path- and walked it.
I don't think what he did was anything commercial but I do think it WAS accessible if you listen.

Some of his later sessions on Chris-Cross were culture places of great value with "organic lyricism." To sustain the mood with that quality at that improvised level is no mean task.You have to live in it. You have to be committed. Not everyone is. It is far beyond someone's idea of licks / cliches and idiomatic BS- we are talking purity from the inside of the artist. To much jazz is recently is scholastics imho, their values are becoming the values of jazz. Not Warne or the guys from these eras.Warne was real. Like Newk or Bird or Prez, the person has NOT been on the bandstand has no clue, the real thing is out there but it is rare. You can hear it in Warne Marsh like throwing a brick thru a window!! REAL JAZZ....an artist. He stood for something.

Why did these guys sound so real? Easy...The music meant something to them!!


Read the book about Warne, you'll see that he never placed himself larger than the music.

I listen to Warne , and found the music all connected. Year to year. I like the duo stuff with Susan Chen, and also the Import vinal with Gary Foster. His ability to play a ballad on the spot was strong, and I noted that when I saw him at the Vanguard with Sal Mosca back in the day. I went every night, and I'm glad I did.I wish I could turn the clock back- what a week!!

Jazz...doesn't see giants like this that much. There's here and gone.
Warne was together in places that most people didn't have...a real artist.

 

[SteveMarz]

It's great that Warne's B-Day was noted here. I enjoyed reading all of your very informed and perceptive comments about this great improviser.
Musicians with open minds and open ears will always learn something from any of Warne's recordings.

Here are some quotes from Lee Konitz's book. Lee probably knew Warne's music better than anyone.

Lee: "When I think of Warne, I think of the definitive creative player. No theatricality, no showboating, just a true musical improviser. It's a true unexaggerated voice, that's what was so sophisticated about it - without the "bleating" and overblowing that so many saxophone players see obliged to do.
Just to follow him was inspiring. It worked both ways; I think he respected my approach also.
There was a time when his (Warne's) sound was not really developed, but what ultimately comes through the horn is a totally balanced and proportionate music. Great sound, great selection of notes, great rhythmic articulation, ingenious melodies - and a great intention to be truthful. I think that Warne really absorbed what Lennie Tristano was talking about, the rhythmic ideas that he was trying to convey about playing more broken-up odd rhythms in the line. Warne had an extraordinary rhythmic sense. Warne was primarily concerned with playing the music, which takes 100 percent of your effort. He knew that there were a few people out there who would appreciate that - and that's who it was designed for."

from Lee Konitz, "Conversations On the Improviser's Art" (by Andy Hamilton)

 

[Bob M]

Happy birthday, Warne! I'm listening to "April" myself.

 

[FawltyTenor]

Tim - agree with you 1000% on how profound a ballad player Warne was... there are no words...

just his reading of the melody alone...wow.

Every Time We Say Goodbye

 

[cleger]

I love Warne also, I always found that he communicated something spiritual with his music. I know that term is over-used but for me that's the best way to describe it.

 

[guido]

... I like the duo stuff with Susan Chen...

Tim,

Thanks for turning us on to Warne's lovely recordings with Susan Chen. Devilishly hard to find but absolutely worth the effort. I finally got a copy of "A Ballad for You" and Posthumous. Both are gems. A warm, relaxed and intimate side to Warne's playing that just isn't on any other recording. Thank you so much for sharing these!

guido