Warne Marsh | New York City Live

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Jazz: Mainstream Jazz Jazz: Cool Jazz Moods: Type: Live Recordings
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New York City Live

by Warne Marsh

If you love Jazz and the art of Improvisation, you will love this recording, Pure Improv!
Genre: Jazz: Mainstream Jazz
Release Date: 

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1. It's You Or No One Warne Marsh Trio
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5:38 $0.99
2. Blue Lester Warne Marsh Trio
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6:06 $0.99
3. Tickle Toe Warne Marsh Trio
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4:04 $0.99
4. I Should Care Warne Marsh Trio
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6:37 $0.99
5. Lennies's Pennies Warne Marsh Trio
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4:49 $0.99
6. You Stepped Out Of Dream Warne Marsh Trio
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6:17 $0.99
7. This Can't Be Love Warne Marsh Trio
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5:29 $0.99
8. All The Things You Are Warne Marsh Trio
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6:35 $0.99
9. Everything I've Got Belongs To You Warne Marsh Trio
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7:24 $0.99
10. Body And Soul Warne Marsh Trio
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10:12 $0.99
11. Fishin' Around Warne Marsh Trio
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5:14 $0.99
12. Introspective Warne Marsh Trio
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4:16 $0.99
13. Lester Leaps In Warne Marsh Trio
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5:35 $0.99
14. Everything Happens To Me Warne Marsh Trio
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7:27 $0.99
15. Background Music Warne Marsh Trio
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6:00 $0.99
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ABOUT THIS ALBUM


Album Notes
Biography
Marsh came from an affluent background: his father was the cinematographer Oliver T. Marsh (1892–1941), and his mother Elizabeth was a violinist. Mae Marsh, the actress, was his aunt.

He was tutored by Lennie Tristano and, along with Lee Konitz, became one of the pre-eminent saxophonists of the Tristano-inspired "Cool School". Of all of Tristano's students, Marsh came closest to typifying Tristano's ideals of improvised lines, in some respects, even transcending the master himself. Marsh was often recorded in the company of other Cool School musicians, and remained one of the most faithful to the Tristano philosophy of improvisation – the faith in the purity of the long line, the avoidance of licks and emotional chain-pulling, the concentration on endlessly mining the same small body of jazz standards. Nevertheless, his distinctively pure tone without the inflections popular among many other tenor saxophonists at that time such as honks, growls, exaggerated vibrato, slurs and glisses, etc. set Marsh apart from other Lester Young and Ben Webster-influenced saxophonists.

Marsh's rhythmically subtle lines are immediately recognizable. He has been called by Anthony Braxton "the greatest vertical improviser."[1] In the 1970s he gained renewed exposure as a member of Supersax, a large ensemble which played orchestral arrangements of Charlie Parker solos. Marsh also recorded one of his most celebrated albums, All Music, with the Supersax rhythm section during this period.

Marsh died onstage at the Los Angeles club Donte's in 1987, in the middle of playing the tune "Out of Nowhere".[2] Though he remains something of a cult figure among jazz fans and musicians, his influence has grown since his death; younger players such as Mark Turner have borrowed from his music as a way of counterbalancing the pervasive influence of John Coltrane. Marsh's discography remains somewhat scattered and elusive, as much of it was done for small labels, but more and more of his work has been issued on compact disc in recent years.

[edit] Discography
Live In Hollywood (1952; Xanadu Records)
Live at the Half Note (1959) with Lee Konitz & Bill Evans on Verve Records (re-released Jazz Lips)
Crosscurrents (1977) with Bill Evans, Lee Konitz, Eddie Gomez & Eliot Zigmund on Fantasy
Apogee (1978) with Pete Christlieb, on Warner Bros. Records, reissued by Rhino Records, 2003
Sax Of A Kind (1983) Hot Club Records/Jon Larsen
For The Time Being (1987) Hot Club Records/Jon Larsen
Subconscious-Lee (1950) Lee Konitz
Red Mitchell
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Keith Moore Mitchell (September 20, 1927, New York City - November 8, 1992, Salem, Oregon), better known as Red Mitchell, was an American jazz double-bassist, composer, lyricist, and poet. He was the brother of Whitey Mitchell.

Red was raised in New Jersey by a father who was an engineer and loved music, and a mother who loved poetry. His first instruments were piano, alto saxophone, and clarinet. Although Cornell University awarded an engineering scholarship to Mitchell, by 1947 he was in the US Army playing bass. The next year he was in a jazz trio in New York City.

Mitchell became known for performing and/or recording with Mundell Lowe, Chubby Jackson, Charlie Ventura, Woody Herman, Red Norvo, Gerry Mulligan, and, after joining the West Coast jazz scene in the early 1950s, with Andre Previn, Shelly Manne, Hampton Hawes, Billie Holiday, Stan Seltzer, Ornette Coleman, and others. He also worked as a bassist in the TV and film studios around Los Angeles, occasionally appearing on screen. Mitchell also appeared in documentaries about Tal Farlow, and Zoot Sims.

Saxophonist Harold Land and Mitchell founded and co-led a quintet in the early 1960s. In 1966, Red began tuning his bass in fifths (as the violin, viola, and cello are tuned), and his tuning method opened up many possibilities for bassists.

Mitchell moved to Stockholm in 1968 and he won Swedish Grammy Awards in 1986 and 1991 for his recorded performances as a pianist, bassist, and vocalist, and for his compositions and poetic song lyrics.

During this period, Mitchell performed and/or recorded with Clark Terry, Lee Konitz, Herb Ellis, Jim Hall, Joe Pass, Kenny Barron, Hank Jones, Ben Webster, Bill Mays, Warne Marsh, Jimmy Rowles, Phil Woods, Roger Kellaway, Putte Wickman and others. He frequently collaborated in duos, most notably with pianist Kellaway after the mid-1980s.

Returning to the United States in early 1992, Mitchell settled in Oregon where he died at age 65 later that year. A collection of his poetry was published posthumously. His widow is preparing a biography.

[edit] Discography
Red Mitchell [Bethlehem] with Conte Candoli, Hampton Hawes, Joe Maini, Chuck Thompson, 1955
Presenting Red Mitchell with James Clay, Billy Higgins, Lorraine Walsh Geller, 1957
Gigi (1958)
West Side Story (1959)
Hear Ye! with Carmell Jones, Harold Land, Leon Petties, Frank Strazzeri, 1961
Electronic Sonata for Souls Loved by Nature by George Russell,1969
Chocolate Cadillac with Horace Parlan, Nisse Sandstrom, Rune Carlsson, Idrees Sulieman, 1976
Jim Hall and Red Mitchell, Artists House, 1978
When I'm Singing, 1982, Enja Records
Simple Isn't Easy, Soloalbum, 1983
Home Suite, Soloalbum, 1985
The Red Barron Duo with Kenny Barron, 1986
Duo with Hank Jones, 1987
Mitchell's Talking with Ben Riley, Kenny Barron, 1989
Hear Ye! with Harold Land, Carmell Jones, Frank Strazzeri, Leon Pettis, 1989
Evolution with Lars Jansson, Joakim Milder, 1995
Live in Stockholm with Roger Kellaway, Joakim Milder, 1995
Red Mitchell-Warne Marsh Big Two, Vol. 2 with Warne Marsh, 1998
Live at Port Townsend with George Cables, (1992), 2005
Peter Scattaretico has been playing drums professionally for 35 years, and has a long list of credentials in the jazz scene, performing with notable jazz artists such as, Warne Marsh, Eddie Gomez, Harvie Swartz, Michael Moore, Red Mitchell, Sal Mosca, Connie Crothers, Gerri Mulligan, John Bunch, Peter Prisco, Earl Sauls, and Lennie Popkin. In 1981 Peter Scattaretico performed at The Kool Jazz Festival with Warne Marsh, Lennie Popkin and Michael Moore.

Peter has performed at many well known venues including, but not limited to; Lincoln Center, Carnagie Hall, Village Vanguard NYC, Fat Tuesdays NYC, Town Hall NYC, Lou Lou Whites in Boston, The Ritz, etc. He has played on records such as; Jazz Records' "Lenny Tristano Memorial Concert Live At Town Hall"; Lenny Popkin, "Falling Free"; Peter Prisco's: "It's About Time" and The Wayne Marsh Trio's "New York City Live" CD.


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