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2 x CD |
| 7.716 Ft
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| 1. CD tartalma: |
| 1. | Smog Eyes
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| 2. | Ear Conditioning
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| 3. | Lover Man
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| 4. | Quintessence
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| 5. | Jazz of Two Cities
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| 6. | Dixie's Dilemma
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| 7. | These are the Lights I Love
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| 8. | I Never Knew
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| 9. | Ben Blew
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| 10. | Time's Up
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| 11. | Earful
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| 12. | Black Jack
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| 13. | Jazz of Two Cities
Alternate Take
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| 14. | I Never Knew
Alternate Take
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| 2. CD tartalma: |
| 1. | Aretha
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| 2. | Long Gone
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| 3. | Once We Were Young
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| 4. | Foolin' Myself
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| 5. | Avalon
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| 6. | On a Slow Boat to China
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| 7. | Crazy She Calls Me
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| 8. | Broadway
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| 9. | Arrival
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| 10. | Au Privave
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| 11. | Ad Libido
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| 12. | Bobby Troup discusses Warne's Music
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| 13. | These are the Things I Love
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| 14. | Background Music
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| 15. | Bop Goes the Leesel
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Jazz / Cool
Disc 1
Tracks #1-4 Recorded October 3, 1956
Tracks #5-8,13,14 Recorded October 11, 1956 at Master Records, Hollywood.
Tracks #9-12 Recorded October 24, 1956 at Radio Records, Hollywood.
Disc2
Tracks #1-9 Recorded on December 21, 1956 at Radio Recorders, Hollywood
Tracks #10-15 Recorded March 11, 1957, at ABC Studios, Hollywood
Warne Marsh (ts)
Ted Brown (ts), Art Pepper (as on CD2 #1-9 ), Ronnie Ball (p), Ben Tucker (d)
This is some very fine music by a band with an exceptionally rich collective imagination. Contains alternate takes and previously unreleased session. Highly recommended.
"These tracks date from the time Marsh spent back in his hometown - well, Los Angeles - from February 1956 to November 1957, leading a quintet that was something of a Tristano student reunion.
Disc one reprises the material that once appeared on the Imperial and Kapp labels, and there are some very familiar characteristics: improbably tricky themes deriving from familiar harmonic territory - Ball, Brown and Marsh all contribute - propelling the improvisation into fascinating demonstrations of agility. Marsh and Brown are never exactly competitive, but clearly stimulate each other intensely; at times they wrap around themselves almost organically, prodded on by Ball's perfectly-judged piano work.
Yet there's also a wider aspect to it; the two tenors give the front line a somewhat heavier character than you might expect from the experience of Marsh and Konitz: bassist Tucker gets to feature on his own "Ben Blew" and Jeff Morton gets to play with the sticks, which he never did with Lennie. By the time "I Never Knew" comes along, with its drum-breaks, stop-time bounces and Condon Gang coda, there's a distinct feeling that school's out.
Disc two introduces Art Pepper into the mix: nine tracks - "Aretha" through "Arrival" - feature him. Originally on a Vanguard LP, it was in fact Brown's date, came out under his name, Marsh no more than a bystander and adviver. A further move away from Tritano's influence, less convolution, though the two noted above, by Ball, and Marsh's "Long Gone", set up more thematic obstacle-courses. Pepper copes well, sometimes superbly, and also makes you realise why Konitz fitted so easily into his chair in the Kenton band.
The final 15 minutes is back into the Marsh-Brown configuration, and is taken from a TV show of the period. Bobby Troup does the talking, and shows an understanding of the music. A good, though inevitably brief, version of "Background Music", plus two minutes of improvising on "Pop Goes The Weasel". Really.
These sessions mark the start of Marsh's career as leader and organiser, and as such fill an important gap in his history."
---Jack Cooke -Jazz Review
A classic album of Tristano-school cool jazz with subtle leanings toward the avant-garde. While this set is not without a number of typical west coast jazz tendencies (i.e., cool reed tones, a stiff rhythm section, happy-go-lucky heads, etc.), it has an interestingly wide-open and probing vibe. This band was simply bursting with ideas. On "Ear Conditioning," for example, the tenor tandem of Marsh and Ted Brown weaves in and out of the head with the proficiency and grace displayed -- admittedly, to greater effect -- on Lennie Tristano's "Wow," a tune also featuring Marsh, only with Lee Konitz on alto instead of Brown on tenor. Like "Ear Conditioning," "Smog Eyes" and the title track both employ long and busy heads. In a manner typical of compositions by Tristano's associates, many of these themes are very complicated and take several measures to achieve resolution. That having been said, comparisons to the Tristano Capitol sessions are simply inevitable, as they laid the foundation for everything heard here. To judge the quality of one versus the other, though, is trivial. Jazz of Two Cities has many treasures all of its own. Thankfully, both historic sessions have been reissued together on the Capitol Jazz CD Intuition. Included in the collection are both the stereo and mono takes of four different pieces from the Marsh date. This is because Jazz of Two Cities was issued once in mono and later in stereo with the new title The Winds of Marsh. The two versions of the record feature altogether different takes of two numbers ("Jazz of Two Cities," "I Never Knew") and different solos on the other two ("Ear Conditioning," "Lover Man"). In other words, fidelity is not the only difference between Jazz of Two Cities and The Winds of Marsh; though in and of itself, that's probably not reason enough to spend an arm and a leg on both copies, since they're quite rare and all versions are included on the CD. This is some very fine music by a band with an exceptionally rich collective imagination. It is clear that, in the hands of this combo, every theme is treated like a question with an absolutely limitless amount of harmonic and melodic answers. ~ Brandon Burke, All Music Guide
Warne Marsh
Active Decades: '40s, '50s, '60s, '70s and '80s
Born: Oct 26, 1927 in Los Angeles, CA
Died: Dec 18, 1987 in Hollywood, CA
Genre: Jazz
Styles: Cool
Along with Lee Konitz, Warne Marsh was the most successful "pupil" of Lennie Tristano and, unlike Konitz, Marsh spent most of his career exploring chordal improvisation the Tristano way. The cool-toned tenor played with Hoagy Carmichael's Teenagers during 1944-1945 and then after the Army, he was with Buddy Rich (1948) before working with Lennie Tristano (1949-1952). His recordings with Tristano and Konitz still sound remarkable today with unisons that make the two horns sound like one. Marsh had occasional reunions with Konitz and Tristano through the years, spent periods outside of music, and stayed true to his musical goals. He moved to Los Angeles in 1966 and worked with Supersax during 1972-1977, also filling in time teaching. Marsh, who collapsed and died on stage at the legendary Donte's club in 1987 while playing "Out of Nowhere," is now considered legendary. He recorded as a leader for Xanadu, Imperial, Kapp, Mode (reissued on V.S.O.P.), Atlantic, Wave, Storyville, Revelation, Interplay, Criss Cross, and Hot Club.
---Scott Yanow, All Music Guide |
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