This is one of the first #jazz tunes I ever heard. It was recorded on a 78 with #buddydefranco’s ‘Good For Nothing Joe’ on the B side. ‘#Wow’:
#LennieTristano, p;
#LeeKonitz, as;
#WarneMarsh, ts;
#BillyBauer, g;
#ArnoldFishkin, b;
#DenzilBest, d.
‘Wow’ is usually played at a blistering tempo and involves a tricky 16th note chorus.

Warne Marsh - Live In New York - 1958 - Past Daily Downbeat

Warne Marsh (ts), Bob Brookmeyer (vtb), Zoot Sims (ts), Gerry Mulligan (bs), Dave McKenna (p), Bill Crow (b), Nobby Totah (b), Dick Scott (dr)

#jazz #podcast #WarneMarsh #ZootSims #GerryMulligan :
https://pastdaily.com/2023/01/29/warne-marsh-octet-live-in-new-york-1958-past-daily-downbeat/

#PaulMotian 25/3/31 — 22/11/11
#LennieTristano said to Paul (who adored Lennie’s percussive piano playing & also played with #LeeKonitz & #WarneMarsh #Quintet when #BillEvans sat in for the ever elusive #Tristano) "Your 4s sound like a drunk falling down the stairs". People mistook this for an insult. Motian had this remarkable open, almost slack time. It was quite deliberate and Lennie was kidding though Lennie played RIGHT ON the beat. That in turn bugged #KeithJarrett a little. #jazz #drums

Until #Coltrane it’s possible to conceive of the jazz tenor #saxophone as essentially tributaries around two massive, distinct deltas: #ColemanHawkins, the rabble-rouser & Lester ‘The President’ or ‘Pres’ Young ⬇️. #Pres, #BillieHoliday’s friend, mentor & favourite sax player, defined a largely cross-accenting, vibrato-less style focusing on phrasing rather than timbre to determine improvisation approach. #LesterYoung, from which 2 significant tributaries #LeeKonitz & #WarneMarsh (=> #MarkTurner)

Until #Coltrane it’s possible to conceive of the jazz tenor #saxophone as essentially tributaries around two massive, distinct deltas: #ColemanHawkins, the rabble-rouser & Lester ‘The President’ or ‘Pres’ Young ⬇️. #Pres, #BillieHoliday’s friend, mentor & favourite sax player, defined a largely/accenting vibrato-less style focusing on phrasing rather than timbre to determine improvisation approach. #LesterYoung, from which 2 significant tributaries #LeeKonitz & #WarneMarsh (=> #MarkTurner).

I’d like to have written an esteemed #jazz book. Generally jazz writing is poor, lazy. Can’t think of anything good in the general works since #IraGitler. I remember buying them all during the 1980s. Even #LeeKonitz could barely get a mention let alone #LennieTristano and #WarneMarsh. I’d flick through the index first. And yet all 3 are historically significant. Interesting that an appreciation of #Tristano et al’s music underwent a total renaissance during the 1990+s by players & writers.

#WarneMarsh looking rather imperious. Quite an intimidating presence. Known as much for his seminal work with #LeeKonitz. Warne was the most devoted disciple of #LennieTristano’s teachings. Few of his students, no matter how advanced, were willing to commit so completely to LT’s ultimately restricted but highly developed conception of #improvisation. Warne, with the possible exception of #SalMosca, represents the logical terminus of LT’s #jazz #pedagogy

#Jazz Hot n°325 - mars 1976 - Lennie Tristano, Warne Marsh & Lee Konitz

#LeeKonitz #WarneMarsh #LennieTristano

#jazz Plus Plus: Lennie Tristano, Lee Konitz, Warne Marsh at the Half Note (1964)

https://jazzplusplus.blogspot.com/2020/04/lennie-tristano-at-half-note-1964.html

#LeeKonitz #WarneMarsh #LennieTristano

Décès à 92 ans de Lee Konitz (13 octobre 1927 - 15 avril 2020)

https://youtu.be/QQMSPEi6WPc

The Subject is Jazz (1958): Lee Konitz (as), Warne Marsh (ts), Billy Taylor (p), Mundell Lowe (g), Ed Safranski (b), Ed Thigpen (dr)

#jazz #LeeKonitz #WarneMarsh #saxophone