Podcasts about Warne Marsh

This week's show features many early Paul Motian recordings and influences (Warne Marsh, Bill Evans, Tony Scott, Moondog, Lee Konitz) interspersed with Joe Lovano's 2019 release Trio Tapestry (with Marilyn Crispell & Carmen Castaldi). With readings from the archive.Set List: https://jazzcloset.blogspot.com/2025/04/something-old-something-new-012119.htmlPhoto: Bill Evans, Jimmy Garrison?, Paul Motian location and date unknown photographer unknown ©Paul Motian Archive

Featuring music Paul Motian recorded in the 1950s with Jerry Wald (1955, where he met Bill Evans), Bill Evans, Don Elliot, Eddie Costa, George Russell, Lennie Tristano, Warne Marsh, & Lee Konitz. With readings from Motian's unpublished autobiography about these times.Set List: https://jazzcloset.blogspot.com/2025/02/more-music-from-1950s-011419.htmlPhoto: Paul Motian rehearsing with the Jerry Wald Orchestra 1955 Photographer unknown © Paul Motian Archive

In this episode, Shawn and Craig share their memorable experiences exploring unique and captivating record stores around the world. Shawn takes listeners to Noble Records in North Carolina, a haven for vinyl enthusiasts. He recounts his visit, highlighting the store's impressive collection, welcoming atmosphere, and the thrill of finding rare gems among the stacks. Shawn delves into the ambiance of Noble Records and the sense of community that makes it a must-visit destination for music lovers.Craig transports listeners to the charming Montmartre district in Paris, where he discovered The Mix Tape. He describes the store's eclectic selection of vinyl, the cozy, artistic vibe, and the joy of connecting with a fellow music aficionados who worked there in this vibrant neighborhood. Craig shares stories of uncovering a hidden treasure and the unique charm that makes The Mix Tape a standout in Paris's bustling music scene. Join them as they celebrate these extraordinary record stores and the adventures that make vinyl hunting an unforgettable experience.

Buy Mitch a Coffee account.venmo.com/u/Mitch-Hampton-1 Listeners, today we get to share our talk with music LEGEND, Pete Christlieb!  We are so very honored to have him on our show and hope you enjoy and share it with us! Inside this Episode with your host, Mitch Hampton Pete Christlieb has been among my favorite saxophonists and all around musicians for the past forty to fifty years at least. His biography reads like a who's who in jazz and popular music and he has excelled at having an original identity as a jazz improviser as well as one of the top flight performers in ensemble contexts, whether big back, symphony or rock group. Christlieb has been working as a musician since he left high school at age 16 and has so many great stories about his unique career. It was an honor to get to sit down with him and talk about his life and music and I hope you get as much joy from this episode as we did recording it. Pete Christlieb Biography Born into a home filled with classical music, there was littlequestion about Pete Christlieb's career path. Pete's father, Don Christlieb was a world renowned double reed player. His distinctive sound was heard on more than 750 productions over 50 years at 20th Century Fox. Pete started working professionally just out of High School. He did gigs at the Lighthouse as a sub for his teacher Bob Cooper. His father took Pete to The Carriage House in Burbank, (Later renamed to Chadnies) to sit in with pianist Jimmy Rowles. Jimmy liked his playing and became a big influence on Pete's conception. Jimmy trained Pete in his unique approach to jazz, inviting him to come by and sit in on Sundays. Sarah Vaughan came in to perform several times. They became friends for many years. He met Carmen McRae and was able to play and record with her too. It was a seven year sprint. “It was like swinging from one vine to the next. one band would end and the next would begin.” Pete was ready for a change. He had been playing with Louie Bellson “He was like a father and a best friend,” Pete said of his association with Bellson. In those days serial TV shows would vacation in other towns during the summer, mostly to get out of New York. Carson would take the Tonight Show to Los Angeles.” Carson productions was looking for musicians to fill out the band stand in Los Angles and asked Louie for some players to come in. He recommended Christlieb for the two week gig and again the next year. When the tonight show moved to Los Angels Pete was asked to join the band on a permanent basis, that became 20 years with the tonight show. Pete was a regular at Dante's , The Baked Potato and Al Fonses playing with other jazz greats like his favorites, Frank Rossolino and Conte Condoli. Pete started Bosco records, his great dane's namesake, and recorded his first solo Album, Self Portrait in 1981. These were followed by Going My Way & Dino's Live and several others. Pete is well known for his albums with other tenor sax greats Bob Cooper, Warne Marsh, Gene Ammons, Don Lamphere, Hadley Caliman, Ferdinand Polvel, Ernie Watts & Rickey Woodard. Pete produced records for other artists including Louie Bellson, Don't Stop Now which earned him one of three Grammy Nominations for best jazz soloist. He recorded an album with Freddy Hubbard. and has featured solos on Records and CDs like Natalie Cole's “ Unforgettable.” The TV show, Family Guy featuring the Ron Jones Orchestra was recently added to his long list of credits. Pete continues to record with well-known musicians and recording artists. Pete plays in his own quintet with wife Linda on trombone. Together they created the Tall and Small band, a ten piece band with their first CD out called “High On You.” When asked if he didn't become a musician what would he be doing with his life, he grins and says, “I'd probably be racing cars.” Links to Pete's beautiful works https://petechristlieb.com/ #NBC #johnnycarson #thetonightshow #tenor saxophone #saxophone #hollywood #pablorecords #buddyrich #docseverinson #jazz #rock #freddiehubbard    --- Send in a voice message: https://podcasters.spotify.com/pod/show/mitch-hampton/message Support this podcast: https://podcasters.spotify.com/pod/show/mitch-hampton/support

In addition to being one of the denizens of the NYC 52nd St scene, pianist/composer Lennie Tristano was an influential and pioneering teacher of jazz improvisation. He had prodigious technical abilities as a player, and his pedagogical approach to teaching improvisation eschewed learning “licks” in favor of creating fresh original improvised music. His many compositions exhibit this somewhat stream of consciousness approach, uniquely original, often angular lines based on standard chord progressions. His linear approach to playing was championed by his best known students, saxophonists Lee Konitz and Warne Marsh, who utilized his concepts for their entire careers. 

Welcome to Season 03 Episode 03 - the "Sweater Weather" edition - of Notes from the Aisle Seat, a podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include Dr. Karl Boelter, who discusses the Fredonia Jazz Festival events, Ms. Jessica Tong of the Tong/Sheppard Duo, who will be performing "Fantasies and Fairy Tales" at the Opera House; and Dr. Jessica Hillman-McCord, who is directing the upcoming Theatre and Dance production of the musical Natasha, Pierre, and the Great Comet of 1812 Notes from the Aisle Seat is available from most of your favorite podcast sites, including Apple Podcast, Google Podcast, Stitcher, Spotify, and Amazon Prime Music, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps: Dr. Karl Boelter - Fredonia Jazz Festival:  1:37 Ms. Jessica Tong - Tong/Sheppard Duo:  20:37 Arts Calendar:  39:03 Dr. Jessica Hillman-McCord - Natasha, Pierre, and the Great Comet of 1812:  41:20 Media: "The Coffee Song (I Like You A Latte)", from the album Caffeine and Affirmations, music and lyrics by Nicole Zuraitis, performed by Nicole Zuraitis, LA RESERVE records, September 2023 Sonata for Violin and Piano in D Major, F. Shubert, composer. Performed by Jessica Tong, violin, and Michael Sheppard, piano, Rosch Recital Hall, September 2022 "My Little Suede Shoes", Charlie Parker, composer. Performed by Nick Weiser, piano; John Bacon, drums; Joe Goehle, bass. excerpt from "The Duel", from the musical Natasha, Pierre, and the Great Comet of 1812, written and composed by David Malloy, performed by Josh Groban, Nick Choksi, and Amber Gray, May 2017 "Marshmallow", composed by Warne Marsh; performed by Nick Weiser, piano; John Bacon, drums; Joe Goehle, bass; Matthew Erman, saxophone; August Bates, saxophone Artist Links: Dr. Karl Boelter Fredonia Jazz Society Jessica Tong Tong/Sheppard Duo Dr. Jessica Hillman-McCord Dept. Theatre and Dance SUNY Fredonia      

This month on our lick of the month episode, we look at a great phrase from Warne Marsh on the tune Marshmallow. Enjoy the episode! WANT THE PDF THAT GOES ALONG WITH THIS EPISODE?? Head over to our Patreon page and when you donate $3 or more a month you get this PDF and every other. We will also be bringing you many extras exclusively to our patrons including transcriptions and a FREE gift  of our latest Ebook, The Diatonic Method. We hope that we bring you value every week here at the 10 Minute Jazz Lesson and we appreciate all of your support!

Mark Turner & Warne MarshFeaturing recordings with Paul Motian. Jazz music and readings from the Paul Motian Archive.Set List: https://jazzcloset.blogspot.com/2022/11/mark-turner-warne-marsh.htmlPhoto: Larry Grenadier, Paul Motian, Stefano Bollani, Enrico Rava, Mark Turnerphoto: Claire Stefani courtesy ECM Records

Paul Motian: First & Last Recordings  Hal Stein, Samuel Blaser, Bill Evans, Warne Marsh, Marcy Lutes, Alexandra Grimal and moreSet List: https://jazzcloset.blogspot.com/2022/10/paul-motian-first-last-recordings.htmlphoto: Thomas Morgan, Petra Haden, Paul Motian, Bill Frisell 2010 ©John Rogers courtesy Winter & Winter

Bob Mover is a virtuosic saxophonist who performed with Chet Baker, Charles Mingus, Lee Konitz and countless others over a long career. Visit https://www.bobmoverjazz.com/ to sign up for Bob Mover's weekly online masterclass sessions every Saturday. List of names mentioned: Charlie Parker, Roland Kirk, Bill Evans, Roy Eldridge, Richie Kamuca, Ira Sullivan, Walter Piston, Gerry Mulligan, Chet Baker, Stan Getz, Zoot Sims, Wynton Kelly, Kenny Dorham, Sonny Rollins, Lee Konitz, Jaki Byard, Al Cohn, Phil Woods, Bud Powell, Thelonius Monk, Jimmy Lyons, Cecil Taylor, Saul Frompkin, Don Byas, Coleman Hawkins, Art Tatum, Bud Powell, Hank Jones, Al Haig, Dodo Marmarosa, Joe Albany, Albert Dailey, Kenny Barron, Warne Marsh, Lennie Tristano, Lester Young, Count Basie, Jerry Coker, Allen Rock, Duffy Jackson, Bill Pierce, Mark Colby, Melton Mustafa, Ramblerny Music camp, Roger Rosenberg, Mike Brecker, Randy Brecker, Eddie Cleanhead Vinson, Shelly Manne, Brooks Kerr, Tony Castellano, Mulgrew Miller, Walter Davis Junior, John Bennett, Bernie Senensky, Cory Weeds, Sam Noto, Isaac Raz, Antoine Drye, Steve Kenyon, Emily Mover, Danny Kaye

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  WARNE MARSH “WARNE MARSH” – New York, December 12, 1957 It’s all right with me Warne Marsh (ts) Ronnie Ball (p) Paul Chambers (b) Philly Joe Jones (d) – New York, January 16, 1958 Yardbird suite, Excerpt Warne Marsh (ts) Paul Chambers (b) Paul Motian (d)           PAT BIANCHI “BACK […]

For our seasonal Hanksgiving show, this year we pay tribute to Hank Jones, both as a saxophonist and a composer, by playing music from his albums as a leader and sideman, and renditions of his music by musicians that came after him. The collaboration with Malian master musician Cheick Tidian Seck kicks off a playlist which includes albums ranging from leader projects and solo work, to collaborations with some of the top Miles Davis alumni or with an avant-gardist with deep standard roots like Anthony Braxton. Happy listening and belated happy Hanksgiving, what may very well become your new favorite holiday, the jazz equivalent of Festivus for the rest of us jazz loving freaks! The playlist also features The Jones Brothers; Dave Holland; Billy Higgins; Joe Lovano, George Mraz, Paul Motian; Warne Marsh; The Great Jazz Trio; John Coltrane; Bill Evans; Howard Roberts. Detailed playlist https://spinitron.com/RFB/pl/14681763/Mondo-Jazz (up to "Oh Look at Me Now").

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

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For our seasonal Hanksgiving show, this year we pay tribute to Hank Mobley, both as a saxophonist and a composer, by playing music from his albums, which are a cornerstone of the Blue Note sound and catalogue, and renditions of his music by musicians that came after him. There's so much to love in Mobley's repertoire. Happy listening and happy Hanksgiving, so it may very well become your new favorite holiday, the jazz equivalent of Festivus for the rest of us jazz loving freaks! The playlist features Hank Mobley, Big John Patton, Rafael Jerjen, Pat Martino, Warren Vache, Tony Coe, Alan Barnes, Toots Thielemans, Warne Marsh, Kenny Burrell, Stefon Harris, Jason Moran, Greg Osby, Mark Shim, John Zorn, George Lewis, Bill Frisell, Mostly Other People Do the Killing, Gary Bartz, Kenny Barron, Ray Drummond, Ben Riley. Detailed playlist at https://spinitron.com/RFB/pl/12082760/Mondo-Jazz (up to "Fin de l'affaire")

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STANDARS SEMANAL.- Ornithology.-JAZZANIVERSARIO.-Lee Konitz with Warne Marsh (Atlantic, 1955).-JAZZACTUALIDAD.-PAU VIGUER-PIANO SOLO

Sintonía: "Swing Shift" - Jimmy Giuffre "Lover Come Back to Me" - Lester Young; "Lestorian Mode" - Brew Moore; "Concentration" - Gene Ammons; "These Foolish Things" - Stan Getz; "One for Prez" - Wardell Gray; "Jane´s Bounce" - Allen Eager; "Coop´s Solo" - Bob Cooper; "Port of Rico" - Illinois Jacquet; "Passport to Pimlico" - Herbie Steward; "Ain´t Nothin´ Much" - Budd Johnson; "Sweet and Lovely" - Dexter Gordon; "Let´s Get Away From It" - Al Cohn; "Don´t Worry About Me" - Zoot Sims; "Out of Nowhere" - Henri Renaud; "I´m Shooting High" - Warne Marsh; "Fine and Dandy" - Sonny Stitt Escuchar audio

  WARNE MARSH – STAR HIGHS    Los saxofonistas  Lee Konitz y Warne Marsh fueron los alumnos más exitoso de Lennie Tristano. Marsh, a diferencia de Konitz, pasó la mayor parte de su carrera explorando la improvisación cordal a la manera de Tristano. Marsh, saxo...

Angular multi-reed player mixing it up with the avatars of his time. Great partnerships with Miles Davis, Warne Marsh and Gary Foster --- Support this podcast: https://anchor.fm/jake-feinberg/support

5e émission de la 46e session... Cette semaine, hardbop, post-bop, avant-jazz et musique actuelle! En musique: Art Blakey & The Jazz Messengers sur l'album Free For All  (Blue Note, 1964); Don Ellis sur l'album New Ideas  (Prestige, 1961); Warne Marsh sur l'album Ne Plus Ultra  (Revelation, 1970); 3TM sur l'album Lake  (We Jazz, 2019); Daniel Bernardes & Drumming GP sur l'album Liturgy Of The Birds – In Memoriam Olivier Messiaen  (Clean Feed, 2019); Tim Daisy's Vox 4 sur l'album Roman Poems  (Relay, 2019); Ensemble SuperMusique, Symon Henry sur l'album Voir dans le vent...  (Ambiances Magnétiques, 2020)...

5e émission de la 46e session... Cette semaine, hardbop, post-bop, avant-jazz et musique actuelle! En musique: Art Blakey & The Jazz Messengers sur l'album Free For All  (Blue Note, 1964); Don Ellis sur l'album New Ideas  (Prestige, 1961); Warne Marsh sur l'album Ne Plus Ultra  (Revelation, 1970); 3TM sur l'album Lake  (We Jazz, 2019); Daniel Bernardes & Drumming GP sur l'album Liturgy Of The Birds – In Memoriam Olivier Messiaen  (Clean Feed, 2019); Tim Daisy's Vox 4 sur l'album Roman Poems  (Relay, 2019); Ensemble SuperMusique, Symon Henry sur l'album Voir dans le vent...  (Ambiances Magnétiques, 2020)...

Cue the "Odd Couple" theme. This episode, the bastards take a listener's request to heart and discuss two musicians of wildly differing tempers - Art Blakey and Warne Marsh. Art was never into cool jazz, Warne was never a messenger, but you just know, if they had to share an apartment for some unlikely reason or other, wackiness would ensue. Towards the end the podcast degenerates into discussing favorite James Bond themes, so be warned. Art Blakey - LIVE AT CAFÉ BOHEMIA, VOL 1; LIKE SOMEONE IN LOVE; Warne Marsh – WARNE MARSH, APOGEE.

Something Old, Something New Paul Motian on recordings with Warne Marsh, Lee Konitz, Bill Evans, and more. Featuring Joe Lovano's new 2019 Album Trio Tapestry and Moondog recorded in 1956. Readings about playing with Bill Evans and Moondog from Motian's unpublished autobiography Set List: http://jazzcloset.blogspot.com/2019/01/set-list-012119.html photo: Bill Evans, Jimmy Garrison, Paul Motian ©Paul Motian Archive

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Billy Eckstine syngur lögin Love Is Just Around The Corner, I Gotta Right To Sing The Blues, Imagination, What A Little Moonlight Can Do, I Cover The Waterfront, (I Don't Stand) A Ghost Of A Chance og That's All. Tríó Red Garland leikur lögin I Wish I Knew, Going Home, The Second Time Around, On A Clear Day, It's Alright With Me og You'd Better Go Now. Lee Konitz og Warne Marsh flytja lögin Topsy, I Can't Get Started, There Will Never Be Another You, Donna Lee og Two Not One. Boulou Ferré og hljómsveit leika Ice Cream Konitz, Lennie-Bird, Avant de Mourir og La ballade de Sacco et Vanzetti.

Billy Eckstine syngur lögin Love Is Just Around The Corner, I Gotta Right To Sing The Blues, Imagination, What A Little Moonlight Can Do, I Cover The Waterfront, (I Don't Stand) A Ghost Of A Chance og That's All. Tríó Red Garland leikur lögin I Wish I Knew, Going Home, The Second Time Around, On A Clear Day, It's Alright With Me og You'd Better Go Now. Lee Konitz og Warne Marsh flytja lögin Topsy, I Can't Get Started, There Will Never Be Another You, Donna Lee og Two Not One. Boulou Ferré og hljómsveit leika Ice Cream Konitz, Lennie-Bird, Avant de Mourir og La ballade de Sacco et Vanzetti.

Warne Marsh was an uncompromising artist and always stuck to playing only music he believed in. From 1948 on he studied with the great pianist/teacher/guru Lennie Tristano. He appeared on Tristano's ground breaking 1949/50 recordings and many thereafter. Marsh had a unique sound, acerbic and cerebral to be sure but still warm and full. His melodic ideas were all his own and his place since his death in 1987 has been re-evalued and he is now considered one of the great masters of his horn and joins the ranks of John Coltrane, Sonny Rollins, Stan Getz et.al. To celebrate Marsh's Birthday (Oct.26) this evening we present him in a favourite setting. His sole horn backed by a great rhythm section including pianist Lou Levy (one of his favourites), bassist Fred Atwood and drum great Jake Hanna. The tunes are written by Marsh, Levy and lee Konitz. Two great standards appear as well. The beautiful "Easy Livin'" and the latter day classic by Johnny Mandel. Happy Birthday Warne Marsh.....you are "All Music".

We apologize for the archived show quality- Blogtalkradio.com was experiencing technical difficulties which prevented us from talking to callers because our switchboard was not operating correctly. On this special 90-minute show, Grammy nominated vocalist and scat singer extraordinare Janet Lawson was our guest! Janet Lawson is widely recognized for her impeccable musicianship and free-spirited, swinging improvisation. Her commitment to improvisation, the essence of jazz, and her later studies with tenor sax master Warne Marsh nourished her conception of the voice as an instrument. She has appeared with, among other jazz greats, Duke Ellington, Tommy Flanagan, Joe Newman, Barney Kessel, Milt Hinton, Ron Carter, Barry Harris, Dave Liebman, David and Lida Baker, Rufus Reid, Clark Terry, Billy Hart, Eddie Jefferson, Cedar Walton, Billy Higgins and Bob Dorough. Janet is co-founder of the Vocal Jazz program at The New School in NYC, where she is currently an Adjunct Professor. Lawson is also a member of the performing faculty of The International Music Camp for Young Latvian Musicians in Latvia. The vocal jazz degree programs she developed as a result of that association are now offered throughout Latvia. Her album, The Janet Lawson Quintet, earned her a Grammy nomination. (The winner of the Grammy in the same category that year was Ella Fitzgerald!) She also appeared on Eddie Jefferson's album, "The Main Man." To learn more about Janet, visit her website janetlawsonscats.com

We apologize for the archived show quality- Blogtalkradio.com was experiencing technical difficulties which prevented us from talking to callers because our switchboard was not operating correctly. On this special 90-minute show, Grammy nominated vocalist and scat singer extraordinare Janet Lawson was our guest! Janet Lawson is widely recognized for her impeccable musicianship and free-spirited, swinging improvisation. Her commitment to improvisation, the essence of jazz, and her later studies with tenor sax master Warne Marsh nourished her conception of the voice as an instrument. She has appeared with, among other jazz greats, Duke Ellington, Tommy Flanagan, Joe Newman, Barney Kessel, Milt Hinton, Ron Carter, Barry Harris, Dave Liebman, David and Lida Baker, Rufus Reid, Clark Terry, Billy Hart, Eddie Jefferson, Cedar Walton, Billy Higgins and Bob Dorough. Janet is co-founder of the Vocal Jazz program at The New School in NYC, where she is currently an Adjunct Professor. Lawson is also a member of the performing faculty of The International Music Camp for Young Latvian Musicians in Latvia. The vocal jazz degree programs she developed as a result of that association are now offered throughout Latvia. Her album, The Janet Lawson Quintet, earned her a Grammy nomination. (The winner of the Grammy in the same category that year was Ella Fitzgerald!) She also appeared on Eddie Jefferson's album, "The Main Man." To learn more about Janet, visit her website janetlawsonscats.com

JazzTones welcomes world-renowned jazz vocalist Judy Niemack to our show. We will be playing selections from her newest CD "In The Sundance." Judy has worked with many of the who’s who of jazz including pianists Fred Hersch, Kenny Werner, Cedar Walton, Kenny Barron, Steve Kuhn, & saxophonists Lee Konitz, Joe Lovano and James Moody, harmonica player Toots Thielemans, flugelhornist Clark Terry, bassists Ray Drummond and Eddie Gomez, drummers Billy Higgins, Joey Baron, Billy Hart and Adam Nussbaum, the New York Voices, the WDR Big Band, and guitarist Jeanfrancois Prins, Judy’s husband who has worked with her since 1992. Judy Niemack starting teaching jazz singing and improvising in the late 1970s. She has since become one of the most influential educators in jazz, and a pioneer of vocal jazz education in Europe. She taught vocal jazz at the New School For Jazz, William Patterson University, Long Island University, and New York City College and has been part of the staff at the Janice Borla Vocal Jazz Camp since 1990. After moving to Europe, she joined the jazz faculty at the Royal Conservatory of Brussels, Belgium in 1993, and two years later became the first Professor of Vocal Jazz in Germany. She also teaches at the Musikene Conservatory in San Sebastian, Spain, has taught at conservatories in Holland and Belgium, and leads workshops throughout Europe and the world. She is the author of several books, including "Hear It and Sing It: Exploring Modal Jazz." "Her creative odyssey provides a fascinating illustration of the high road to mastery that transcends the limitations of genre...a vocalist of theatrical depth and consumate syllabic invention. Ever since her debut with (Warne) Marsh at the Village Vanguard, audiences have marvelled at the grace with which Niemack scats." -- K. Leander Williams, Downbeat

JazzTones welcomes world-renowned jazz vocalist Judy Niemack to our show. We will be playing selections from her newest CD "In The Sundance." Judy has worked with many of the who’s who of jazz including pianists Fred Hersch, Kenny Werner, Cedar Walton, Kenny Barron, Steve Kuhn, & saxophonists Lee Konitz, Joe Lovano and James Moody, harmonica player Toots Thielemans, flugelhornist Clark Terry, bassists Ray Drummond and Eddie Gomez, drummers Billy Higgins, Joey Baron, Billy Hart and Adam Nussbaum, the New York Voices, the WDR Big Band, and guitarist Jeanfrancois Prins, Judy’s husband who has worked with her since 1992. Judy Niemack starting teaching jazz singing and improvising in the late 1970s. She has since become one of the most influential educators in jazz, and a pioneer of vocal jazz education in Europe. She taught vocal jazz at the New School For Jazz, William Patterson University, Long Island University, and New York City College and has been part of the staff at the Janice Borla Vocal Jazz Camp since 1990. After moving to Europe, she joined the jazz faculty at the Royal Conservatory of Brussels, Belgium in 1993, and two years later became the first Professor of Vocal Jazz in Germany. She also teaches at the Musikene Conservatory in San Sebastian, Spain, has taught at conservatories in Holland and Belgium, and leads workshops throughout Europe and the world. She is the author of several books, including "Hear It and Sing It: Exploring Modal Jazz." "Her creative odyssey provides a fascinating illustration of the high road to mastery that transcends the limitations of genre...a vocalist of theatrical depth and consumate syllabic invention. Ever since her debut with (Warne) Marsh at the Village Vanguard, audiences have marvelled at the grace with which Niemack scats." -- K. Leander Williams, Downbeat

British bassist Peter Ind joins Alyn Shipton to select the highlights from his long recording career, mainly on his own Wave label which he founded in the 1950s. As well as collaborations with such great American players as Duke Jordan, Warne Marsh and Lee Konitz, he explains his fondness for working in duo with guitarists or other bass players.

Warne Marsh(born in L.A,Oct. 26,1927 and died Dec.18,1987) was one of the great individualists of the tenor saxophone. He was pianist/teacher/Jazz pioneer, Lennie Tristano's prize pupil and worked and played on Tristano's few recordings with altoist Lee Konitz. Marsh was true to Jazz throughout his career and never veered into any kind of commercial music devoting his life to playing music that he could feel proud about. This is one of Marsh's finest and most personal recordings. With Warne on this date is Lou Levy on piano, Fred Atwood on bass and the great Jake Hanna on drums. The album sums up Marsh's philosophy......it's called "All Music".