The passing of time has done nothing to reduce the singularity of Warne Marsh's art, and this set, recorded at the end of the 1960s, is an excellent working definition. Marsh was always a musician for whom points of reference in terms of influences were never helpful. To say, for example, that he shared a certain afinity with Lester Young is to overlook the wholesale differences in their musical worlds.
The same can be said for any reliance Marsh might have had on licks or certain phrases. Sheer depth of invention usurped any such need quite early on in his career. Similarly, never has a saxophonist employed tonal nuance as an end in itself in the way that he did. This is apparent here on "317 E. 32nd," an example of how one of Lennie Tristano's lines always provided Marsh with maximum stimulation.
The Tristano ideal of the quietly ticking rhythm section is not present on Ne Plus Ultra, however, and the music is all the better for it. Drummer John Tirabasso is an interventionist when the time is right and a master of touch when that's required, and bassist Dave Parlato prompts as much as he accompanies. This makes for what might be called whole group music, despite the attention that the saxophones of Marsh and Gary Foster perhaps inevitably command.
This quality ensures that the listener's attention doesn't wander during the fifteen minutes of "Touch And Go," where the music is fashioned in the moment and the players pay close attention to the contributions of the others, fashioning their own accordingly.
There were countless things that Warne Marsh wasn't as a musician. He wasn't a bopper anymore than he was an adherent of any particular school once he'd reached maturity, and while there will always be those for whom his music is too cerebral, the point seems more than a little specious when he could put out music as endlessly fascinating as this.
By Nic Jones
June 22, 2006
https://www.allaboutjazz.com/ne-plus-ultra-warne-marsh-hatology-review-by-nic-jones
///////
El paso del tiempo no ha hecho nada para reducir la singularidad del arte de Warne Marsh, y este conjunto, grabado a finales de los años sesenta, es una excelente definición de trabajo. Marsh siempre fue un músico para el que los puntos de referencia en términos de influencias nunca fueron útiles. Decir, por ejemplo, que compartía cierta afinidad con Lester Young es pasar por alto las grandes diferencias de sus mundos musicales.
Lo mismo puede decirse de la dependencia que Marsh pudiera tener de los licks o de ciertas frases. La mera profundidad de la invención usurpó cualquier necesidad de este tipo bastante pronto en su carrera. Del mismo modo, nunca un saxofonista ha empleado el matiz tonal como un fin en sí mismo de la forma en que él lo hizo. Esto es evidente aquí en «317 E. 32nd», un ejemplo de cómo una de las líneas de Lennie Tristano siempre proporcionaba a Marsh el máximo estímulo.
Sin embargo, el ideal de Tristano de una sección rítmica silenciosa no está presente en Ne Plus Ultra, y la música es mucho mejor por ello. El batería John Tirabasso es un intervencionista cuando es el momento adecuado y un maestro del toque cuando es necesario, y el bajista Dave Parlato incita tanto como acompaña. Esto da lugar a lo que podría llamarse música de grupo, a pesar de la atención que los saxos de Marsh y Gary Foster acaparan inevitablemente.
Esta cualidad garantiza que la atención del oyente no se desvíe durante los quince minutos de «Touch And Go», donde la música se crea en el momento y los músicos prestan mucha atención a las contribuciones de los demás, creando las suyas propias en consecuencia.
Había innumerables cosas que Warne Marsh no era como músico. No era un «bopper» como tampoco era un seguidor de ninguna escuela en particular una vez que había alcanzado la madurez, y aunque siempre habrá aquellos para quienes su música es demasiado cerebral, el punto parece más que un poco engañoso cuando podía producir música tan infinitamente fascinante como ésta.
Por Nic Jones
22 de junio de 2006
https://www.allaboutjazz.com/ne-plus-ultra-warne-marsh-hatology-review-by-nic-jones
1 - You Stepped Out Of A Dream 9:03
2 - Lennie's Pennies 4:21
3 - 317 E. 32nd 8:15
4 - Subconscious-Lee 7:15
5 - Touch And Go 15:22
6 - Two-Part Invention No. 13 0:59
Credits:
Alto Saxophone – Gary Foster
Design Concept [Graphic Concept] – fuhrer vienna
Double Bass – Dave Parlato
Drums – John Tirabasso
Executive-Producer [CD-Release] – Werner X. Uehlinger
Liner Notes – Art Lange, Clare Fischer, J. W. Hardy*
Photography By [Cover Photo By] – Thomas Wunsch
Recorded By, Producer – J. W. Hardy*, Pete Welding
Remastered By [CEDAR Processing And CD Master By] – Peter Pfister
Tenor Saxophone – Warne Marsh
Notes:
Recorded October 25, 1969, except track 1, which was recorded September 14, 1969, at Herrick Chapel Lounge, Occidental College, Los Angeles.
This is a repress of Warne Marsh - Ne Plus Ultra (1991), itself a reissue of the original LP Warne Marsh - Ne Plus Ultra on Revelation Records.
Label: hatOLOGY – hatOLOGY 603
Released: jun 2006
Genre: Jazz
Style: Free Improvisation, Cool Jazz
https://www.discogs.com/release/1415403-Warne-Marsh-Quartet-Ne-Plus-Ultra
This file is intended only for preview!
I ask you to delete the file from your hard drive or device after reading it.
thank for the original uploader
No comments:
Post a Comment