Lee Konitz • Warne Marsh - Lee Konitz With Warne Marsh

There is much, then, to listen for and to hear in this collection: tones and timing an moving solos, figures that show much craftsmanship in the planning and the execution but most of all, as I hope I have made clear, continuity. When you have had your fill ñ just plain listening for pleasure, play it all again, a track at a time, paying particular attention to the way each of the performances makes its way from the first measure to the last, adding variations and developments, repeating, changing, achieving either a balanced symmetry through repetition or a kind of wry asymmetry through changes, but almost always moving forward - like a train that must arrive on time or the mails in the old days - to its inevitable conclusion. This is the jazz thinking of the musicians of a brilliant contemporary school, and a most satisfactory kind of thinking it is, at least to those of us who are convinced that along with the show of feeling with which jazz and jazzmen have always been abundantly endowed a substantial amount of thought can go comfortably, fittingly, and pleasingly. *Barry Ulanov (liner notes)*

This release presents the complete original LP Lee Konitz with Warne Marsh (Atlantic LP1217), which received a 5-star rating in Down Beat magazine. Besides the splendid interaction between Konitz and Marsh, this album is also rewarding for the presence of Oscar Pettiford and Kenny Clarke. 

John Fordham of The Guardian said "if these two saxophonists play with an even, almost chilly undemonstrativeness, their melodic ingenuity is dazzling". 

Scott Yanow, writing for AllMusic, said they "always made for a perfect team". The Penguin Guide to Jazz selected this album as part of its suggested Core Collection.

This album is remarkable not only for the superb modern musicianship of Konitz (on alto) and Marsh (on tenor), but for their successful use of varied old and new jazz sources. They open with Basie classic, "Topsy", and then romp thru several standards; there is a wonderful blues, "Don't Squark", by Oscar Pettiford, with the bassist himself solo, and Lennie Tristano's "Two Not one" and Charlie Parker's "Donna Lee".

The taste and versatility of the saxophonists give a stamp of quality to each of these variedítemss. Billy Bauer on guitar, Kenny Clarke on drums and Sal Mosca on piano also deserve praise. *Billboard, December 17, 1955*

Both saxophonists put in time with Lennie Tristano before becoming inextricably associated with the cool school, and as such were often criticised as being over cerebral or even worse, lacking in swing (a heinous crime indeed in the eyes of the jazzpólicee). No such complaints here, as support comes from the classic bop rhythm section of Kenny Clarke on drums and Oscar Pettiford on bass. Indeed from the opening "Topsy", a tune most associated with Count Basie, Clarke and Pettiford display an urgent, warmpropulsiónn which they maintain throughout thesesiónn. Sal Mosca on piano and guitarist Billy Bauer (long time Konitz/Marsh associates) provide subtle, occasionally oblique counterpoint, but it's Konitz and Marsh's show.

Both saxophonists had by this time evolved highly individual vocabularies; Konitz had somehow managed to avoid the influence of Charlie Parker, and Marsh had similarly developed a distinctive voice that owed little to the prevailing tenor tradition (except maybe late Lester Young). Moreover they had built up an almost telepathic rapport; when soloing together (as on "I Can't Get Started") it becomes quickly pretty impossible to tell who's who as their lines curl and fold in on each other. Marsh sticks mostly to the upper register of his horn, making differentiation even trickier. Tristano's "Two Not One" brings out the best in the duo, it's fractured, boppishMelodyy provoking a joyous solo from Konitz and an unusually gritty response from Marsh (one of his rare excursions to the lower frequencies).

It's fascinating to hear them dissect Parker's "Donna Lee"; Konitz resists the urge to grandstand and somehow his playing maintains its floating, aerated quality even at this high tempo; even Clarke's trademark Klook bomb drops don't faze him. Graceful, intelligent improvising that swings - what more could you want? Highly recommended. *Peter Marsh*

1 - Topsy

 (Durham, Battle)

2 - There Will Never Be Another You

 (Gordon, Warren)

3 - I Can't Get Started

 (Duke, Gershwin)

4 - Donna Lee

 (Charlie Parker)

5 - Two Not One

 (Lennie Tristano)

6 - Don't Squawk

 (Oscar Pettiford)

7 - Ronnie's Line

 (Ronnie Ball)

8 - Background Music

 (Warne Marsh)

Lee Konitz (alto sax); Warne Marsh (tenor sax); Sal Mosca, Ronnie Ball [#7] (pianos); Billy Bauer (guitar); Oscar Pettiford (bass); Kenny Clarke (drums). 
Recorded in New York City, June 14, 1955.