Wayne Marsh on Atlantic

[Soul Stream]

I got this reiusse Atlantic LP of Warne Marsh with Paul Chambers and Paul Motion. I don't know squat about Warne other than a lot of guys on this board dig him. That said, I like this album quite a bit after my first listen...and Paul Chambers really sounds great.

[fasstrack]

I got this reiusse Atlantic LP of Warne Marsh with Paul Chambers and Paul Motion. I don't know squat about Warne other than a lot of guys on this board dig him. That said, I like this album quite a bit after my first listen...and Paul Chambers really sounds great.

LP name, please?

[Chuck Nessa]

I got this reiusse Atlantic LP of Warne Marsh with Paul Chambers and Paul Motion. I don't know squat about Warne other than a lot of guys on this board dig him. That said, I like this album quite a bit after my first listen...and Paul Chambers really sounds great.

LP name, please?

"Warne Marsh"!

[fasstrack]

"Warne Marsh"!

Ask a dumb question......

Thanks. I want to hear this. I really dig Warne, though in some settings more than others. This sounds great, on paper at least.

[jazzbo]

I have the Mosaic set which includes these items. That set keeps giving. . . I find new pleasure in it year after year.

[JSngry]

Warne's about as heavy as you can get.

[Clunky]

the man's music is seriously addictive stuff be warned. Interesting that the post is about Wayne Marsh, Mr Shorter indeed sounds to these ears to have drunk from the same pool.

[Lazaro Vega]

As well as Pres and Bird and especially Trane.

Anyone know anything about Warne in Berlin, 1980 on Gambit records? http://tinyurl.com/hx7oa

[Guy Berger]

I got this reiusse Atlantic LP of Warne Marsh with Paul Chambers and Paul Motion. I don't know squat about Warne other than a lot of guys on this board dig him. That said, I like this album quite a bit after my first listen...and Paul Chambers really sounds great.

I agree about Paul Chambers being great on this album. Those who dislike Motian should note that he plays completely straight-ahead here. Philly Joe Jones replaces him on a few tracks.

It's available on CD from Collectables: an odd pairing with Charles Lloyd's The Flowering.

Guy

[Larry Kart]

Here, toward the end, is another, somewhat contrary view of the Marsh-Chambers encounter from the booklet notes I wrote for the Mosaic Tristano-Konitz-Marsh set (they're reprinted in my book "Jazz In Search of Itself"). The opening passage refers to the Konitz-Marsh Atlantic date:

If Marsh is, as mentioned above, a compulsive structuralist, and Konitz is a compulsive melodist, the consequences are vividly evident here , against Bauer, Clarke, and Pettiford’s dark pulsating backdrop. One doesn’t want to sound mystical about this, but Marsh proceeds as though silence were a kind of space, a blank neutral medium--almost a void--that comes to life only when (and because) his lines, his living thoughts, adventurously stretch across it. For Konitz, though, silence is alive, a creature or being--each note he plays almost literally touches its flanks, and the resulting dialogue of message-bearing pressures will increasingly become one of his chief sources of inspiration. Thus, in 1961, Konitz would seek out and successfully record with the most aggressive drummer in jazz at the time, Elvin Jones; while in December 1957, Marsh will almost come to grief in the company of Paul Chambers and Philly Joe Jones.

Describing the partnership between Chambers and Jones in the liner notes to Hank Mobley’s Poppin’, which was recorded less than two months before the first of the two dates that make up the Atlantic Marsh album, I wrote that the drummer and bassist “shared a unique concept of where ‘one’ is--just a hair behind the beat but rigidly so, with the result that the time has a stiff-legged, compulsive quality. The beat doesn’t flow but jerks forward in a series of spasmodic leaps, creating a climate of nervous intensity that was peculiar to the era. Either the soloist jumps or he is fried to a crisp on the spot.” Well, Marsh did survive the encounter, and he is a bit more at ease on the next date in January 1958, when Paul Motian takes the place of Jones and pianist Ronnie Ball drops out. For even though Chambers’s broad rhythmic impasto, so full of directional energy, still threatens to ride right over the nodes of rhythmic ambivalence that Warne must leave exposed, the absence of a chordal instrument makes just that much more space available to the soloist, who is especially fluent on “Yardbird Suite.” One wonders, though, what this album would have been like if Pettiford and Clarke had been present.