An additional item has
been added to
page - Down
Beat magazine March 21. 1957 reviewing the
Warne Marsh-Ted Brown Quintet playing at
Bill Whisling's Club on Sunset Boulevard,
unknown and unreleased Warne Marsh
recording with Art Pepper has been
released by Laurie Pepper on her Unreleased
Art series. Unreleased
Art: Volume 9 - Art Pepper &
Warne Marsh At Donte's, April
26, 1974 has been added to
and is written up in All
About Jazz. A 3-CD box
featuring Art Pepper: alto
saxophone; Warne Marsh: tenor
saxophone; Mark Levine, Bill Mays:
piano; John Heard: bass; Lew
Malin: drums is available for
purchase at Amazon.
Update from K.C.
the documentary Warne Marsh: An
Editing Is In
9th. October 2016.
Two additional items have
been added to
1. Martin Williams' review of Warne Marsh's self-titled Atlantic album [Atlantic 1291] from the January 8, 1959 issue of Down Beat and2. Mimi Clar's review of Warne Marsh's self-titled Atlantic album [Atlantic 1291] from the February 1959 issue of The Jazz Review
An additional item has
been added to
page - Translation from Japanese, of the liner
notes to the Personal Statement album by Warne
9th. September 2016.
Two additional items have
been added to
2. A letter from Warne Marsh to John William Hardy, owner of Revelation Records
8th. September 2016.
September 25th, 2016 @ 3:00 P.M. (Free admission)
Sal Mosca bassist Don Messina along with Kazzrie
Jaxen (piano, vocals) and Charley Krachy (tenor
saxophone) will be performing as a trio in The
Wellfleet Public Library -Presents- "Sunday
Afternoon Jazz" at Wellfleet Public
Library 55 W. Main St. Wellfleet,
MA 02667 (Tel. 508-349-0310) Additional
details can be found here
2nd. June 2016.
Jazz journalist Marc Meyers, via his JazzWax blog has given us an interesting history on Clifford Brown's composition, Daahoud which was recorded twice by Warne Marsh in 1957. Once for the album "The Right Combination" with Joe Albany and again with Albany in a live performance from the Galleon Room in Dana Point, California on October 7, 1957 and issued as "The Warne Marsh Quartet Featuring Joe Albany: Live at Dana Point, 1957". The live performance is the highlight of the blog post which may be viewed here. Included are YouTube links to Warne's live performance along with two studio versions recorded by Clifford Brown.
3rd. May 2016.
John Klopotowski, Warne Marsh student and musical collaborator in the early 80's, has opened his personal, largely music based web page. Page location is here
19th. April 2016.
An additional item has been added to the Documents page - A presentation on James Harrod's Stars of Jazz webpage featuring the Warne Marsh Quintet on the KABC-TV Stars of Jazz - March 11, 1957 television broadcast.
1st. April 2016.
Two additional items have
been added to
2. Warne Marsh Obituary from Mike Hennessy - Downbeat
opened a new Documents page to either link or host the
many interesting articles, blog postings and
write ups on Warne Marsh out on the
internet. Page location is here
Seth Kaplan 13th February 2016
4th. December 2015.
Sal Mosca’s family has released the second of two multiple CD issues in 2015 both featuring solo performances by Sal recorded on two separate tours of The Netherlands from 1992 and 1981 respectively. The 1992 release is titled "Sal Mosca: The Talk of the Town; Live at the Bimhuis" (2-CD set; Sunnyside Records SSC1317) The 1981 release is titled "Sal Mosca: Too Marvelous for Words; June 1981, Five Concerts from The Netherlands" (5-CD set Cadence Jazz Records 1248 - 1252). Both CD sets are available here at the Sal Mosca Website
3rd. December 2015.
note from Jack Goodwin
7th. July 2015.
June 2015. A while ago, realising I wasn't
getting any younger, I decided I had to find
a resting place for all the CD's,
cassettes, photos, paperwork etc. etc. I'd
collected over the past many years on
tenorist Warne Marsh. I wanted to keep
everything together but available for anyone
interested to refer or listen to and I began
sounding out various options. To cut a long
story short, I have now donated the archive
in its entirety to The Los Angeles Jazz
Institute at Long Beach California. It will
be housed at the Music Department of the
California State University and as intended,
will be available to visitors wishing to
listen or study. The Los Angeles Jazz
Institute seemed to me to be the natural
place for the collection as Los Angeles was
where Warne was born and where he died.
JACK GOODWIN DONATES THE WARNE MARSH COLLECTION TO THE LOS ANGELES JAZZ INSTITUTE
The Warne Marsh Collection,
remarkably extensive archives of previously
unreleased recordings by the great
tenor-saxophonist, has been donated to the
Los Angeles Jazz Institute by Jack Goodwin.
The collection documents over 200 different
live and studio sessions that have not been
heard since they were originally performed.
The Los Angeles Jazz Institute, under the direction of Ken Poston, is the home for the personal collections of such major jazz artists as Howard Rumsey, Shorty Rogers, Gerry Mulligan, Art Pepper, Bud Shank, Bob Cooper, June Christy, and Pete Rugolo among others. Jack Goodwin’s Warne Marsh Collection is a major acquisition for the Institute. Jack Goodwin’s priceless recordings add immeasurably to the saxophonist’s musical legacy.
Los Angeles Jazz Institute is here: www.lajazzinstitute.org/
You can see the list of recordings donated here and I would again thank all those who have given me so many recordings of Warne Marsh over the years.
2nd. June 2015.
28th. August 2014.
15th. August 2014.
8th. August 2014.
5th. June 2014.
Thanks to Geraldyne Marsh and Lenny Popkin for this correction.
Thanks to Ken Poston, director of the Los Angeles Jazz Institute, for this information.
October 16th. 2013.
Hello Mr. Goodwin,
My name is John Petrucelli and I am a Ph.D. student at the University of Pittsburgh. I wanted to let you know that my Master's thesis Motivic and Harmonic Analysis of Warne Marsh: The Unissued Copenhagen Studio Recordings, is available for download on the Rutgers electronic dissertation page (with a citation to your Discography). In compiling this research, I consulted John Klopotowski, Ted Brown, and K.C. Marsh, and was advised by Drs. Lewis Porter and Henry Martin.
Here is the link- http://rucore.libraries.rutgers.edu/rutgers-lib/40436/
I was wondering if you would include it in some way on the Warne Marsh Information page?
Also, there is a transcription book for sale-
Bb version- http://www.amazon.com/Warne-Marsh-Copenhagen-Recordings-Transcriptions/dp/0615838383/ref=sr_1_35?ie=UTF8&qid=1381938430&sr=8-35&keywords=warne+marsh
Concert version- http://www.amazon.com/Warne-Marsh-Copenhagen-Transcriptions-Instruments/dp/0989642496/ref=sr_1_38?ie=UTF8&qid=1381938430&sr=8-38&keywords=warne+marsh
Hope to be able to contribute in some way! Looking forward to hearing from you.
27th. June 2013.
5th. June 2013.
5th. June 2013.
10th. May 2013.
3rd. February 2013.
I just wanted to let everyone know that I am now accepting students who are interested in jazz improvisation. My lessons are online, using Skype,
which will allow us to see and hear each other over the Internet.
Also, using PayPal, the conversion of currencies from other countries to US Dollars is easier than I thought. In fact I now have a student in Italy!
So if you know anyone who might be interested please refer them to my website.
26th. July 2012.
5th. July 2012.
5th. July 2012.
6th. April 2012.
28th. March 2012.
This is a collection of tracks from various dates and features eight tracks which include Warne Marsh in the personnel. See discography for details. Note: Fresh Sound repeat the incorrect date of June 15th. 1955 for the single track "Ronnie's Line" whereas the correct date is June 21. 1955.
27th. June 2011.
Warne Marsh CD.
The second half of 1956 was a fertile time for the ex-Tristano students based in the Los Angeles area of California. Warne Marsh, Ted Brown, Ronnie Ball and Jeff Morton had arrived individually over a relatively short period and together with Ben Tucker on bass, had formed a group which recorded several times during this period. “Jazz of Two Cities”, “The Way It Was”, and “Free Wheeling” are studio recordings showing the cohesive swing this group had developed and all these titles have been issued and reissued over the years.
This latest release, however, was recorded live in February 1957 at Bill Whisling’s Modern Jazz Room on Sunset Boulevard. Ronnie Ball took along a small, but heavy, Webco tape deck and fastened the mike for the recorder to the single house mike. The reels of tape used were small and had to be constantly changed and the single mike didn’t make for a balanced recording. But the music shows the enthusiasm and drive of the group which, at this stage Warne Marsh thought “ was sounding the way we want it to.” Despite the lack of balance, there is sufficient quality present to show this quite amazing group in full flight.
This is the only live recording that exists of the group, and Marshmallow Records is to be congratulated in making this rare recording available. The CD is available from Eastwind in Los Angeles and Cat Fish in Fukuoka, Japan both of whom accept payment by PayPal. Other distributors are being sought.
It is worth mentioning that Ted Brown is still actively playing in the New York area and Ben Tucker still plays around his home town of Savannah, Georgia.
4th. June 2011
28th. January 2011. Ted Brown, a name well known to most visitors to this site, was invited by Marshmallow Records owner Mitsuo Johfu to visit Japan in late 2009 to play as a featured guest with the Yoichi Hirai Group and the Gene DiNovi Trio at concerts in Tokyo and Yokohama.
Ted arrived on October 24th. and almost immediately began rehearsals with the Hirai Group which consists of alto, tenor, piano, two basses and drums and led by guitarist Yoichi Hirai. This is a group which has diligently transcribed many of the compositions of Lennie Tristano, Lee Konitz, Warne Marsh and Ted himself and has achieved a sound and style very much akin to the classic Tristano Sextet. Ted and this group played a concert at the Pit Inn, Tokyo on October 27th. and Mitsuo Johfu was there to record it. This recording has now been issued on Marshmallow Records “Ted Brown – Live at Pit Inn, Tokyo with Yoichi Hirai Group” MMEX-137-CD. Ted plays well and is ably supported by the Hirai Group. The track titles are well known lines such as Bird’s “Big Foot” and “Yardbird Suite” and Ted’s own “Dig It” and “Jazz Of Two Cities”. Ted must have enjoyed playing with this quite remarkable group as the CD is very satisfying to listen to.
On October 30th. Ted moved on to Yokohama to play with the Gene DiNovi Trio (Gene on piano, Neil Swainson, bass and Ernesto Cervini, drums) at the Sugita Theatre. The concert was also recorded and the resulting CD - which is a limited edition of 999 copies - is a joy. Ted is instantly recognisable from his very personal tone and copious free flowing ideas, no clichés, no licks. The details : “Ted Brown + Gene DiNovi - Live in Yokohama” Marshmallow Records MMEX-145-CD.
13th October 2010.
4th October 2010.
A PREVIOUSLY UNISSUED RECORDING BY WARNE MARSH.
Marsh Trio. “New York City Live” –
This 2CD set brings together two old friends. Keith “Red” Mitchell and Warne Marsh first met when both were in the army in 1946, with Red playing piano at that time. They first recorded together in September 1957 in Los Angeles and this was released as “Music for Prancing” on the Mode label. However in 1980 they played and toured together both in New York and Europe. Firstly, they played a concert at Alice Tully Hall, Lincoln Center, NYC sponsored by the Lennie Tristano Foundation, then moved on to Norway where they recorded with Karin Krog, and made a radio broadcast the following day. Next stop was Stockholm where they played and broadcast several times. Concerts at the Fasching Club, Stockholm were recorded and subsequently tracks were released by Storyville Records under the title “The Big Two” - Volumes 1 & 2. Returning to New York, they played a week at Sweet Basil on Seventh Avenue, and tracks recorded at this venue have been released on Fresh Sound Records.
This set of two CD’s recorded live in New York, have a total of fifteen tracks and give a playing time of about ninety minutes. They capture both Warne and Red at their peak. Warne is instantly recognisable and plays some gloriously inventive solos. Red’s sonorous and always perfectly pitched sound blends perfectly with Warne and it is as though they are communicating telepathically, they integrate so well. Drummer Pete Scattaretico studied with Lennie Tristano and played regularly with Warne Marsh from 1979. He plays with drive and perfect taste and the Trio members are obviously listening to each other and appreciating the result. This music is pure jazz improvisation of the highest quality and I cannot recommend this CD issue enough.
Pete Scattaretico has put in a lot of work in producing these CD’s and is to be congratulated in putting together an excellent package. The sound quality is excellent, and the liner notes and graphics compliment the whole thing. These CD’s will soon be available from the usual sources at around $22.00 but you can enquire about their availability from Pete at www.peterscattaretico.com
22nd. March 2010.
12th. August 2009. I've recently added a photograph of Warne Marsh with Tal Farlow to the Photo Gallery on this site. It was taken at the Silver Screen Room of the Hyatt Hotel, on Sunset Boulevard, West Hollywood, California on September 15th, 1984 by the photographer Joel Mark - http://www.joelmark.com - to illustrate an article written for the L.A. Reader, a weekly paper for the Los Angeles area. Many thanks to Joel.
22nd. March 2009.
The tracks David refers to were recorded by Warne himself as he improvised to the pre-recorded accompaniment of the Jamey Aebersold play-along LP "All Bird". Gary Foster can remember playing with Warne and this recording around late 1977.
6th. October 2008.
27th. August 2008.
14th. August 2008.
22nd. July 2008.
28th. June 2008.
19th. May 2008.
14th. April 2008.
7th. April 2008.
23 October 2007.
22 September 2007
Reviewed by Jack Goodwin
This is quite a unique biography. It is composed of conversations, in question and answer form, that Andy Hamilton has had with Lee Konitz over the past eight years and is published just as Konitz approaches his 80th. birthday in October. Lee talks at length about his apprenticeship with Lennie Tristano, his playing with Warne Marsh, Miles Davis, Stan Kenton, etc., and more recently, his continuing tours around the world as featured soloist with other jazz musicians.
Konitz has the desire, and the ability, to play pure improvised jazz music, without clichés, licks and quotes and throughout the book, his honest approach to music and improvising comes across. His recorded output is quite vast and despite his uncompromising attitude, he has managed to make a living for over sixty years playing jazz.
Visitors to this site will be interested to read the extensive comments he makes about Warne Marsh. As an example: “When I think of Warne Marsh, I think of the definitive creative player, no theatricality, no showboating, just a true musical improviser. It’s a true unexaggerated voice, that’s what’s so sophisticated about it – without the “bleating” and overblowing that many saxophone players seem obliged to do.”
Included are many valuable interviews with other musicians commenting on how they feel about Konitz, and also several pages of photographs which span the life of Lee Konitz and which, generally, are previously unseen.
This is an excellent book, and Andy Hamilton is to be congratulated in producing something which probably Lee, himself, would never have contemplated writing, and it is unreservedly recommended.
29th. July 2007
23rd. July 2007
15th. June 2007
6th. March 2007
20th. October 2006. I’ve been asked several times in the recent past if there is a source for any transcriptions of the lines recorded by Warne Marsh. The late Billy Bauer published several transcriptions of lines by Lennie Tristano, Warne Marsh and Lee Konitz and his son, Bill Bauer, is continuing to make these available. Anyone interested can email him at firstname.lastname@example.org
Amazing what you can find on this Internet thing...
I discovered a CD which has been issued by Lone Hill Jazz in Spain which is called:
"The Complete Free Wheeling Sessions"
Art Pepper & Ted Brown - featuring Warne Marsh
Lone Hill Jazz - LHJ10236
It is supposedly the 50th anniversary of a "marathon studio date" which took place on November 26, 1956 and produced these two albums:
1) "Free Wheeling"
Ted Brown, Warne Marsh, Art Pepper, Ronnie Ball, Ben Tucker, Jeff Morton
2) "The Way It Was"
Art Pepper, Warne Marsh, Ronnie Ball, Ben Tucker, Gary Frommer
It says the personnel is the same on both albums...except on the second one Ted Brown is removed from the front line and Jeff Morton is replaced by Gary Frommer.
"Free Wheeling" was actually recorded on December 21, 1956 and "The Way It Was" was recorded November 26, 1956. That is quite a "marathon studio date."
Also each date contains the tune "Avalon" which is rather odd if both were done the same day.
I know it was a Friday afternoon that we did "Free Wheeling"...because we had to go to work that night at Whistlings. Try that after doing TWO record dates that day.
This "fake" record marathon is only one CD.
Their liner notes say that due to lack of space they were only able to include the MASTER takes from "The Way It Was." So from that date there are only 7 tracks on this new disc.
They are making up a whole new story that both these record dates were done in one long marathon session on November 26, 1956.
That is the premise of this new CD which they call "The COMPLETE Free Wheeling Sessions" because they stress the point that they were both done the same day....not that they are COMPLETE because they contain all the takes. If they were to correct those dates they would have to take this CD off the market because they are advertising it as a marathon session...and are calling that marathon The Free Wheeling Sessions.
But the weirdest thing is they used the same stupid cover with the wolf mask that was on the original "Free Wheeling" but now it is called "The Complete Free Wheeling Sessions" and is listed under Art Pepper.
How is that for a discography problem?
There ain't no business like the record business!!
"NE PLUS ULTRA"
5th. October 2005.
above 192 page book was published by
Equinox Books on 24th. October
2004. Amendment to
discography: 59-0217/24 Lee
Konitz - Warne Marsh Quintet at the Half
2004. CD review
22nd. March 2004. Further to the item dated 1st. March below regarding the proposed reissue of the Nessa Records "All Music" session. This CD is now available and I show below latest information from Chuck Nessa:
The price is $15. We accept checks, money orders, cash, MasterCard and Visa. The address is:
PO Box 394, Whitehall,
MI 49461, USA
The new release is on a single CD and the disc should arrive here in 2 weeks. Excluded are (not including incomplete performances) alternates of everything on the LP with three exceptions. "A Time For Love" was attempted something like seven times, "Subconscious-Lee" was done only once (right at the end of the recording of that tune Warne told me "That's the best I ever played that tune") and "I Have A Good One For You" (you get every scrap of that one).
To respond to a question about a possible two disc version mentioned in Safford Chamberlain's book - after listening for over a year to all the tapes I decided I could get the "meat" onto one disc and a single disc would sell better than a set. The CD includes a note from me about this and I will post it below, as well as the tracks and times.
Before the sessions Warne told me he would record one tune each by Lennie Tristano, Lee Konitz and himself from his New York days. He also said they would do a ballad, a blues and Lou had a tune ("Lunarcy"). Lastly, he was working on the changes of "It’s You Or No One" and wanted to record it too. He said “I have a good one for you”. Lou asked me to rent an electric piano because he wished to use it for a recording of Johnny Mandel’s "A Time For Love". The electric piano turned out to be defective and generated random static on all takes. We performed a salvage job on one of them for this issue, but some noise remains.
We have included the initial take of "On Purpose" (complete with a shaky ending) to show the transformation from first to final version.
On the first day of recording we started with a performance of "Lunarcy" and then Warne launched into a series of takes of his “good one”. We have included all versions of this piece at the end of the disc so you can loop back to the final master (track 1). "I Have A Good One For You" was the first piece recorded on the second day in the studio. They nailed that one.
TRACK LISTING (the first 7 tracks are the LP sequence)
1 I Have A Good
One For You (take 13) 5:29
I forgot to add: Tracks 9-14 recorded on Friday, Feb 20 and the rest on Feb 21 1976.