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The Unissued Copenhagen Studio Recordings

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Album Review

A masterful improviser who stayed creative within the boundaries of advanced chordal improvisation, tenor saxophonist Warne Marsh is heard in excellent form throughout this 1997 CD. Heading a pianoless trio that also includes bassist Niels-Henning Orsted Pederson and drummer Alan Levitt, Marsh digs into a dozen of his favorite standards (which for once are not disguised with "original" new melodies) including "Confirmation," "I Can't Give You Anything but Love," "All the Things You Are," "When You're Smiling" and "Takin' a Chance on Love." This is a rather sparse setting and, despite occasional bass solos, the focus throughout is primarily on Marsh. Fortunately he was in fine form that day and the results are a fine effort.

Customer Reviews

More stunning Warne Marsh

The master improvisational artist does it again. Warne Marsh was NEVER in bad form despite the snarky comment in the main review. One track I find particularly beautiful is The More I See You. Buy the entire album if you know what's good for you. Warne Marsh sounded like no other player. If you want to explore a unique sound and one of the most gifted improvisers to ever live give this a try. Looking for someone who sounds like other Tenor Sax greats? Don't bother. There is no imitation here, no sound-alike and no posturing. You can listen to a hundred Marsh tunes and never here the same lick twice. Think about that. How many musicians can say that? Astounding musician that will come to the attention of more jazz fans eventually. Play on Warne!


Born: October 26, 1927 in Los Angeles, CA

Genre: Jazz

Years Active: '40s, '50s, '60s, '70s, '80s

Along with Lee Konitz, Warne Marsh was the most successful "pupil" of Lennie Tristano and, unlike Konitz, Marsh spent most of his career exploring chordal improvisation the Tristano way. The cool-toned tenor played with Hoagy Carmichael's Teenagers during 1944-1945 and then after the Army, he was with Buddy Rich (1948) before working with Lennie Tristano (1949-1952). His recordings with Tristano and Konitz still sound remarkable today with unisons that make the two horns sound like one. Marsh had...
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The Unissued Copenhagen Studio Recordings, Warne Marsh
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