Arguably the last truly original acoustic sound in jazz was created by pianist Lennie Tristano (1919-1978). He was a protégé of Charlie Parker, but he took the bebop pioneers ideas to a more intellectual and cerebral level, creating a musical world of his own. His most important pupils and sidemen, alto saxist Lee Konitz and tenor saxist Warne Marsh, carried Tristano’s torch for decades, and his sound and style are still inspiring artists today, such as saxophonist Mark Turner.
Here are a few essential albums and box sets to let you hear a truly unique artist.
Lee Konitz first got noticed for his own work with Miles Davis’ and the West Coast “Cool School” sound before branching out on his own. There’s a four disc, eight album collection that includes his creative years with Verve Records. In 1955 he teamed up with Tristano disciple Sal Mosca/p, cool toned Billy Bauer/g, and a bopping rhythm section of Oscar Pettiford/b with Kenny Clarke/dr along with tenor saxist Marsh. The band simmers through a cool mist of “Topsy”, and an intricate read of “Donna”. Next year, Konitz is still with Mosca and Bauer, playing both alto sax and tenor on an icy hot “All of Me” and “Star Eyes”. 1957 had him release a pair of albums, one that included Mosca and hard bop drummer Shadow Wilson on of them for a hip “Billie’s Bounce” and glowing “Stairway to the Stars”, and the other with Bauer, Henry Grimes/b and Dave Bailey/dr weaving through gorgeous tapestries of melodies as on ”Lennie Bird” and “Stephanie”.
A one-off album with a string section resulted in a rich take of “I Got It Bad” and “’Round Midnight” and a cerebral three part “Music for Alto Saxophone and Strings”. In 1959, Konitz teams up with a sax section that includes Jimmy Giuffre/bs, Hal McKusick/as, Ted Brown/ts and Warne Marsh as well as ringer Bill Evans/p, for a velvety “Darn That Dream” and “When Your Lover Has Gone”. Evans stays on for the next album that includes guitarist Jim Hall and a brass section this time around for a glorious “I Didn’t Know About You” and a fun “You’re Driving Me Crazy”. Last is a very free and spontaneous session with bassist Sonny Bailey and ringer Elvin Jones for stretched out takes of “You’d Be So Nice To Come Home To” and “I’ll Remember April”. Sui Generis
Fast forward a score of years, and 1977 leads a nonet recording with John Eckert/gh, Jimmy Knepper/tb, Ronnie Cuber/bs and a snazzy rhythm section for a wide girth of songs ranging from John Coltrane’s “Giant Steps” to Louis Armstrong’s “Struttin’ With Some Barbecue” with vintage bop like “Chi-Chi” and “If You Could See Me Now” straddling the tightrope. A thoroughly thrilling set by one of the truly original reed men around.
Arguably the last original sounding tenor player in jazz, Warne Marsh had an undeservedly overlooked career apart from his years with the group Supersax. Here is a four disc collection of eight albums that still sound fresh and still inspire. It begins as the Konitz one does, with the classic 1955 album with Marsh and Konitz as coleaders, weaving wonderful lines on “I Can’t Get Started” and “There Will Never Be Another You”. Next year, he has one tune with Konitz, but mostly uses fellow tenor saxist Ted Brown, weaving and winding together like a tapestry on “Smog Eyes” and “Ear Conditioning”. Loose and light fitting gems. In 1957, Marsh reached a high level of artistry with a couple releases, one with Ronnie Ball/p, Stan Levey/dr and Red Mitchell/b for a lithe and sleek album with the ballad “ You Are Too Beautiful” and some clever originals like “Ad Libido” and “Playa del Ray” while a session with LA cat Art Pepper on alto and clarinet swung with joy on a hairpin turn of “Tickle Toe” and “All The Things You Are”. In 1957, Marsh brings in drummers Philly Joe Jones or Paul Motian along with hard bopping bassist Paul Chambers four a tour de force of “It’s All Right With Me” and snazzy “Yardbird Suite”. Marsh is the featured sideman on a trio setting led by pianist Joe Albany along with bassist Bob Whitlock glowing on “Body and Soul” and “Angel Eyes” and bopping well on “Daahoud” and “It’s You Or No One”. Last, but not least are albums that collect Marsh in a series of improvisations with the themes edited out, allowing the listener to take Marsh’s sound straight, without a chaser.