It is amazing that Warne Marsh was only 22 years of ago. 'Marshmallow' was recorded in 1949 on Prestige. Based on the chord changes of Cherokee, Marsh's solo is comparable to Bird on 'Koko' with the same chord changes.His solo ranks among the greatest saxophone solos in the history of recorded Jazz, e.g., Lester Young's 'Lady be Good', 'Shoe Shine Swing', 'Taxi War Dance' 'Bird's Out of Nowhere', 'Embraceable You', 'Crazeology' and the aforementioned 'Koko'.it is unfortunate that Marsh has not received his due as one of the most individual of saxophone players. He did it his whole career.Being a very uncomprising improvisor and maybe being reclusive did not help him get the notoriety he deserved.When you talk about saxophone players, Marsh belongs in the pantheon with Lester Young, Coleman Hawkins, Bird and Trane.I'm sure that other musicians have their pick of who belongs. I totally agree.

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Amazing that Warne and Lee were so young at that time. The two 'free form' sides tehy cut with Tristano were the first ever free reciordings in jazz - done in 1949 - dig that!!Warne Marsh's composition 'Marshmallow' itself is very deep, with those interesting rhythms and the extended harmonic implications.Many of Warne's solos during his entire career are mind-bending to hear and to analyze. His solos were more rhythmically adanced than most other soloists of his day. Even now, not too many cats play with that level of complexity while still maintaining structural and melodic logic and integrity.If you haven't heard them already, check out Warne's other tracks with Tristano, his 50's sides with Kenny Clark and Oscar Pettiford, the 50's sides with Paul Motian and Paul Chambers, anything with Warne and Lee both onboard; the 70's recordings: 'All Music', and 'The Unissued Copenhagen Studio Recordings' (trio w/ N.H.O. The Ballad Album' is also very nice.There is also some great playing by Lee and Warne on the album they did with Bill Evans: 'Crosscurrents'. It is amazing that Warne Marsh was only 22 years of ago. 'Marshmallow' was recorded in 1949 on Prestige.

Based on the chord changes of Cherokee, Marsh's solo is comparable to Bird on 'Koko' with the same chord changes.His solo ranks among the greatest saxophone solos in the history of recorded Jazz, e.g., Lester Young's 'Lady be Good', 'Shoe Shine Swing', 'Taxi War Dance' 'Bird's Out of Nowhere', 'Embraceable You', 'Crazeology' and the aforementioned 'Koko'.it is unfortunate that Marsh has not received his due as one of the most individual of saxophone players. He did it his whole career.Being a very uncomprising improvisor and maybe being reclusive did not help him get the notoriety he deserved.When you talk about saxophone players, Marsh belongs in the pantheon with Lester Young, Coleman Hawkins, Bird and Trane.I'm sure that other musicians have their pick of who belongsNorman- I couldn't agree more; WARNE TO ME.is as great as anyone ever.The way he played ' time'. AAs a player/ lover of all, like you knows, that when one listens to music the key elements that a listener responds to aside from the obvious factors of volume and intensity are the ' time feel' or rhythm.This is especially true here, ditto when two elements are central to discerning the style and musical personality of the artist.

Warnes ' time' was more OUTthan any Tristiano-ite. Hypersonic 2 team air bitsnoop. I always felt Warnes tone was an extension of his voice and on a deeper level. Eg- persona.I always knew his “time feel” that most expressed his unique conception.I'm not saying that this over shadowed his actual melodic and harmonic content.

THAT TOO.was in a nutha' world only equaled by Paul Gonsalves in a different manner. ( IMHO ) But- ya wanna get outside?

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WARNE WAS OUT THERE. BUT 'IN 'AS WELL.I tried to explain what Warne did in his career, which to me was difficult to describe in words. His beat placement WAS to me as personal as Dolphys. These men thought about how to present the BEAT within what they created.That aspect of phrasing which specifically involves the length of space between Marshs downbeat and upbeat via eighth notes.All depending upon tempo and other factors of course.Warne Marsh brought his own way of feeling this to the music.I never tire of hearing him.Two suggestions Norm; Look for some JOHN GROSS CDs on the net.This guy is another unsung GENIUS you'll love.ALSO, look for the Karin Krog -Red Mitchell recording with Marsh. You'll melt.'

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Marshmallow'.is as important as ' Giant Steps' in its own way.Another important voice that NEEDS to be listened too.GREAT STUFF. And, to beat a dead horse, the head and Warne's solo are here:Tim: I want to transcribe a couple other Marsh solos so I can get into his sound more than just doing one solo and moving on. Do you have another suggestion for a brilliant Marsh solo worth learning?Probally one of the early ones from the Atlantic records, I guess. But.some of the newer stuff with Pete Christlieb might be good too.John if you need help, or more advise, get me thru MYSPACE as in the next few days- I'm on the road a lot and not checkin sotw.HAVE FUN, I know you will.