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Live at Dana Point

4.1 5つ星のうち4.1 4個の評価
仕様
価格
新品 中古品
CD, リミックス含む, インポート, 2004/9/21 インポート, リミックス含む
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曲目リスト

ディスク： 1

1 Things I Love
2 Dahoud
3 Now's the Time
4 Billie's Bounce
5 Body and Soul
6 Limehouse Blues
7 Love Is Here to Stay
8 I've Got You Under My Skin
9 Once in Awhile
10 Night and Day

ディスク： 2

1 My Little Suede Shoes
2 Darn That Dream
3 After You've Gone
4 Easy to Love
5 's Wonderful
6 Tea for Two
7 Song Is You
8 Way You Look Tonight

商品の説明

This 2-CD set features Warne Marsh and Joe Albany live at the Galleon Room in Dana Point, California on October 7th, 1957. Over 1 hour and 45 minutes of music on this CD with great stereo sound. Liner notes by Safford Chamberlain. All material previously unreleased.

登録情報

  • 製品サイズ ‏ : ‎ 14.25 x 0.94 x 12.73 cm; 113.4 g
  • メーカー ‏ : ‎ Vsop Records
  • EAN ‏ : ‎ 0722937111221
  • 製造元リファレンス ‏ : ‎ unknown
  • オリジナル盤発売日 ‏ : ‎ 2004
  • レーベル ‏ : ‎ Vsop Records
  • ASIN ‏ : ‎ B0002VGS0I
  • ディスク枚数 ‏ : ‎ 2
  • カスタマーレビュー:
    4.1 5つ星のうち4.1 4個の評価

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Joe Yankee
5つ星のうち4.0 未亡人所有のテープ
2010年12月27日に日本でレビュー済み
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観客の話し声やレジのベルの音？までもはっきり聞こえますが、
それも悪くなく、むしろ場 (Galleon Room) の雰囲気を伝えるのに一役かっています。
スタンダード中心（全曲？）でリラックスした中に適度な緊張感のある素晴らしい演奏だと思います。
Albanyのソロもたっぷり聞けるしベースのBob Whitlock、ドラムのRed Martinsonも好サポート。
同年に録音されたRiversideの "Right Combination" がお好きな方には絶対のお薦め。
音質も決して悪くはありませんが、編集が荒く曲間がぶつ切れなのがちょっとだけ残念。
しかしそれもプライベート録音の生々しさだと思えば一興。

1. The Things I Love
2. Daahoud
3. Now's The Time
4. Billie's Bounce
5. Body And Soul
6. Limehouse Blues
7. Love Is Here To Stay
8. I've Got You Under My Skin
9. Once In Awhile
10. Night And Day

1. My Little Suade Shoes
2. Darn That Dream
3. After You're Gone
4. Easy To Love
5. S' Wonderful
6. Tea For Two
7. The Song Is You
8. The Way You Look Tonight
4人のお客様がこれが役に立ったと考えています
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ナワトビ
5つ星のうち5.0 こんなライヴもあったとは
2004年9月28日に日本でレビュー済み
ウォーン・マーシュ好きにはたまらない未発表ライヴ2枚組みです。「Now's the Time」といったバップ曲もありますが、ほとんどが「夜も昼も」「二人でお茶を」などスタンダードばかり。ポール・デスモンドのアルトを思わせるような高音域で、鼻歌のように吹かれるテナーは、不思議な脱力感があります。ピアノのジョー・オーバニーも、ゴリゴリ押してくるのかと思いきや、マーシュに合わせるかのように意外にサラッとしたタッチ。ベースとドラムは淡々とリズムキープに徹しています。「After you've gone」のみ、途中でテープが切れていますが、それ以外は音質も良いです。自然と湧き上がってくるようなスウィング感、「余白の美」を感じさせるマーシュのリラックスしたアドリブなど、サラサラと流れる水のような印象を与えるライヴです。
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Sushi Addict
5つ星のうち4.0 Lounge lizards on parade...
2024年4月18日にアメリカ合衆国でレビュー済み
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The local drunks are holding court, but Marsh is mellow. Albany keeps pace. Must have been desperate to take this gig, but maybe it was looked at as a paid rehearsal. Had to be a bit off-putting to the band, but they're pros in blocking out the environment. At least you get a nice, loose jam with some ideas tossed around. Or is that instrument snoring? You may want to have a few while listening to what is truly a slice of jazz history.
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pTsd44
5つ星のうち4.0 Perhaps for Warne Marsh fans only?
2006年3月26日にアメリカ合衆国でレビュー済み
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I'm not aware of any tenor player who sounds like Warne Marsh,and there surely were none back in 1957 when this was recorded. Almost all sax players have a sound which is more or less internally consistent, but Marsh's seems to be made up of three or four quite different ones. Sometimes it's big and full; at other times,thin and dry as smoke. In the upper register and the high harmonics beyond it (which he handles with amazing mastery, far beyond that of many far more celebrated players) he gets a clear,bright,unforced alto-like sound. And finally, there's a kind of splintered gargle (think Lester Young playing a hookah...), which description might make it sound awful,which it definitely does not,as he employs it. This enormous tonal variety is accentuated by his penchant for rapidly alternating from loud to soft and in-between,sometimes every two or three bars and at any and all tempos. Though he seems far more interested in the linear elaboration of harmony than in melody,nevertheless his improvisations are full of surprising and thrilling twists and turns. These traits, plus his rhythmic agility (he swings!) make him, IMHO, far more interesting and enjoyable than his fellow Tristano disciple Lee Konitz.

This recording contains some very fine playing by the young Warne Marsh. In addition,the fact that he's playing standards (and Charlie Parker) makes the utter originality of his harmonic/melodic approach stand out more clearly than it would if he confined himself to those rather monotonous Tristano-school "originals". The sound is,all things considering,pretty good,certainly good enough for anybody whose primary interest is in the music itself rather than in sound reproduction per se.

The problems lie in two areas:the place where the recording was made and the other musicians. There's a good bass player. The drummer is adequate so long as he confines himself to basic time-keeping and not so hot when he tries anything more. And the pianist, otherwise unknown to me, is an enigma. At times he plays very well indeed; at others his sense of time and/or his technique let him down pretty badly.

As for where the recording was made, anybody buying this should be aware that Marsh and company are playing in a nightclub where a number of the patrons yak loudly and inanely and incessantly; it's painful to hear the utter lack of respect for the musicians. If you are the kind of person driven nuts by this sort of thing, you should definitely not buy this CD. I found it barely tolerable and often very distracting, especially given Marsh's above-noted tendency to play very softly at times,not just on ballads but also at medium and up tempos.
18人のお客様がこれが役に立ったと考えています
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