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Marsh, Tony: Stops (psi)

Percussionist Tony Marsh in four percussion solos and eleven duos with Veryan Weston on church organ performed live at St. Peter's church in Whistable, England.
 

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product information:


UPC: 503024310729

Label: psi
Catalog ID: 10.07
Squidco Product Code: 13278

Format: CD
Condition: New
Released: 2010
Country: Great Britain
Packaging: Cardstock Gatefold Sleeve 3 panels
Recorded at St Peter's Whistable on July 14th and August 7th, 2009 by Adam Seaping.


Personnel:

Tony Marsh-percussion

Veryan Weston-church organ

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Artist Biographies:

Tony Marsh, real name Anthony Vincent Stewart Marsh, was a British free jazz/improv drummer and percussionist (born 19 August 1939, Lancaster, died of cancer aged 72, 9 April 2012 in London, England).



"The percussionist Tony Marsh, who has died of cancer aged 72, was an inspired collaborator, combining intensity with restraint and stroking the drums more than he struck them. He worked with some of the most creative artists in European jazz of the past four decades, from the composer Mike Westbrook to the saxophonists John Tchicai and Evan Parker.

Marsh devoted his life to an art form short on cash and kudos, but long on creative satisfaction. In his last months he sought inspiration in the complex scores of the composer Iannis Xenakis; formed a new trio with two of London's most creative jazz 20-somethings; and, in March, played an impromptu London performance with the Chicago saxophone master Roscoe Mitchell that astonished those who witnessed it.

Marsh was born in Lancaster, the eldest of three brothers. The family moved to London after the second world war in search of better medical care for his tuberculosis, and he spent a long period of recuperation in St Thomas' hospital. That period of illness seriously hampered his formal education, but he became a good enough teenage footballer to enter trials for professional clubs.

He took up the drums as a military bandsman during national service in the 50s and would play them at Butlins' holiday camps and on cruise ships. In the 60s, he made a living in the West End of London as a jobbing drummer - also learning from records by the great American jazz bands of Clifford Brown (with the bebop drums pioneer Max Roach), Miles Davis and John Coltrane.

In the early 70s, Marsh joined the saxophonist Don Weller, the bass guitarist Bruce Colcutt and the guitarist Jimmy Roche in Major Surgery. The band only released one album, First Cut (1977), but it acquired lasting cult status. He also began productive relationships with the saxophonist Chris Biscoe, the Barbadian trumpeter Harry Beckett and the saxophonist Mike Osborne (in the last period of that cutting-edge artist's playing life, before mental illness incapacitated him in 1982).

Marsh then discovered Westbrook's brass band and big-band music, improv, cabaret and more. Marsh's relaxed dynamism powered an unusual Westbrook big band on an Ellington tribute at Amiens, France, in 1984. It became the landmark album On Duke's Birthday. Four years later, Marsh joined Biscoe's quartet, Full Monte.

Through his European tours with Westbrook, Marsh forged a link with the French jazz scene, regularly commuting between Paris and London until the early 2000s. In 1985, he joined Biscoe and a French brass section to record the bassist Didier Levallet's album Quiet Days, followed by a series of sessions led by Beckett - including one that Levallet considered among his best recordings, Images of Clarity (1992). He also played with the adventurous UK pianist Howard Riley, reeds player Paul Dunmall, and with the saxophonist Simon Picard and the bass virtuoso Paul Rogers on their recording News from the North (1991) for the Swiss experimental label Intakt.

Marsh then committed himself increasingly to life in London. He hugely enjoyed his monthly involvement in the experimental London Improvisers Orchestra (involving the composer/pianist Steve Beresford, Parker and a loose repertory company of others). He was also a permanent member of one of the most thrilling European free-improv trios of recent times, with Parker and the double bassist John Edwards. Marsh was also the driving force behind a genre-crossing quartet with the flautist Neil Metcalfe, the violinist Alison Blunt and the cellist Hannah Marshall.

Since 2011, he had begun a productive relationship with two hotly tipped newcomers, the reeds player Shabaka Hutchings and the bassist Guillaume Viltard. They played freely without prolixity, combined fine detail with spontaneity, and eschewed amplification.

"Listen closely, take a chance, keep going even if money's tight, and you'll find the real reward - that's why Tony was hip in the most meaningful sense," Parker says. "And he didn't need to play loud, or be loud, to get that intensity. It's like splitting diamonds or something. If you know exactly the right place to make the impact, you don't need to hit anything hard." [...]"-John Fordham, The Guardian

-Discogs, The Guardian UK (https://www.discogs.com/artist/321589-Tony-Marsh)
12/2/2022

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Born in 1950, and moved from Cornwall to London in 1972 and began playing as a freelance jazz pianist as well as developing as an improviser at Little Theatre Club.


1975-85: Residency & fellowship for Digswell Arts Trust (Hertfordshire). Activities included:

Collaborations with visual artists (potter-Elizabeth Fritsch and fine artist Steve Cochrane).
Work on written theoretical material, commissioned by The Digswell Arts Trust.
Co-ordinating music workshops, supported by Eastern Arts Association.
Co-founded and composed for young local group - Stinky Winkles, voted 'Young Musician of 1979' by Greater London Arts Association and won first prizes in France, Spain and Poland.
Collaborations with Lol Coxhill, music for Derek Jarman Film. First released recordings.

Throughout 1980s and early 90s worked with Eddie Prévost Quartet, Trevor Watts' Moiré Music and Lol Coxhill and Phil Minton. Major festivals have included Zurich, Berlin, Nickelsdorf, Karlsruhr, Warsaw, Wroclaw, San Sebastian, Bombay, Vancouver, Nancy, Aukland, Nevers, Washington, Lille, Houston, Le Mans, Strasbourg, Bologna and Victoriaville.

Ensemble projects with Minton:

Duo - Ways, Ways Past, and....Past - diverse songs, originals & improvisation structures.
Songs from a Prison Diary - French commission for 25 singers with poems by Ho Chi Minh.
Naming the Animals -a quartet with Lianne Carol and Ian Shaw, words by Adrian Mitchell.
Mouthfull of ecstasy - with John Butcher, Roger Turner, texts from Joyce's Finnegans wake.
Makhno - for chamber choir commissioned by Taktlos Festival 1997.
4Walls - a quartet with songs and improvisations with Luc Ex and Michael Vatcher.


Other recent duo collaborations with:

Trevor Watts - improvisations with a feeling of form, where rhythm and melody sit comfortably with more abstract moments. A major current project.
Caroline Kraabel - duets that explore acoustic phenomena related to two instruments and how these sounds interact in specific acoustic spaces.
Jon Rose - improvisations using different acoustic keyboards and violins with selected tunings derived from science, history and the imagination.
Hugh Metcalfe - Films by Hugh, images of objects, animals, humans, holidays, journeys, unfold, transform, collide and provide the basis for accompanying duet improvisations.


Local activities:

(1995-6) playing in rhythm section for 'Changes' jazz club in North London with British jazz artists.
Awarded A4E National Lottery support to give series of workshops/concerts with John Edwards & Mark Sanders titled 'Playing Together' in East Anglia (1998).

Helped coordinate and arrange the Lindsay Cooper Song Project (1999). European festivals - Taktlos (Zurich), Angelica (Bologna, commissioned arrangement of "Oh Moscow" for orchestra), Moers (Germany) and Roccella Jonica (Italy)"

-Veryan Weston Website (http://veryanweston.weebly.com/biog--discog.html)
12/2/2022

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. Stop Time 1 0:45

2. Stop-Go 2:21

3. Stop Off 2:34

4. Glottal Stop 2:37

5. Stop Time 2 2:08

6. Stop Down 3:02

7. Stop Out 10:20

8. Stop Time 3 2:25

9. Stop Theif! 5:31

10. Stop at Nothing 14:47

11. Stop Press 5:26

12. Stop Watch 3:04

13. Stop Time 4 1:46

14. Stop Short 4:20

15. Full Stop 6:22
sample the album:








descriptions, reviews, &c.

Percussionist Tony Marsh (Mike Westbrook Orchestra, Mike Osborne, London Improvisers Orchestra, &c &c.) in four percussion solos and eleven duos with keyboardist Veryan Weston on church organ. The release is sequenced by punctuations of Marsh's "Stop Time" improvisations (1-4), each of which proceeds immediately into a series of duos with Weston. The pieces are all captured beautifully in the natural resonance of the St. Peter's Church of Whistable, England, where compatriots Evan Parker, Sten Sandell and John Russell have also recently recorded.



This album has been reviewed on our magazine:

The Squid
The Squid's Ear!
Related Categories of Interest:

EMANEM & psi

Improvised Music
Jazz
European Improvisation and Experimental Forms
Percussion & Drums
Piano & Keyboards
London & UK Improv & Related Scenes
Duo Recordings

Search for other titles on the label:
psi.

Other Releases With These Artists:
Recommended & Related Releases:
Other Recommended Releases:
As You Hear (Veryan Weston / Pei Ann Yeoh / Beibei Wang)
Four Seasonings
(Listen! Foundation (Fundacja Sluchaj!))
Marsh, Tony / Chefa Alonso
Goodbye Red Rose (2008/9)
(Emanem)
Dunmall, Paul / John Edwards / Tony Marsh
To Be Real
(FMR)



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