Linda May Han Oh - The Glass Hours

Styles: Voice
Year: 2023
File: MP3@320K/s
Time: 69:10
Size: 159,0 MB
Art: Front

(6:49) 1. Circles
(6:42) 2. Antiquity
(5:33) 3. Chimera
(8:29) 4. Jus Ad Bellum
(6:37) 5. The Glass Hours
(9:15) 6. The Imperative
(7:23) 7. Phosphorus
(3:44) 8. Respite
(9:24) 9. The Other Side
(5:08) 10. Hatchling

Linda May Han Oh, a bassist and composer of enormous talent, approaches bandleading with fresh and distinctive vision. Backed by a new quintet that works really great, Oh delivers a set of pieces informed by abstract themes of the fragility of time and life, paradoxes and choices, and social issues in our world. The Glass Hours has that adventurous quality often found in her discography, creating a compound of collective exploration and deft improvisation.

The sinuous, complex melody of “Circles” is earnestly declared, side by side, by Portuguese singer Sara Serpa, whose technique is impressive, and saxophonist Mark Turner. The sounds spread within the organized structure, and we have pianist Fabian Almazan and Turner taking improvisational turns before a fearless double bass solo unfolds.

Introduced rubato by bass and piano before sliding into a 7/4 meter, “Antiquity” is a piece with lyrics centered on the weight of the past, whereas “Chimera”, taking the form of a sensual dance, mutates along the way. A swift rhythmic figure takes center stage, creating a motivically induced substratum later embellished with tasteful electronics.

Often abstract, these avant-leanings occasionally invite us to new territory, like “Phosphorous”, which is rendered with a relentless prog-rock rhythm bed. Drummer Obed Calvaire, who worked with Oh on her debut album, Entry (CD Baby, 2009), locks in with the bassist for the sake of a funk-inspired accentuation, supporting ethereal wordless vocals and saxophone cross-cuts. There’s also a more rugged than sweet keyboard solo here.

The composer delves deeply into this musical universe of linear and cyclical forms. With warfare as a topic, “Jus ad Bellum” flows rubato, later probing polyrhythmic patterns with ritualistic precision. More celebratory is the title cut, which has challenging metered cycles rising and waning periodically; Serpa is on the leading edge here, and Turner and Almazan take improvisational turns. Thematically contrary, “The Other Side” is a meditation on the afterlife, employing a push-pull strategy with well-placed staccatos that ground us in the present.

Impeccably layered with boundless energy, The Glass Hours is a mature work that positions Oh in the vanguard of progressive musical creativity.https://jazztrail.net/blog/linda-may-han-oh-the-glass-hours-album-review

Personnel: Sara Serpa: voice; Mark Turner: tenor saxophone; Fabian Almazan: piano, electronics; Linda May Han Oh: acoustic and electric bass, voice; Obed Calvaire: drums.

The Glass Hours

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George Colligan - The Newcomer

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 67:05
Size: 154,5 MB
Art: Front

( 7:38)  1. The Big Push
( 8:17)  2. Submersion
( 8:56)  3. The Newcomer
(11:30)  4. #10
( 9:28)  5. So in Love
( 8:46)  6. Empty Canvas
( 7:30)  7. Ricardo's Tune
( 4:57)  8. Evidence

A veteran of groups led by saxophonist Gary Bartz and vocalists Vanessa Rubin and Cassandra Wilson, pianist George Colligan's second recording for Steeplechase is also his first leading a quintet. Colligan is joined by trumpeter Ingrid Jensen, tenor saxophonist Mark Turner, bassist Dwayne Burno, and drummer Billy Drummond as they perform an unusual program of five originals, three by Colligan, one standard, an up-tempo rendition of Cole Porter's "So in Love," and two jazz classics. Originally a trumpeter, the Herbie Hancock-influenced pianist proves himself quite proficient on his chosen instrument, contributing an excellent solo on Wayne Shorter's overlooked "The Big Push." 

Other favorites include the complex "Empty Canvas," where each soloist gets a different meter to play over; "Ricardo's Tune," a Latin-influenced melody that swings on the bridge and during the solos' and one of the fastest versions of Thelonius Monk's "Evidence" that one will ever hear. A fine musical statement from an emerging talent. 

~ Greg Turner https://www.allmusic.com/album/newcomer-mw0000413639

Personnel:   George Colligan - piano; Ingrid Jensen - trumpet, flugelhorn; Mark Turner - tenor saxophone; Dwayne Burno - bass; Billy Drummond - drums

The Newcomer

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Jessie Gordon, Mark Turner - Best Friends

Styles: Vocal And Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 47:41
Size: 111,4 MB
Art: Front

(3:52) 1. If It Hadn't Been for Love
(2:40) 2. Torch and Stone
(2:59) 3. Dream a Little Dream of Me
(2:18) 4. Dinah
(4:12) 5. Slow Down
(3:14) 6. Good Lovin'
(4:28) 7. Like I'm Gonna Lose You
(4:57) 8. Stone Cold
(3:54) 9. Jolene
(4:30) 10. Leaving No Trace
(5:23) 11. Billie Jean
(2:06) 12. Shoodle Oop Boop
(3:01) 13. Bang Bang

Feeling bored, tired or lonely? Of course you are, it’s 2020. But don’t fret your socials, the real news is there’s sweet wholesome jazz at The Ellington to liven your soul and take you back to when eye contact was a thing. After a successful 2019 Fringe season and European tour, local legends Jessie Gordon and Mark Turner have returned with Best Friends (Again), an ode-in-jazz to the rewards and vagaries of terminal friendship. The premise of the show is 30 songs from the duo’s repertoire. Audience members are invited to yell out a number or random request, which Gordon and Turner perform from their set list or simply shoot from the hip.

The pair’s flair for spontaneity means anything could happen.“I thought you were doing that to irritate me,” Gordon joked when Turner improv’d an intro that sounded dangerously close to a blacklisted Dolly Parton number. Only a few decades of camaraderie can produce that kind of mirth.In a world where adult friendship is hard to come by and if it does there’s a good chance your friend is a bot, there’s something heartening about watching two lifelong buddies make music and lightly torment one another IRL (“in real life”).

“Anyone who’s married will understand this,” Gordon winked to the crowd.The mix of clever originals, old favourites, hilarious medleys and dirty jazz tunes transported us through years of lives well-lived (and by no means over). It was like catching up with an old friend about all the breakups, travel mishaps and moments of reckless abandon you’ve shared.Turner’s exuberant finger-picking and Gordon’s rich vocals turned each song into a fun factory. There was a whole lotta toe-tapping, ad-libbing and laughing.

The magic was that the audience wasn’t just looking on, we were welcomed into the fold like long-lost siblings. At one point Gordon and Turner conducted us in the chorus of a 60s classic. There’s nothing like singing with strangers to reconnect you with your fellow human.These besties have shaped one another both as musicians and as people, like any long relationship does. The synergy of creative minds is always beautiful, but its evolution over many years results in a type of chemistry that’s somehow curative. I went into the show weary, I came out refreshed – and you will too.Jessie “Hardest Working Woman at Fringe” Gordon is performing in more than 50 Fringe shows this season, including Queer Jazz and Jessie Gordon is Out of the Loop. You can also catch Mark Turner’s guitar prowess and smooth vocals at multiple Fringe shows this year. ~ Carmen Reilly https://www.outinperth.com/review-jessie-gordon-and-mark-turner-are-best-friends-again/

Best Friends

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Tom Harrell - Infinity

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 65:57
Size: 151,8 MB
Art: Front

(6:38) 1. The Fast
(9:40) 2. Dublin
(7:30) 3. Hope
(6:56) 4. Coronation
(6:03) 5. Folk Song
(5:40) 6. Blue
(7:18) 7. Ground
(8:25) 8. The Isle
(1:41) 9. Duet
(6:01) 10. Taurus

A powerful spirituality illuminates Tom Harrell’s work, but that doesn’t mean that there’s anything pretentious or dogmatic going on. An irrepressible sense of play also abounds; trumpeter/flugelhornist Harrell sounds both delighted by his musical quest and enraptured by what he discovers. “The Fast,” this set’s opener, might easily have been titled “The Feast” it’s a veritable smorgasbord of inspiration, propelled by a surging drive reminiscent of Africa/Brass-era Coltrane. (Johnathan Blake’s drumming, reminiscent of Elvin Jones, accentuates that feel.) Harrell’s solo work summons quickness, precision, and focus along with deep melodicism and tonal surety; saxophonist Mark Turner and guitarist Charles Altura, even when they ramp down the velocity, are no less rigorous in their imaginative flow, and their timbre is likewise sure yet flexible and expressive.

Myriad moods and references enrich this set, from the Celtic tinge of “Dublin” and “The Isle” through the meld of stateliness and improvisational exuberance in “Coronation” to the dexterous postbop intensity of such offerings as “Blue” and “Ground.” “Taurus,” the concluding number, seems to both encapsulate and summarize the gifts Harrell shares with us here, as his muted trumpet skips with precision, dexterity, and brio, his solos so logically constructed that one could almost believe he’s able to fully imagine each note, each run, each statement in its entirety before playing it. ~ David Whiteis https://jazztimes.com/reviews/albums/tom-harrell-infinity-highnote/

Personnel: Trumpet, Flugelhorn – Tom Harrell; Tenor Saxophone – Mark Turner ; Bass – Ben Street; Drums – Johnathan Blake; Guitar, Acoustic Guitar – Charles Altura

Infinity

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Craig Brann - Mark My Words

Styles: Guitar Jazz 
Year: 2014
File: MP3@320K/s
Time: 68:02
Size: 156,7 MB
Art: Front

( 5:34)  1. Hindsight
( 5:31)  2. The Late Pope
( 7:32)  3. B(ro) Blues
( 8:46)  4. Astral
( 8:01)  5. Still
( 7:35)  6. Turner-Round
( 5:11)  7. Providence
(12:46)  8. What, Though?
( 7:01)  9. Mark My Words

Craig Brann (born April 3, 1978 in Whitefield , Maine is an American jazz musician ( guitar , composition ) of modern jazz . Brann moved from his hometown Windsor in rural Maine to New York City in 1996, where he has been active in the jazz scene there ever since. Under his own name, he presented several albums at SteepleChase ; his debut album Advent (ure) was recorded in mid-2011 with Nicholas Kozak (alto saxophone), Gregory Tardy (tenor and soprano), Joel Weiskopf (piano), Nicholas Morrison (Bass) and Jaimeo Brown (drums). Tenor saxophonist Mark Turner contributed to his publication Mark My Words ; A Conversation Between Brothers , Brann's third album, was created in a trio with bassist Morrison and drummer Matt Wilson. In 2017 he recorded the album Lineage in a quintet line-up . a. with trumpeter John Raymond. He is currently (2019) leading a quintet that includes Freddie Hendrix (trumpet), Ethan Herr (piano), Nick Morrison (bass) and Sanah Kadoura (drums). https://de.wikipedia.org/wiki/Craig_Brann

Personnel: Craig  Brann - guitar; Mark Turner - saxophone; Gregory Tardy - tenor sax, bass clarinet; Nicholas Kozak - alto sax; Nick Morrison -  bass; Rudy Royston -  drums

Mark My Words

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Mark Turner - In This World

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 60:26
Size: 139,7 MB
Art: Front

(7:33)  1. Mesa
(7:18)  2. Lennie Groove
(8:02)  3. You Know I Care
(6:48)  4. The Long Road
(6:45)  5. Barcelona
(7:56)  6. In This World
(5:02)  7. Days of Wine and Roses
(4:45)  8. Bo Brussels
(6:13)  9. She Said, She Said

A horde of promising young sax players has emerged in the 1990s, but only a few players have begun to find their voices. Mark Turner is one young saxman whose Muse has kept pace with his talent. The 33-year-old tenor saxophonist leads a band of clever young musicians on this thoughtful release, his second for Warner Brothers. Turner has developed a unique style inspired by John Coltrane's modal flights and Warne Marsh's unpredictable chordal experiments. This time Turner delivers six originals and three covers, and each track is energized by the incredibly powerful presence of Brad Mehldau on piano. In This World offers complicated music, a point that's reinforced by Mehdlau's pedantic liner notes. Take the pianist's description of the opening track, entitled "Mesa:" "Opting for mediant relationships instead of dominant-tonic, and casting a mixolydian blur on the dominant seventh chord with the added fourth, he (Turner) conjures a world of half-lights and shadows, filled with achy, suffused longing." Translation: "Mesa" is an ethereal piece that evokes a desert. Complex as these songs are, there is also something inherently tranquil about them. Unlike the majority of young reed players, Turner is not so intent on dazzling us with technique. He's smart enough to be subtle, and his vision takes in the total ensemble. Most of his solos sound like conversations rather than monologues, and most are played at the high end of the tenor sax register. Like Coltrane, Turner started out on alto before he switched to tenor. The young saxman has a very warm tone and an almost spiritual feel for his instrument, qualities that have earned him great respect among his peers. It's telling that Joshua Redman played on his debut ( Mark Turner ) released earlier this year, and that the great James Moody teamed with him on the excellent Warner Jams, Volume Two in 1997. 

Now he's landed Mehldau, the hottest young pianist in jazz. Perhaps owing to the time the two spent together in the TanaReid band, the rapport between Mehldau and Turner seems almost telepathic. They snake their way through this Trane-like terrain with inspired synergy. Dexterous support is provided by Larry Grenadier on bass and New Orleans native Brian Blade on drums. The latter is an intense musician who contributes ambience as well as rhythms. Drummer Jorge Rossy also plays on two cuts, while inventive guitarist Kurt Rosenwinkel appears on three. Besides "Mesa," highlights among the nine tracks include "You Know I Care," a beautiful ballad written by Duke Pearson; "Days of Wine and Roses," which is given a fast-paced treatment; "The Long Road," a multi-hued piece and one of three cuts that feature Mehldau on electric piano; and "Bo Brussels," a wild free-form improvisation. "Lennie Groove" is derived from Lennie Tristano's "Lennie's Pennies," and it showcases some incredibly complex interplay between Turner and Mehldau and intriguing solos by each. My favorite track is "Barcelona," a Turner original that swings in noble fashion. The title track includes a gorgeous serpentine duet between Turner and Rosenwinkel. A cover of the Beatles' "He Said, She Said" even has a Ringo-like back beat. Mark Turner stands with James Carter, Joshua Redman and Chris Potter as one of the most talented  and focused  post-bop saxophonists to emerge in the 1990s. While casual jazz fans might find In This World a difficult listen, anybody who's into Coltrane, Tristano, or Marsh should really dig it. ~ Ed Kopp https://www.allaboutjazz.com/in-this-world-mark-turner-warner-bros-review-by-ed-kopp.php

Personnel:  Mark Turner – tenor saxophone; Brad Mehldau – piano, electric piano; Kurt Rosenwinkel – guitar; Larry Grenadier – bass; Brian Blade – drums; Jorge Rossy – drums

In This World

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Aaron Goldberg - Turning Point

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 54:47
Size: 126,4 MB
Art: Front

(6:01)  1. Fantasy in D
(7:37)  2. Turning Point
(6:23)  3. Turkish Moonrise
(6:13)  4. Jackson's Actions
(7:39)  5. The Shadow of Your Smile
(6:12)  6. Con Alma
(6:14)  7. Head Trip
(8:24)  8. Mom's Tune

A beautifully recorded session that really percolates. This is essentially a quartet date (Goldberg, Turner, Rogers, Harland) with Josh Redman sitting in for Turner on “The Shadow of Your Smile,” Cook adding wordless vocals on “Fantasy in D” and “Mom’s Tune,” and Kalé making it a quintet on “Jackson’s Actions.” There’s one trio track, Dizzy Gillespie’s luminous “Con Alma,” and Goldberg moves to Fender Rhodes on “Jackson’s Actions” and “Mom’s Tune.” Goldberg, a protégé of Betty Carter who turns 25 this month, plays with remarkable maturity and insight for one so relatively young. For comparison’s sake only, he reminds me of Benny Green, whereas Turner brings to mind Joe Henderson. One has the feeling when listening to Goldberg that while the building blocks are firmly in place, he’s flying by the seat of his pants, and it’s that sense of spontaneity and surprise which frames the core of Jazz, after all  that makes what he has to say so consistently absorbing. He’s a capable writer too, and that’s a good thing, as five of the selections on Turning Point are his including the lovely ballad “Turkish Moonrise,” the quirky “Head Trip” and easygoing “Mom’s Tune.” Johnny Mandel wrote “Shadow of Your Smile,” Cedar Walton the picturesque “Fantasy in D.” Rogers and Harland were new names to me, but they’re a solid yet unassuming duo, and based on this performance we should be hearing much more from them. Redman’s name, on the other hand, is well known in Jazz circles, his reputation is widening, and it says something for Goldberg’s talent that he’s now a member of Redman’s working quartet. But a more convincing snapshot of that blossoming talent is embodied within this album, which marks an impressive debut for an up and coming young Jazz artist. ~ Jack Bowers https://www.allaboutjazz.com/turning-point-aaron-goldberg-j-curve-records-review-by-jack-bowers.php

Personnel: Aaron Goldberg: piano, Fender Rhodes electric piano (4, 8); Mark Turner: tenor saxophone; Joshua Redman: tenor saxophone (7); Reuben Rogers: acoustic bass; Eric Harland: drums; Carla Cook: vocals (1, 8); Karsh Kale: tablas (4).

Turning Point

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Jorge Rossy - Stay Here

Styles: Vibraphone Jazz
Year: 2016
File: MP3@320K/s
Time: 51:35
Size: 118,3 MB
Art: Front

(5:49)  1. Who Knows About Tomorrow
(4:32)  2. Portrait
(4:05)  3. Artesano
(5:16)  4. Blessed
(2:00)  5. Mark's Mode
(5:48)  6. The Newcomer
(6:19)  7. W Waltz
(4:23)  8. Pauletta
(7:04)  9. Mmmyeah
(6:15) 10. Stay Here

Jorge Rossy’s work as a drummer has been so celebrated that casual listeners may be unaware of his chops as a multi-instrumentalist. His repertoire of skills includes trumpet and piano, and Stay There further extends his range to vibraphone and marimba. He’s joined for this 10-track excursion by a sterling band that has previously toured as the Jorge Rossy Vibes Quintet: tenor saxophonist Mark Turner, guitarist Peter Bernstein, bassist Doug Weiss and drummer Al Foster. Rossy’s approach to the mallets is as clean and melodically engaged as his drumming. He tackles his solos from a shade behind the beat, giving his lines the subtlest flavoring of tension and drama. The vibraphonist is also the composer of seven of this album’s tracks, his tunes providing his musicians plenty of airy, open ground on which to interact and assert themselves. “Portrait” proceeds from Bernstein’s burnished intro to reverb-heavy Rossy atmospherics and wailing phrases from Turner. Foster guides the malleable dynamics of “Who Knows About Tomorrow” with equal parts lightness of touch and rhythmic force. On “MMMyeah,” the drummer’s tinging cymbals mesh with Weiss’ firm-handed flow to craft a steady-rolling undercurrent for sharp-edged solos from Bernstein and Rossy. Turner’s gift for emotional clarity is spotlighted on the understatedly mysterious “Mark’s Mode,” and the title track’s smooth, shuffling rhythm sets up a Rossy solo that is simultaneously his most straightforward and expressive playing of the album. Guillermo Klein’s “ArteSano” offers chiming marimba chords, African-inflected support from Foster and a bracing solo by Weiss. 

“The Newcomer,” composed by Rossy’s sister Mercedes, is a pensive ballad coaxing gently felt statements from Weiss, Bernstein and an especially warm-toned Turner. Foster contributes the breezy “Pauletta,” where Rossy adds glistening accents and Bernstein takes a quietly cheerful solo. The tune’s effect epitomizes the entire album: easily enjoyable music, unimpeachably well played. ~ Matt R.Lohr https://jazztimes.com/reviews/albums/jorge-rossy-stay/
 

Personnel:  Jorge Rossy - vibes, marimba;  Mark Turner- tenor saxophone;  Peter Bernstein - guitar;  Doug Weiss - bass, Al Foster - drums.

Stay Here

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Mark Turner & Ethan Iverson - Temporary Kings

Styles: Saxophone And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 53:49
Size: 125,8 MB
Art: Front

(5:00)  1. Lugano
(5:44)  2. Temporary Kings
(5:55)  3. Turner's Chamber Of Unlikely Delights
(6:00)  4. Dixie's Dilemma
(4:44)  5. Yesterday's Bouquet
(6:49)  6. Unclaimed Freight
(7:15)  7. Myron's World
(4:24)  8. Third Familiar
(7:54)  9. Seven Points

Pianist Ethan Iverson and tenor saxophonist Mark Turner have a bond going back to the New York clubs of the ’90s, which incubated the current generation of jazz masters. They went on to major success, both individually and as members of the venerated Billy Hart Quartet. An Iverson-Turner duo project had long been in the works, and the lustrous sound couldn’t be more ideal for music of such depth and intimacy. 

The six Iverson pieces, including the solo piano meditation “Yesterday’s Bouquet,” are full of forbidding harmony, often approaching contemporary chamber music (true of Turner’s closing “Seven Points” as well). But the pulse of jazz is vividly present in Iverson’s abstracted blues on “Unclaimed Freight”; in “Dixie’s Dilemma” by the late Warne Marsh, a key Turner influence; and in Turner’s workhorse “Myron’s World,” honed here to its essence. ~ Editors' Notes https://itunes.apple.com/us/album/temporary-kings/1416139368

Personnel:  Mark Turner - Saxophone;  Ethan Iverson - Piano.

Temporary Kings

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Wallace Roney Sextet - Kind Of Blue: Copenhagen Jazz Festival

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 85:14
Size: 196,4 MB
Art: Front

(17:14)  1. So What
(12:57)  2. Freddie Freeloader
( 5:18)  3. Blue In Green
(14:14)  4. All Blues
(11:57)  5. Flamenco Sketches
( 6:04)  6. Milestones
(10:42)  7. Ah-Leu-Cha
( 6:44)  8. The Theme

Trumpeter Wallace Roney is a forward-thinking, post-bop musician with a healthy respect for the jazz tradition. Blessed with a warm yet plaintive trumpet tone and a lithe improvisational style, Roney's distinctive playing bears the influence of such legendary predecessors as Miles Davis, Clifford Brown, and Woody Shaw. While many of his albums display his talent for swinging and harmonically advanced acoustic jazz, others reveal his love of genre-bending, electrified funk, hip-hop, and soul. Born in Philadelphia in 1960, Roney grew up alongside his younger brother, saxophonist Antoine Roney, and first displayed an interest in playing the trumpet around age four. As an adolescent, he enrolled in Philadelphia's Settlement School of Music where he studied trumpet privately with Sigmund Hering of the Philadelphia Orchestra. From there, he attended the Duke Ellington School of Music in Washington, D.C., where he gained further tutelage under Langston Fitzgerald of the Baltimore Symphony Orchestra. At the same time that Roney was receiving formal music training, his father was encouraging him to transcribe jazz solos of artists like Clifford Brown, Dizzy Gillespie, and others. Consequently, by his teens, Roney was an accomplished performer appearing regularly with both classical chamber groups and jazz ensembles. During this time, he took lessons with several trumpet luminaries including Gillespie, Clark Terry, and Woody Shaw. He also had the opportunity to play with pianist Cedar Walton's group. After high school, Roney attended both Berklee School of Music in Boston and Howard University before relocating to New York City in the early '80s. Although he had already played with such luminaries as drummer Art Blakey's Jazz Messengers, replacing Wynton Marsalis, who was touring with Herbie Hancock's V.S.O.P. Quartet in 1981, Roney's initial time in New York was a struggle that also found him taking jobs in Latin dance and other kinds of bands to make ends meet. His break came in 1985 when he toured with Miles Davis alum/drummer Tony Williams, appearing on two Williams' albums Foreign Intrigue in 1985 and Civilization in 1986. Also around this time, he returned to Blakey's Jazz Messengers, this time replacing trumpeter Terence Blanchard. These esteemed gigs helped launch Roney into the upper echelons of the jazz scene. As a solo artist, Roney made his debut in 1987 with the album Verses on Muse, featuring drummer Williams, saxophonist Gary Thomas, pianist Mulgrew Miller, and bassist Charnett Moffett. Several more Muse albums followed, all of them sophisticated showcases for Roney's adventurous, post-bop and modal-influenced style. While Roney had long admired Miles Davis, an admitted influence who had mentored him on and off since first hearing him play at Davis' Carnegie Hall birthday gala in 1983, it was during Davis' famed 1991 tribute concert to Gil Evans at Montreux (later released as Miles & Quincy Live at Montreux) that he cemented his image as the heir apparent to Davis' legacy. Invited by Quincy Jones to participate in the concert, Roney sat next to Davis, trading solos on various Evans arrangements culled from such classic Davis releases as Birth of the Cool, Miles Ahead, and Sketches of Spain. Tragically, Davis, who was gravely ill at the time, died roughly a month after the Montreux concerts.

Following his high-profile show with Davis, Roney had established himself as a rising jazz star. He built upon this renown, signing a major-label deal with Warner Bros. and releasing several well-received albums with his brother, saxophonist Antoine Roney, and wife, pianist Geri Allen, including 1993's Misterios, 1995's Wallace Roney Quintet, and 1996's Village. Conversely, during this period Roney appeared on several of Allen's albums including 1997's Eyes in the Back of Your Head and 1998's The Gathering. In 2000, Roney took a creative turn toward funk, hip-hop, and experimental post-bop with the album No Room for Argument on Concord. It was a direction he stuck with through several more albums for Highnote, including 2004's Prototype and 2005's Mystikal. Roney never fully retreated from straight-ahead jazz, though, and generally incorporated a variety of jazz styles on his albums. This varied approach is represented on such releases as 2007's Jazz, 2010's If Only for One Night, and 2012's Home. In 2013, Roney delivered Understanding, his sixth album for Highnote. Also in 2013, he premiered his live version of saxophonist Wayne Shorter's "Universe," a long-form orchestral composition originally written for the Miles Davis' quintet in the late '60s. Abandoned for decades, "Universe" was eventually given to Roney, who spent much of the next several years touring the piece, which included playing an NPR broadcast performance at the 2014 Detroit Jazz Festival. In 2015, Roney appeared as a member of the ensemble Powerhouse on the album In an Ambient Way, which also included saxophonist/producer Bob Belden, drummer Lenny White, keyboardist Kevin Hays, guitarist Oz Noy, and bassist Daryl Johns. A reworking of Miles Davis' 1969 recording In a Silent Way, In an Ambient Way was the brainchild of Belden, who died a month before its release. After Belden's passing, Roney took time off from his "Universe" activities to tour with Powerhouse. ~ Matt Collar https://www.allmusic.com/artist/wallace-roney-mn0000813629/biography

Personnel:  Wallace Roney-trumpet;  Mark Turner-tenor sax;  Vincent Herring-alto sax;  Benny Green-piano;  Buster Williams-bass;  Jimmy Cobb-drums

Kind Of Blue: Copenhagen Jazz Festival

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Rufus Reid & Akira Tana - Looking Forward

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 58:11
Size: 133,5 MB
Art: Front

(5:21)  1. Billy
(6:41)  2. Gold Minor
(5:32)  3. The Duke
(8:33)  4. Skyline
(7:03)  5. Falling in Love
(5:32)  6. Bell
(2:51)  7. The Third Eye
(5:32)  8. Reminiscing
(5:48)  9. Love Dreams
(5:14) 10. Looking Forward

A prolific bassist who's seemingly always in the recording studio, Rufus Reid's name appears on countless hard bop, bebop, swing, and even some pop sessions. His restrained yet emphatic and pungent tone, time, harmonic sensibility, and discernible, if understated, swing are welcome on any session. Trumpet was Reid's first love, but he switched to bass while in the Air Force. He played with Buddy Montgomery in Sacramento, CA, then studied music in Seattle and Chicago in the late '60s and early '70s. Reid worked in Chicago with Sonny Stitt, James Moody, Milt Jackson, Curtis Fuller, and Dizzy Gillespie, and recorded with Kenny Dorham, Dexter Gordon, Lee Konitz, and Howard McGhee in 1970. He toured internationally several times with the Bobby Hutcherson-Harold Land quintet, Freddie Hubbard, Nancy Wilson, Eddie Harris, and Gordon through the '70s. Reid moved to New York in 1976, playing and recording with a quartet co-led by Thad Jones and Mel Lewis, and taught at William Patterson College in Wayne, NJ, starting in 1979. He recorded with Konitz, Ricky Ford, Jack DeJohnette's Special Edition with Kenny Burrell, with a quintet co-led by Frank Wess and Art Farmer, and in duos with Kenny Burrell and Harold Danko in the '80s. Reid also did sessions with Art Farmer and Jimmy Heath. He has co-led a group with drummer Akira Tana since the late '80s that is called TanaReid. As a leader, Rufus Reid has cut sets for Theresa, Sunnyside, and Concord. ~ Ron Wynn https://www.allmusic.com/artist/rufus-reid-mn0000358813/biography

Born 14 March 1952, San Jose, California, USA. A self-taught drummer, Tana played semi-professionally while still at college. He attended Harvard University where he gained a degree in East Asian Studies/Sociology. He then studied at the New England Conservatory of Music, also taking private tuition from percussionists with the Boston Symphony and Boston Pops Orchestras and from jazz drummer Alan Dawson. During his studies he had the opportunity of working with Helen Humes, Milt Jackson, Sonny Rollins, George Russell, Sonny Stitt and other leading jazz musicians. He also played with the Boston Symphony Orchestra and several of the classical music ensembles at the New England Conservatory. In the early 80s he continued to accompany major artists such as Al Cohn, Art Farmer, Benny Golson, Jim Hall, Jimmy Rowles, Zoot Sims and Cedar Walton. He also performed with artists outside the jazz world, including Charles Aznavour and Lena Horne. Tana recorded extensively during these years and in addition to albums with some of the foregoing also appeared with Ran Blake, Chris Connor, Carl Fontana, Jimmy Heath, Tete Montoliu, Spike Robinson, Warne Marsh and many others.

In the early 90s Tana worked with James Moody, Dizzy Gillespie, Frank Wess, Ray Bryant and J.J. Johnson. With Rufus Reid he formed the band TanaReid and, with Reid and pianist Kei Akagi, the Asian American Jazz Trio. A technically accomplished drummer, Tana’s wide range is hinted at by the musicians with whom he has worked. Comfortably at home accompanying singers and instrumental ballads, Tana is equally in his element playing hard bop. 

In the bands he co-leads with Reid he generates an excitingly propulsive rhythmic drive. In addition to playing, Tana has also produced and co-produced several albums including those by TanaReid, the Asian American Jazz trio and Project G-7. He regularly conducts workshops and clinics at colleges and universities, including Berklee College Of Music, and is an adjunct professor at two colleges. https://www.allmusic.com/artist/akira-tana-mn0000610187/biography             

Personnel:  Rufus Reid - Bass;  Akira Tana - Drums;  Mark Turner - Tenor Saxophone;  John Stetch - Piano;  Tom Harrell - Trumpet;  Craig Bailey - Alto Saxophone.

Looking Forward

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David Binney - Barefooted Town

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 55:28
Size: 127,6 MB
Art: Front

( 9:42)  1. Dignity
( 7:25)  2. Seven Sixty
(10:51)  3. The Edge of Seasons
( 7:42)  4. Barefooted Town
( 7:35)  5. Secret Miracle
( 5:22)  6. A Night Every Day
( 6:48)  7. Once, when she was here

Politics isn't the only thing that increasingly demands clear vision and steadfast commitment (even if it isn't getting it). In the jazz world where the changing landscape makes getting heard one challenge, acceptance by a broader culture that views "jazz" as a dirty word another it takes artists with unshakable resolve to stay the course. David Binney has not only honed an instantly recognizable compositional language without the trappings of predictability, he's become a mentor for younger artists, mixing and matching from a gradually increasing cadre of players. Binney continues alternating between releases on his own Mythology label where the saxophonist has the luxury of time to fashion ambitious work like Graylen Epicenter (2011) and more reductionist sets for The Netherlands' Criss Cross label, where just one day to record means the altoist has to make, if not concessions, then certainly compromises. On the basis of Barefooted Town, however, whatever Binney sacrifices to get everything done in eight hours in no way dilutes the strength of his message. It's no lighter on the compositional front than the broader palette of his Mythology recordings are in retaining the kind of open space necessary to maximize the people with whom Binney regularly collaborates.

Binney brings back a number of players with whom he's worked increasingly in recent years, in particular Dan Weiss, who's been on all of Binney's Criss records since 2005's Bastion of Sanity, and for good reason: there seems little this drummer can't do, effortlessly combining cymbal-driven delicacy with more powerful twists and turns on the episodic "The Edge of Seasons." Initially waxing lyric, the 11-minute piece shifts, just as quickly, to an almost funky thematic section of layered meters before opening up to an extended solo from Binney newcomer David Virelles, suggesting that this pianist largely associated with Cuban music, but clearly possessing a much broader reach combines lithe linear dexterity with choppy chords informed by his roots, but taken much farther than past collaborators ever made possible. The three-horn frontline combines, on the inevitably building title track, long-toned melodic baton-passing with unison and occasionally expanding harmony as a foundation for Weiss' equally patient marvel of a constructed solo, with Mark Turner's subsequent spot making this tenor saxophonist's relatively below-the-radar position all the more curious. More than just a distinctive writer, Binney proves similar virtuosic mettle on "Secret Miracle," sharing the solo space with trumpeter Ambrose Akinmusire on another piece that, despite its mathematical idiosyncrasies, flows naturally; its melody so singable that Binney adds his voice to the mix, as he does at the end of the title track. The horns rarely stray from playing unison doing otherwise might dilute the intrinsic strength of Binney's constructed themes with the exception of "A Night Every Day," where overlapping lines create shifting harmonies, and the intertwining duality of the powerful opener, "Dignity." Binney may create music of no small compositional complexity, but at its core is a lyricism so strong that, amidst impossible to ignore ensemble and solo performances, Barefooted Town's greatest strength may well be in its unforgettable melodies, which remain unforgettable, long after it's over. ~ John Kelman https://www.allaboutjazz.com/barefooted-town-david-binney-criss-cross-review-by-john-kelman.php

Personnel: David Binney: alto saxophone, voice; Ambrose Akinmusire: trumpet; Mark Turner: tenor saxophone; David Virelles; piano; Eivind Opsvik: bass; Dan Weiss: drums.

Barefooted Town

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Matthias Lupri - Transition Sonic

Styles: Vibraphone Jazz
Year: 2004
File: MP3@320K/s
Time: 43:40
Size: 101,5 MB
Art: Front

(2:23)  1. Sonic Prelude
(7:58)  2. Sonic
(6:43)  3. Middle Zone
(6:21)  4. The Day After
(5:17)  5. Prairie
(1:21)  6. Intro
(7:15)  7. Earlier Years
(6:20)  8. Sonic Reprise

Vibraphonist Matthias Lupri has always captured the essence of straight-ahead jazz at its best. He provides a groove over which his bands improvise in the classic tradition. Echoes of Gary Burton, Bobby Hutcherson, and Milt Jackson abound. From this modern jazz historical foundation, however, he's always felt free to explore. With his latest release, Lupri retains the traditional bebop spirit that has given us immeasurable pleasure for more than half a century, but brings it all to us from the perspective of original compositions. From eerie and dramatic romps to free and playful cavorts in the park, his suite-like images allow the music to grow. The mainstream has indeed become modern, as the vibraphonist and his stellar ensemble find new ways to express their ideas. Electronic trumpet echoes and wide guitar reverberations fit in nicely between pages and pages of familiar-sounding soundscapes. The added features are used sparingly, and serve to punctuate the ensemble's original thematic material.  The vibraphone's timbre blends well with just about any instrumental combination. Here, Mark Turner, Nate Radley and Cuong Vu ensure that Lupri's instrumental voice fits the ensemble sound like a hand in a glove. Their subdued tones all blend together as one emotional vote for quality in the sounds that we experience every day. Vu's mellow trumpet, Turner's robust saxophone, and Radley's fluid guitar fit well with Lupri's rain shower of tonal colorations. Together they've created a superb sound and a highly recommended album. ~ Jim Santella https://www.allaboutjazz.com/transition-sonic-matthias-lupri-summit-records-review-by-jim-santella.php

Personnel: Matthias Lupri- vibraphone; Mark Turner- tenor saxophone, soprano saxophone; Cuong Vu- trumpet; Nate Radley- guitar; Thomson Kneeland- acoustic bass; Jordan Perlson- drums.

Transition Sonic

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Kurt Rosenwinkel - Caipi

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 61:04
Size: 141,0 MB
Art: Front

(3:56)  1. Caipi
(4:29)  2. Kama
(6:22)  3. Casio Vanguard
(5:42)  4. Summer Song
(4:46)  5. Chromatic B
(5:32)  6. Hold On
(6:17)  7. Ezra
(5:03)  8. Little Dream
(6:49)  9. Casio Escher
(5:46) 10. Interscape
(6:16) 11. Little B

Ten years in the making and with master guitarist Kurt Rosenwinkel predominantly playing all the instruments (aside from additional contributions from notable guests such as Mark Turner on tenor saxophone and Eric Clapton on "Little Dream"), this is an intriguingly fine album of light, but not lightweight, tracks. Opening with a distinctly Brazilian feel on the title track, its successor, "Kama," is characterised by falsetto, slightly tremulous vocals and legato violin from Frederika Krier. Typically, the pop/rock element of the songs presented here, such as on "Chromatic B," are deceptively straightforward sounding but in truth they're anything but. Skilfully crafted, the tunes contain a wealth of ideas often interposed with complex time signatures and overlaid motifs, that are atypical of most pop music. There are bursts of scintillating Pat Metheny-like guitar on "Casio Vanguard" which elevate the Latin-tinged song to a new level. When singing tunes such as "Hold On," Rosenwinkel's voice shares with fellow guitar virtuoso Larry Coryell a similar fragility. Both guitarists are not the most dynamic of vocalists, but this is ameliorated by the emotionally-charged sincerity in their respective voices. 

So the vocals do actually work, and are often augmented by guest backing vocalists such as Amanda Brecker, Zola Mennenoh and Kyra Garey. In the guitar breaks of the closer "Little B," Rosenwinkel evinces some Allan Holdsworth-esque axe work but nonetheless retains his own inimitable identity throughout. Rosenwinkel has produced, almost single-handedly, a staggeringly good album of heart-warming, memorable tunes. Eric Clapton is quoted as saying "Kurt Rosenwinkel is a genius he really is." Slowhand's not wrong; he is indeed one seriously talented dude. ~ Roger Fabey https://www.allaboutjazz.com/caipi-kurt-rosenwinkel-razdaz-recordz-review-by-roger-farbey.php
 

Personnel: Kurt Rosenwinkel: guitar, bass, piano, drums, percussion, synthesizer, voice; Pedro Martins: voice, drums, keyboards, percussion; Frederika Krier: violin (2,5,10); Andi Haberl: drums (2); Antonio Loureiro: voice (3); Alex Kozmidi: baritone guitar (3); Kyra Garey: voice (4); Mark Turner: tenor saxophone; Eric Clapton: guitar (8); Zola Mennenoh: voice (10); Amanda Brecker: voice (7,8,9); Chris Komer: French horn (11).

Caipi

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Joshua Redman - Beyond

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 73:38
Size: 169,2 MB
Art: Front

( 7:34)  1. Courage (Asymmetric Aria)
( 5:50)  2. Belonging (Lopsided Lullaby)
( 4:27)  3. Neverend
( 9:06)  4. Leap Of Faith
( 9:05)  5. Balance
(11:00)  6. Twilight ... And Beyond
( 6:13)  7. Stoic Revolutions
( 6:22)  8. Suspended Emanations
( 7:05)  9. Last Rites Of Rock 'N' Roll
( 6:52) 10. A Life?

Joshua Redman debuts a new quartet on this formidable set of originals. Pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson quickly establish themselves as a killer unit on "Courage (Asymmetric Aria)" and "Belonging (Lopsided Lullaby)", two fast and busy odd-metered romps. Interestingly, Redman plays alto on the latter, as well as on the gripping "Stoic Revolutions." Goldberg's solos are sparkling throughout, especially on "Courage" and the medium-fast "Last Rites of Rock 'n' Roll." Fellow tenor man Mark Turner sits in for the lively "Leap of Faith." The remaining tracks range from the inspired balladry of "Neverend" to the ineffable hipness of "Suspended Emanations." Although it is probably Redman's finest album to date, Beyond still doesn't rise to the level of true greatness in the field of composition. It would be hard for even a genius to measure up to the industry hype that has surrounded Redman for nearly a decade. But this makes it even more essential that critics evaluate Redman's work just as they would that of any other brilliant and hard-working, yet far more obscure, figure on the scene. This is not to take anything away from Redman, but rather to keep matters in their proper perspective. We might see Redman's face on far more magazine covers, but is his writing better than, say, Reid Anderson's or Patrick Zimmerli's? Redman himself would likely be the first to say no.~ David Adler https://www.allaboutjazz.com/beyond-joshua-redman-warner-bros-review-by-david-adler.php

Personnel: Joshua Redman (soprano, alto & tenor saxophones); Mark Turner (tenor saxophone); Aaron Goldberg (piano); Reuben Rogers (bass); Gregory Hutchinson (drums).

Beyond

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Jason Palmer - Places

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 72:23
Size: 166,3 MB
Art: Front

( 9:48)  1. Urban Renewal (For High Point)
( 9:22)  2. Falling In (For Guimaraes)
( 8:49)  3. Berlin
(10:51)  4. Bern
( 9:01)  5. Rising Sign (For Paris)
( 2:10)  6. Silver (For Xalapa)
( 7:55)  7. American Deceptionalism Part I (For DC)
( 8:49)  8. Sprit Song (For Rozzy)
( 5:34)  9. American Deceptionalism Part II

Apart from Mark Turner, none of the musicians on this recording, including the leader, are known to me but I am more than happy to make their acquaintance through the medium of what is another fine release from Steeplechase Records. And what a superb record it is; one that will caress the discerning ear and repay hours of repeated listening being a refined post-modern extension of timeless hard-bop conventions that will stimulate the palate, jaded by too much exposure to so called `cutting edge` eclecticism. Palmer, if you don’t already know, is a top drawer trumpeter whose plangent clarion call is an elegant summation of much that has gone before but whose fervent chromaticism pushes at the boundaries of conventional expression, marking out new territory  without risking the listeners’ alienation. His middle register lyricism occasionally boils over into a higher register but without ever sounding strident or histrionic.

In this recording he has assembled a band of contemporaries, some of whom he first encountered at college and others during subsequent assignments, to perform a suite of pieces that take their inspiration from various cities he has visited during the course of his career. They aren’t strictly jazz impressions in the Brubeck sense of being musical tone poems but rather more personal visions that unite a place and time with the feelings they engender. Many open with extended cadenzas either for solo instrument or two part counterpoint before segueing into either a knotty hard –bop theme or a legato wistfulness reminiscent of `Birth of the Cool` introspection. Ensemble writing is carefully balanced with solo interpretatation and in this context the contribution made by Mark Turner is particularly valuable; his rigorous and sinuous variations recall the almost academic dedication of the Tristano alumni, Warne Marsh and Lee Konitz, but couched in expressive, personal and more contemporary terms All involved ensure music making of the highest quality: there is some superlative bass playing; guitar that moves between scintillating arpeggios and dense vamping and what drumming! Kendrick Scott’s cymbal work is pure sonic poetry almost stealing the show in the way he makes his entries behind the respective soloists, building and releasing tension, judiciously applying accents to gather and drive the forward momentum. If you are a true believer in the power of jazz to renew and build upon its deeply ingrained conventions in a way that doesn’t compromise its core values then this is a record you will what to hear and own. ~ Euan Dixon http://www.jazzviews.net/jason-palmer-sextet---places.html

Personnel: Jason Palmer (trumpet) Godwin Louis (alto sax) Mark Turner (tenor sax) Mike Moreno (guitar) Edward Perez (bass) Kendrick Scott (drums)

Places

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Jason Palmer - Here Today

Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 30:47
Size: 70,8 MB
Art: Front

(6:03)  1. Here Today, Gone Yesterday
(5:24)  2. Abu Abed
(2:59)  3. 3rd Shift
(4:20)  4. Takes Courage To Be Happy
(3:40)  5. Skylark/I Can't Help It
(4:26)  6. 3 Point Turn
(3:51)  7. Capricorn

Thank you all for supporting this project and this label! I’m excited to present this project of mostly original material with this NY based band (with all the members having musical ties to Boston/Cambridge). It’s indeed an all-star cast and I don’t think I could have picked a better group for the tunes that I selected for the session. It was one of the smoothest sessions that I’ve ever been a part of music wise, but at the same time, it was one that I was extremely nervous about because we didn’t rehearse and I was worried that everyone on the session would not have had time to check out the music ahead of time. As it turned out, they played the tunes like they wrote them themselves. Every song was recorded in two takes and in most cases we kept the first one. I’m really thankful for that. ~ Jason Palmer https://jasonpalmerjazz.wordpress.com/2011/09/14/here-today-liners-for-all-of-you-that-purchase-digitally/

Personnel:  Jason Palmer, trumpet;  Mark Turner, tenor saxophone;  Nir Felder, guitar;  Edward Perez, bass;  Kendrick Scott, drums

Here Today

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Mark Turner - Yam Yam

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 71:30
Size: 166,1 MB
Art: Front

( 9:00)  1. Tune Number One
( 7:17)  2. Cubism
(10:47)  3. Yam Yam I
( 6:10)  4. Moment's Notice
( 7:07)  5. Isolation
( 9:59)  6. Subtle Tragedy
( 7:49)  7. Zürich
( 5:58)  8. Blues
( 7:20)  9. Yam Yam II

This early quintet outing is a strong showcase for Mark Turner the composer. It's also an important chapter in the special relationship between Turner and guitarist Kurt Rosenwinkel. The two would later work mainly in piano-less settings, but here they are joined by pianist Brad Mehldau, who adds his advanced harmonic insight to the session. One could rightly bill the record as "Turner and Rosenwinkel with the Brad Mehldau Trio," as the rhythm section consists of bassist Larry Grenadier and drummer Jorge Rossy, Mehldau's longtime collaborators. The disc boasts five strong Turner originals, including "Zurich," which would resurface on 2001's Dharma Days. (This version features guest tenorists Seamus Blake and Terrence Dean.) Rosenwinkel weighs in with "Cubism," a similar version of which he included on 2000s The Enemies of Energy. The two remaining non-Turner pieces are Mehldau's hard-swinging "Subtle Tragedy" and a bright five/four rendition of John Coltrane's "Moment's Notice." Yam Yam reveals much about the evolution of all these players, and is therefore well worth the attention of serious fans. ~ David R.Adler http://www.allmusic.com/album/yam-yam-mw0000188498

Personnel : Mark Turner, Seamus Blake, Terence Dean (tenor saxophone);  Brad Mehldau (piano);  Kurt Rosenwinkel (guitar);  Larry Grenadier (bass);  Jorge Rossy (drums).

Yam Yam

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Mark Turner & Baptiste Trotignon - Dusk is a quiet place

Styles: Saxophone And Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 48:50
Size: 112,3 MB
Art: Front

(7:56)  1. Bolero
(8:14)  2. Left Hand of Darkness
(3:26)  3. Only One
(7:57)  4. Von Gott Will ich nicht lassen / Winter Solstice / Herliebster Jesu, Was Hast Du Verlochen
(6:44)  5. Wasteland
(9:13)  6. Sonnet for Stevie
(5:17)  7. O Do Borogodo

After 'Share' and 'Suite...' two Franco-American albums that pianist Baptiste Trotignon released a few years ago, 'Dusk is a quiet place' marks the reunion with New York saxophonist Mark Turner. 

This album was co-directed by two artists who blended their styles to offer dusky and dreamy music, mainly composed of ballads, except for a short final wild samba evoking Sao Paulo nights. ~ Editorial Reviews https://www.amazon.com/Dusk-Quiet-Place-Turner/dp/B00BJ6AKS6

Personnel: Mark Turner (tenor saxophone); Baptiste Trotignon (piano).

Dusk is a quiet place

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Mark Turner - The Music of Mercedes Rossy

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 70:56
Size: 162,7 MB
Art: Front

( 8:06)  1. Some Like to Love More Than Once
( 8:25)  2. Amidst a Yesteday's Presence
( 6:01)  3. Lost Ocean
( 7:16)  4. The Other Side of Time
( 8:10)  5. 1991
( 8:34)  6. Water Stones
( 2:46)  7. 6 d'Octubre
(10:02)  8. Gone But Not Forgotten
(11:31)  9. The Newcomer

Mark Turner is a post-bop tenor saxophonist most influenced by John Coltrane, but also notably Warne Marsh. Born November 10, 1965 in Ohio, Turner was raised in California and initially studied visual arts at Long Beach State, but decided instead to pursue music and transferred to Berklee. Turner moved to New York and worked with James Moody, Jimmy Smith, the TanaReid Quintet, Ryan Kisor, Jonny King, Leon Parker, and Joshua Redman. He recorded his first album as a leader, Yam Yam, in 1994; the follow-up, a self-titled effort, did not appear until 1998. 

In This World appeared later that same year, and in early 2000, he resurfaced with The Ballad Session. Cafe Oscurra appeared a year later. In 2004, the saxophonist teamed with bassist Larry Grenadier and drummer Jeff Ballard for the trio album Fly. Starting with 2012's All Our Reasons, Turner began a recording relationship with the storied European label ECM that resulted in several more albums, including 2012's Year of the Snake and 2014's piano-less quartet recording, Lathe of Heaven. ~ Steve Huey https://itunes.apple.com/us/artist/mark-turner/id723957#fullText

Personnel: Chris Cheek (tenor, soprano saxophone); Mark Turner (tenor saxophone); George Colligan (piano); Jordi Rossy (drums).

The Music of Mercedes Rossy

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