Steve Lehman Trio with Mark Turner - The Music of Anthony Braxton

February 24, 2025

Label: Pi Recordings

Personnel - Steve Lehman: alto saxophone; Mark Turner: tenor saxophone; Matt Brewer: bass; Damion Reid: drums.

For his 17th album as a leader, alto saxophonist and composer Steve Lehman joins forces with tenorist Mark Turner in the frontline of a dynamic quartet, propelled by a formidable rhythm section featuring bassist Matt Brewer and drummer Damion Reid. This album, a tribute to Lehman’s early mentor Anthony Braxton in celebration of his 80th birthday, features eight tracks—five by Braxton, two by Lehman, and one by Monk—recorded live at ETA in Los Angeles.

Braxton’s “34a” launches the album with a furious vibe. A feverish, frenetic riff takes center stage, driven by an assertive rhythmic thrust, with the two saxophonists delivering sharp, angular unisons. Turner demonstrates his versatility, equally at home in avant-garde settings as in post-bop, while Lehman showcases his signature fractal style with dazzling speed and intervallic acrobatics. “40b” begins with Brewer’s reflective yet elegantly dancing bass lines, before an infectious Latin groove emerges. The saxophonists improvise with vision and vigor, their interplay baked with motifs and bright ideas.

Other standout Braxton pieces include “23c”, where precision licks are crisply articulated by Lehman, Brewer, and Reid, with knotty, turn-on-a-dime shifts in the rhythm department, and “23b+23g”, where regimented marching steps evolve into a swinging foray. The horn players toss out absorbing free-bop melodies while the rhythm section continues to skitter, clatter, and zing beneath them. Turner is on fire here, Reid comes into view from behind the kit with stunning details and syncopation, and Lehman delivers a gusty speech with a remarkable flow of articulation and accentuation.

Lehman penned “L.A. Genes” and “Unbroken and Unspoken”, each revealing different facets of his compositional voice. The former is a vibrant conversation of shifting polytonal interactions, full of exciting tangents and personalized remarks. The latter embraces both lyricism and complexity, opting for a more fluid and rounded approach while still infused with intricate rhythmic nuances that create an energetic, swinging tension.
The album concludes with a thrilling rendition of Monk’s “Trinkle Tinkle”, which unfolds after an adventurous two-minute saxophone duologue, leading to trading eights with the drummer.

A rigorous conceptual thinker, Lehman dives into complex compositional forms, conducting his trio-plus-one unit to stardom. The music is infectious, fervent, and bouncy, and the enjoyment brimful of exciting places to discover.

Favorite Tracks:
01 - 34a ► 02 - L.A. Genes ► 03 - 40b ► 05 - 23c

Mark Turner - Return From the Stars

March 24, 2022

Label: ECM Records, 2022

Personnel - Mark Turner: tenor saxophone; Jason Palmer: trumpet; Joe Martin: bass; Jonathan Pinson: drums.

With Return From the Stars, the resourceful saxophonist Mark Turner returns to his own quartet, eight years after Lathe of Heaven (ECM, 2014). There were two alterations in the lineup, with the young trumpeter Jason Palmer replacing Avishai Cohen and the drummer Jonathan Pinson grabbing the chair that belonged to Marcus Gilmore. Rounding out the group is bassist Joe Martin, who remains as one of the rhythm section’s pillars.

Eschewing any type of conformism in his compositional strategy, the bandleader’s employment of a chord-less ensemble taps into his musical intentions. He named the album, and its magnificent opening track, after Stanislav Lem’s sci-fi novel of the same name, whose topics fall into social alienation and dystopia. The thematically strong title cut has saxophone and trumpet working in conjunction, and launches the improvisations with Martin, who never lets go of the groove. After him, working over blowing changes in triple meter, there is a scintillating dialogue between Turner and Palmer. The saxist, vibrant in tone, blows with an extraordinary sense of phrasing, while the trumpeter articulates notes with admirable precision.

A couple of cuts imply some discontentment with the current state of the world. One example is “It’s Not Alright With Me”, where inventive tenor diagonals cut across several choruses in full force. “Unacceptable” is another one, which, after being accented with inspired phrases in the head, shows horn-driven discipline during the 13-beat cycle (the same that gets the piece off the ground) that separates Turner’s combustible solo from the patiently built narrative of Palmer.

Following the intriguing Shorter-esque “Terminus”, which fluidly shifts between moods, texture and tempo, there’s the brightly shine of “Bridgetown”, a nearly anthemic Afro-Caribbean-flavored piece delivered with a pompous glory. “Nigeria II” is an uptempo bop-inflected workout that swings and dances with unhesitant, nimble steps, whereas “Waste Land” sounds like a chamber piece in which the ensemble interacts with a spacey kinship. The intensity swells underneath via Pinson’s chop-infused drumming, which is considerably mitigated during the sculptural “Lincoln Heights”, a temperate 3/4 consolidation of jazz and pop/rock. Rest assured that all eight pieces on this album reveal high levels of musicianship, maturity and chemistry.

Favorite Tracks:
02 - Terminus ► 05 - Nigeria II ► 07 - Unacceptable

Mark Turner / Ethan Iverson - Temporary Kings

August 30, 2018

Label: ECM, 2018

Personnel - Mark Turner: tenor saxophone; Ethan Iverson: piano.

Tenorist Mark Turner and pianist Ethan Iverson, two resplendent titans of the current jazz scene, join forces for an intimate outing. Temporary Kings aggregates nine compositions - six by Iverson, two by Turner and one by Warne Marsh - that, besides bristling with competence, allow for space, reflection, and expansion. Ten years after meeting for the first time in New York, the two distinguished players and members of the Billy Hart Quartet release their first duo album on the ECM label, opening with the introspective wistfulness of Iverson’s “Lugano”, whose melodic traits recall “Autumn in New York”. Turner’s ethereal contribution tints everything with a celestial blue, while Iverson, a marvelous accompanist, creates intriguing textures, contributing for the permeation of yellow sun rays through the scattered soft clouds. The title refers to the Swiss city where the album was recorded.

The title track offers great contrapuntal sections with folk-like melodies running on top of stunning chords colored with contrasting tonalities. Iverson’s initially spacious solitary incursion is transformed in patterns of pointillistic notes as soon as Turner starts to explore unanticipated melodic trajectories, which continue in a brisker way on the luminous “Turner’s Chamber of Unlikely Delights”. Composed by Iverson, this chamber piece doesn’t hide jazz, classical, and even pop influences, evoking at times the successful aesthetic of Marsh/Tristano. However, a bona fide tribute to these two musicians arrives with a strong swinging feel on Marsh’s “Dixie’s Dilemma”, a bop-derived study with the same harmonic progression of “All The Things You Are”, frank bluesy lines, and propelled by Iverson’s nimble bass conduction on the left side.

The game of timbres becomes particularly noticeable on the final section of “Unclaimed Freight”, a blues with a scent of third stream, whose theme blossoms through repetitive phrases expressed in unison.

Delivered with a cool, quiet precision, “Yesterday’s Bouquet” is a lyrical ballad that sounds more ambiguous than Strayhorn’s “Lush Life”, despite some similarities between them. Iverson digs it alone, finding rich sonic palettes within an interesting arrangement.

Turner’s “Myron’s World” kicks off with a radiating saxophone introduction that shines further with the emergence of the pianist’s intuitive steps. Here, the mood comes closer to the snug post-bop of Kenny Wheeler/John Taylor, in a mix of charm and complexity.

The 3/4 melancholy of “Seven Points” is another product of Turner’s mind, closing out the record with a dreamy ambiance, equally graceful and intriguing.

Temporary Kings is a guileless jazz session whose bi-directional moves converge and diverge with an astounding conviction.