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Jazz - Released September 7, 2018 | ECM

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS - 5 Sterne Fono Forum Jazz
Masterpiece alert! After working together in drummer Billy Hart’s quartet (All Our Reasons in 2012 and One Is The Other in 2014), Mark Turner and Ethan Iverson are collaborating in a duo for the first time, in a way reminiscent of the legendary tandem Warne Marsh/Lennie Tristano. Except that here, The Bad Plus’ saxophonist and former pianist almost turn their collaboration into a moment of chamber jazz. Their back-and-forths throughout this Temporary Kings dive deep in intimacy. Turner, who is undoubtedly one of his generation’s best tenors, blows small, often unexpected phrases in a most unique fashion − far from the Coltranian cannons. Iverson, in a spirit reminiscent of Paul Bley, makes his fingers whisper, delivering thrifty notes and chords. Together, they sometimes moor on the shores of Third Stream, Gunther Schuller’s movement which synthetized European classical music and jazz at the end of the fifties. But most importantly, Mark Turner and Ethan Iverson remain very natural in their improvisations. Even when they may seem a tad brainy. Moreover, they never let go of the thread of their narrations, each more beautiful than the last. © Marc Zisman/Qobuz
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Jazz - Released January 1, 2008 | Fresh Sound Records

Distinctions 4 étoiles Jazzman
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Jazz - Released May 10, 2011 | Rhino - Warner Records

The young tenor saxophonist's second effort as a leader is impressive, particularly because he had the guts to invite earlier tenor sax wunderkind Joshua Redman to join him on three tracks. Mark Turner's "Mr. Brown" is a pulsating blues vehicle for the two inspired reedsmen. Lennie Tristano's slippery bop anthem "327 East 22nd Street" is also an excellent showcase for their talent. The only dud is Ornette Coleman's ponderous, dissonant and overlong "Kathelin Gray," which bogs down in a hurry and almost grinds the session to a halt in spite of the best efforts of Turner and Redman. Fortunately, the magic reappears in the quartet selections, starting with the fast-paced bop of "Hey It's Me You're Talking To." Turner proves himself as a ballad master with his slow caressing of the classic "Autumn in New York." The strong rhythm section of pianist Edward Simon, bassist Christopher Thompson and drummer Brian Blade provides all that a newcomer could ask for during his first date leading a group. © Ken Dryden /TiVo
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Jazz - Released June 21, 2019 | Capri Records

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Pop - Released February 16, 2010 | Warner Jazz

Backed by a stellar band that features such fine players as Brian Blade on drums and Brad Mehldau on piano, this sax player is given a daunting set-up on In This World. Thankfully, the promise pays off with a host of fine originals and a couple of surprising covers. Perhaps the most commendable aspect of Mark Turner's talent is his combination of melodic adventure and rich phrasing. "Mesa," the album's opening track, meanders from a relaxed melodic path to a switch-back road of surprises. And the closing rendition of the Beatles classic "She Said, She Said" is a deceptively breezy journey into the unknown. A fine horn voice in good form. © Tim Sheridan /TiVo
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Pop - Released January 21, 2000 | Warner Jazz

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Jazz - Released October 27, 2009 | Rhino - Warner Records

For his fourth outing as a leader, Mark Turner puts together a set of ballad standards. His usual quintet is mostly still in place, with Kurt Rosenwinkel on guitar, Larry Grenadier on bass, and Brian Blade on drums, but Kevin Hays replacing Brad Mehldau on piano. The group picks some well-known popular songs, such as the Gershwins' "I Loves You Porgy," Hoagy Carmichael's "Skylark," and "All or Nothing at All," an early hit for Frank Sinatra and a tune once essayed by John Coltrane. "Some Other Time," the Leonard Bernstein song from On the Town, turns out to be a particularly felicitous choice for jazz improvisation. Also included are compositions from jazz composers, such as Wayne Shorter ("Nefertiti"), Herbie Hancock ("Alone and I"), Paul Desmond ("Late Lament"), and Carla Bley ("Jesus Maria"), and these performances point toward the saxophonist's major influences. He and his group hold their own, playing with assurance and feeling. Ballad Sessions doesn't break any new ground for Turner, but it demonstrates his grasp of jazz history and repertoire. © William Ruhlmann /TiVo
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Pop - Released May 8, 2001 | Warner Jazz

After devoting his fourth album as a leader (Ballad Session) to standards, Mark Turner comes up with nine originals for his fifth, Dharma Days. But as on Ballad Session, which included everything from George Gershwin to Carla Bley, the tenor saxophonist is intent upon displaying the breadth of his taste. If the leadoff track, "Iverson's Odyssey," sounds like a fairly typical post-bop exploration, "Myron's World," with its lengthy unaccompanied introduction, suggests mid-period John Coltrane, while the concluding track, "Seven Points," is oddly disquieting and distinctly experimental. As usual, Dharma Days is a virtual duo album with guitarist Kurt Rosenwinkel. The two musicians play together on their club dates, but each has a solo recording contract, Turner with Warner Bros. and Rosenwinkel with Verve, so they trade off nominal leadership of their group, depending on whose session it is. (The rhythm section here consists of bass player Reid Anderson and drummer Nasheet Waits.) But the heart of both musicians' music is their interplay, which depends on a contrast between Turner's long, relaxed lines and Rosenwinkel's fast, anxious fretwork. When they are soloing together, as on "Deserted Floor" here, there is a fascinating musical conversation going on. © William Ruhlmann /TiVo
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Jazz - Released September 7, 2018 | ECM

Booklet
Masterpiece alert! After working together in drummer Billy Hart’s quartet (All Our Reasons in 2012 and One Is The Other in 2014), Mark Turner and Ethan Iverson are collaborating in a duo for the first time, in a way reminiscent of the legendary tandem Warne Marsh/Lennie Tristano. Except that here, The Bad Plus’ saxophonist and former pianist almost turn their collaboration into a moment of chamber jazz. Their back-and-forths throughout this Temporary Kings dive deep in intimacy. Turner, who is undoubtedly one of his generation’s best tenors, blows small, often unexpected phrases in a most unique fashion − far from the Coltranian cannons. Iverson, in a spirit reminiscent of Paul Bley, makes his fingers whisper, delivering thrifty notes and chords. Together, they sometimes moor on the shores of Third Stream, Gunther Schuller’s movement which synthetized European classical music and jazz at the end of the fifties. But most importantly, Mark Turner and Ethan Iverson remain very natural in their improvisations. Even when they may seem a tad brainy. Moreover, they never let go of the thread of their narrations, each more beautiful than the last. © Marc Zisman/Qobuz
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Jazz - Released January 1, 1999 | Fresh Sound Records

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Jazz - Released January 1, 1997 | Fresh Sound Records

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Jazz - Released September 10, 2014 | Criss Cross Jazz

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Jazz - Released February 14, 2006 | Fresh Sound Records

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Jazz - Released August 10, 2018 | ECM

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Jazz - Released February 13, 2004 | Fresh Sound Records

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Jazz - Released January 15, 2004 | SteepleChase

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Jazz - Released September 1, 2000 | Fresh Sound Records

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Jazz - Released January 1, 2008 | Fresh Sound Records

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Mark Turner in the magazine
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