Mark Turner (with Joshua Redman): 317 East 32nd Street

As a student at Berklee, Mark Turner was looking for an alternative to the dominant post-bebop ideology, and discovering Tristano and Warne Marsh opened new doors to him. On his first Warner record, he includes – among other tunes from Coltrane, Ornette Coleman or himself – this classic penned by the blind pianist from Chicago, and invites his friend Joshua Redman to join in. It’s a good occasion to appreciate Turner’s sensitive assimilation of the linear approach that Tristano advocated, and to revel in his mastery of the whole register of his horn. Redman, on the contrary, is obviously not very versed in the Tristano aesthetics and his solo is basically related to the bop idiom. An interesting contrast between two young tenors of the nineties: one of them soon became a star, the other one’s quest is still on its way.

January 21, 2008 · 0 comments


Brent Jensen & David Sills: 317 East 32nd Street

Aside from its inherent worth as an excellent performance by two superior saxophonists, “317 E. 32nd St.” is also interesting for its influences and inspirations. Brent Jensen and David Sills are among a handful of contemporary saxophonists whose playing reflects the values of such antecedent modern sax men as Lee Konitz (still active at this writing) and Warne Marsh, who developed personal styles not directly modeled on Charlie Parker’s. Emphasizing the connection, Jensen and Sills sail through a composition by Lennie Tristano, a cool school icon in whose groups Konitz and Marsh were often featured.

November 08, 2007 · 0 comments


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