Mark Turner - Return from the Stars (2022) [Hi-Res]

31 May, 10:45
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Artist: Mark Turner
Title: Return from the Stars
Year Of Release: 2022
Label: ECM
Genre: Jazz
Quality: Mp3 320 kbps / FLAC (tracks+.cue, log, booklet) / 24bit-96kHz FLAC (tracks+booklet)
Total Time: 64:16
Total Size: 152 / 371 MB / 1.29 GB
WebSite: Album Preview

Tracklist:

1. Return from the Stars (9:32)
2. Terminus (7:19)
3. Bridgetown (8:53)
4. It’s Not Alright With Me (10:22)
5. Nigeria II (4:33)
6. Waste Land (5:13)
7. Unacceptable (12:18)
8. Lincoln Heights (6:10)

Mark Turner's writing for his quartet on Return From The Stars (titled after Stanislav Lem's science fiction novel) gives the players plenty of space in which to move, on an album both exhilarating and thoughtful in its arc of expression. Solos flow organically out of the arrangements and, beneath the often-dazzling interplay of Turner's tenor and Jason Palmer's trumpet, the rhythm section of Joe Martin and Jonathan Pinson roams freely.

Although Turner has been a frequent presence on ECM in contexts including the Billy Hart Quartet, the Fly trio, and a duo with Ethan Iverson, Return from the Stars is his first quartet album since 2014's Lathe of Heaven and an essential document of his artistry as a player and his conceptual thinking as a bandleader.

The 180g vinyl version will be released in autumn 2022..

Mark Turner: saxophone
Jason Palmer: trumpet
Joe Martin: double bass
Jonathan Pinson: drums

Download Link Isra.Cloud
Mark Turner - Return from the Stars Hi-Res.rar - 1.3 GB
Mark Turner - Return from the Stars FLAC.rar - 371.7 MB
Mark Turner - Return from the Stars MP3.rar - 152.1 MB

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22:45
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Mark Turner - Return from the Stars

"All eight tracks on the record have a memorable melodic structure and superb harmonic interplay between the two horns. Turner, known for a floating, lightness of tone, has delivered several strong compositions and has been pushed on some of them beyond his usual comfort zone to more intense, fiery expressions."
Jim Hynes, Glide Magazine

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20:41
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Site logo image Between Sound and Space: ECM Records and Beyond
Mark Turner: Return from the Stars (ECM 2684)

Tyran Grillo
Jun 30

Mark Turner tenor saxophone
Jason Palmer trumpet
Joe Martin double bass
Jonathan Pinson drums
Recorded November 2019 at Sear Sound Studio, New York
Engineer: Chris Allen
Mixed September 2021 at Studios La Buissone
by Manfred Eicher and Gérard de Haro
Mastering: Nicolas Baillard
Production coordinator: Guido Gorna
Cover photo: Thomas Wunsch
Produced by Manfred Eicher
Release date: March 25, 2022

Admirers who have traced the influences of Mark Turner will know of his interest in science fiction. More than the inspiration for an evocative title or two, the underlying ethos running through his work like dark matter in a timeslip could come from no other genre, articulated as it is in a language that feels as spatial as it does temporal. As Stanisław Lem wrote in Solaris: “We have no need of other worlds. We need mirrors.” In the bell of Turner’s tenor saxophone, one indeed finds a mirror for scrutinizing our egos in melodic ways.

Return from the Stars puts Turner back on the ECM map, carrying over bassist Joe Martin from 2013’s Lathe of Heaven and adding drummer Jonathan Pinson and trumpeter Jason Palmer for eight originals. The lack of keyboard allows for two crucial things to happen. First, it opens the ears to Turner’s compositional prowess, graceful yet given to unexpected turns and shades of meaning. Second, it opens space in the recording and exchanges between the musicians. The resulting music, smooth without filling in every gap, invites listeners to ruminate and appreciate the inner workings at hand. Against a rhythm section digging its heels only when needed (and without ever overstating the issue), interplay between horns unfolds organically (Turner is always moving from one terrain to the next while Palmer seems to work his awl into the wood of his thinking, uncovering ever-deeper layers of meaning). Sitting among the evocative gems of “Bridgetown” and “Nigeria II,” tracks like “Terminus” and “Lincoln Heights” walk in places that have been lived in. Throughout, the writing is suggestive rather than declamatory. The titles of “It’s Not Alright With Me” and “Unacceptable” evoke a playful gray area between frustration and freedom from it. The blurring of such dichotomies is a sign of maturity: letting emotions speak for themselves rather than shouting in their place. In “Waste Land,” too, I get the feeling that these pieces are always growing and that we are privy to some of their prime phases.

(This review originally appeared in the April 2022 issue of The New York City Jazz Record