{"id":11081,"date":"2019-04-27T21:39:58","date_gmt":"2019-04-28T04:39:58","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=11081"},"modified":"2019-04-27T21:43:12","modified_gmt":"2019-04-28T04:43:12","slug":"recent-listening-jason-palmers-rhyme-and-reason","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2019\/04\/recent-listening-jason-palmers-rhyme-and-reason\/","title":{"rendered":"Recent Listening: Jason Palmer’s Rhyme and Reason"},"content":{"rendered":"

Recent Listening: Jason Palmer<\/strong>, Rhyme and Reason<\/a><\/em> (GiantStepArts)<\/p>\n

\"\"<\/a>In his early work with saxophonists Noah Preminger and Grace Kelly and many others, trumpeter Jason Palmer made it clear with his substantial tone, wide range and flexibility that he had the potential to become one of the new century\u00e2\u20ac\u2122s outstanding trumpeters. His debut on producer and photographer Jimmy Katz\u00e2\u20ac\u2122s GiantStepArts label, is the latest proof that Palmer has attained that distinction\u00e2\u20ac\u201dand then some. Joined by the veteran tenor saxophonist Mark Turner and supported by bassist Matt Brewer and drummer Kendrick Scott, Palmer further establishes that he is also a composer of originality and imagination. So effective are Turner, Palmer and Brewer in the chords department, it is possible a listener will take a few minutes to realize that there is no instrument providing harmonic support. That function is in the interaction among the horns and the bassist, with plenty of rhythmic encouragement from Scott\u00e2\u20ac\u2122s urgencies at the drums.<\/p>\n

Beautifully engineered and mixed, the album\u00e2\u20ac\u2122s sound places Brewer where a bass belongs in this kind of band, in the middle providing stability and a home port for the ear. In the liner notes, Palmer\u00e2\u20ac\u2122s track-by-track references to his compositions are occasionally nearly obliterated by white lettering on light backgrounds, but held under a strong lamp they can be read, and they give the listener information about inspirations and relationships. It is valuable, for example, to learn that Palmer\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Waltz For Diana\u00e2\u20ac\u009d has connections to Bill Evans\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Waltz For Debbie,\u00e2\u20ac\u009d Kurt Roswenwinkel\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Dream Of The Old\u00e2\u20ac\u009d and the Diana of ancient mythology. His \u00e2\u20ac\u0153Kalispel Bay\u00e2\u20ac\u009d is almost certainly the only jazz composition ever inspired by a visit to Priest Lake, Idaho. In addition to the trumpet virtues mentioned in the opening line above, Palmer\u00e2\u20ac\u2122s playing here encompasses a spaciousness that seems based in a refusal to let ideas crowd one another. That is a welcome attribute in an era when note-packing often seems the order of the day.<\/p>\n","protected":false},"excerpt":{"rendered":"

Recent Listening: Jason Palmer, Rhyme and Reason (GiantStepArts) In his early work with saxophonists Noah Preminger and Grace Kelly and many others, trumpeter Jason Palmer made it clear with his substantial tone, wide range and flexibility that he had the potential to become one of the new century\u00e2\u20ac\u2122s outstanding trumpeters. His debut on producer and […]<\/p>\n","protected":false},"author":2,"featured_media":11082,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-11081","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/11081","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=11081"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/11081\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/11082"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=11081"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=11081"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=11081"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}