[contextly_auto_sidebar id=”5qRmd8CplKQ3LDavL9URbHBQZpmNzSx8″] Mark Turner, Lathe Of Heaven (ECM) The tenor saxophonist bases the CD\u00e2\u20ac\u2122s title on an Ursula K. LeGuin sci-fi novel in which dreams seem to change reality. Her story line turns on unclear perceptions, but Turner\u00e2\u20ac\u2122s music is unambiguous in its extension of modern mainstream jazz tradition. Though the harmonized lines he plays […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","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":[5],"tags":[],"class_list":{"0":"post-6048","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6048","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=6048"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6048\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6048"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6048"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6048"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"Lathe](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/09\/Lathe-of-Heaven.jpg\")
<\/a>The tenor saxophonist bases the CD\u00e2\u20ac\u2122s title on an Ursula K. LeGuin sci-fi novel in which dreams seem to change reality. Her story line turns on unclear perceptions, but Turner\u00e2\u20ac\u2122s music is unambiguous in its extension of modern mainstream jazz tradition. Though the harmonized lines he plays with trumpeter Avishai Cohen bear intimations of Miles Davis and Wayne Shorter, Turner\u00e2\u20ac\u2122s compositions and the![\"articlehero_mark_turner\"](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2014\/09\/articlehero_mark_turner.jpg\")
<\/a> emotional unity of the quartet\u00e2\u20ac\u2122s playing, particularly in \u00e2\u20ac\u0153Sonnet for Stevie,\u00e2\u20ac\u009d have individuality rooted in his fealty to maintaining the purity of the blues. Without being depressing, the music has an attractive atmosphere of melancholia. The interaction of Turner, Cohen, bassist Joe Martin and drummer Marcus Gilmore approaches ESP. This splendid collection is Turner\u00e2\u20ac\u2122s first album as a leader since his Dharma Days<\/em><\/a> of 2001. It\u00e2\u20ac\u2122s high time. <\/p>\n","protected":false},"excerpt":{"rendered":"