Body Language by A.k. Turner

The indispensable guide to creating a novel that leaves your readers saying, "I couldn't put it down!"

Tenor saxophonist Mark Turner makes his ECM debut as leader on this session featuring Avishai Cohen on trumpet, double bassist Joe Martin and drummer Marcus Gilmore. The quartet of kindred spirits, often entwining in serpentine fashion, plays long, introspective lines of hypnotic grace; the lithe rhythm section providing subtle volatility. With no chordal instrument in the band, the music opens up and takes on an attractive spaciousness. The songs display the long-breathed essence characteristic of Turner’s work, where melody takes priority. There is also mystery to the album, a quality of patient storytelling to the compositions.

Don Byas Takes His Place Among the Greats A historical document of jazz at a time when the musicians, steeped in the swing tradition, were creating and setting the mold for the modern sounds of bebop. An Underappreciated Master
While Don Byas is lauded for his breathtaking solos – sumptuous and creamy on ballads, thoughtful and potent on uptempo numbers – his absence from the scene in the U.S. and a lack of recorded evidence might be reasons he is unfairly overlooked.
Starting today, Mosaic Records presents that evidence. Don Byas — who claimed to be inspired by Art Tatum more than any horn player — always considered himself more of a swing musician than a bebopper, but that might be because harmonic and rhythmic innovation were such important components of his personal style that he may not even have realized what an innovator and inspiration he was. Tenor saxophonists who followed him couldn’t help but take note of his highly inventive phrasing, with melodies that disregarded bar lines when he was still working on a thought; notes that squeezed in hurriedly to ornament the end of a line; and seductive shifts in register that were always unexpected surprises. If your ears and experience prepared you for something more typical, Byas gave you that and more.

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