162

Ethan Iverson/Mark Turner Duo

David Adler By

Sign in to view read count
Cornelia Street Café
Contemporary Classical Series

The telepathic rapport of tenor saxophonist Mark Turner and guitarist Kurt Rosenwinkel was recently the subject of a big story in Downbeat magazine. But in this installment of Cornelia Street Café’s Contemporary Classical Series, Turner’s equally incredible bond with pianist Ethan Iverson was on display. Although this duo concert was not classical in the strict sense, it did showcase the classically informed approach to writing and improvisation of these two remarkable players. And that’s what the series is about: the commonalities between contemporary jazz and contemporary classical music, and how these genres have become increasingly intertwined in the work of a growing number of jazz-identified musicians, many of whom play at Cornelia Street Café on a regular basis.
Iverson and Turner evinced a refreshing lack of respect for musical boundaries during their two sets. Filling the "classical" side of the bill, they played several new, as-yet-untitled works by Iverson, along with two of Turner’s most fascinating pieces, "Bo Brussels" and "Zurich." The former didn’t sound classical at all when it appeared on Turner’s 1998 album In This World (Warner Bros.), but in this duo context, categorization became thoroughly up for grabs. As for "Zurich," two metronomes were employed in sort of John Cagean fashion; one was set at 40 and the other at 42 beats per minute while Iverson and Turner played along, the machines clicking hypnotically in and out of phase.
The duo declared its allegiance to jazz standards, partly by intention, partly because they began to run out of original material, as Iverson confessed. They played tunes based on "There Will Never Be Another You" and "Cherokee"; they offered a haunting version of "Stella By Starlight"; they even encored with "Body and Soul." Turner played Wayne Shorter’s "Fall" as an unaccompanied solo. And Iverson’s "Guilty," a slow 12-bar blues, heightened the jazz/classical encounter like no other piece of the night. This was the blues, but this was also music that has yet to be given a name.


Tags

comments powered by Disqus

More Articles

Read Pittsburgh JazzLive International Festival 2017 Live Reviews Pittsburgh JazzLive International Festival 2017
by C. Andrew Hovan
Published: June 24, 2017
Read Mike Zito at the Iridium Live Reviews Mike Zito at the Iridium
by Mike Perciaccante
Published: June 24, 2017
Read Grand Union Orchestra at Wilton's Music Hall Live Reviews Grand Union Orchestra at Wilton's Music Hall
by Duncan Heining
Published: June 20, 2017
Read Burlington Discover Jazz Festival 2017 Live Reviews Burlington Discover Jazz Festival 2017
by Doug Collette
Published: June 18, 2017
Read Jean Luc Ponty Band at the Boulder Theater Live Reviews Jean Luc Ponty Band at the Boulder Theater
by Geoff Anderson
Published: June 17, 2017
Read ELBJAZZ 2017 Live Reviews ELBJAZZ 2017
by Ian Patterson
Published: June 15, 2017
Read "Panama Jazz Festival 2017" Live Reviews Panama Jazz Festival 2017
by Mark Holston
Published: February 21, 2017
Read "Like A Jazz Machine 2017" Live Reviews Like A Jazz Machine 2017
by Ian Patterson
Published: June 4, 2017
Read "David Grisman Sextet at Chautauqua Auditorium" Live Reviews David Grisman Sextet at Chautauqua Auditorium
by Geoff Anderson
Published: August 20, 2016
Read "Big Ears Festival 2017" Live Reviews Big Ears Festival 2017
by Mark Sullivan
Published: April 5, 2017
Read "Peacemaker Music & Arts Fest 2016" Live Reviews Peacemaker Music & Arts Fest 2016
by C. Michael Bailey
Published: September 17, 2016

Join the staff. Writers Wanted!

Develop a column, write album reviews, cover live shows, or conduct interviews.