L.A.’s Steve Lehman Quartet Feat. MArk Turner
February 5, 6, 7, 8 @ 8:30pm
L.A.’s STEVE LEHMAN - Sax
N.Y.’s MARK TURNER - Sax
N.Y.’s MATT BREWER - Bass
N.Y.’s DAMION REID - Drums
Steve Lehman:
Described as “one of the transforming figures of early 21st century jazz,” by The Guardian and as a “state-of-the-art musical thinker” by The New York Times, Steve Lehman is a composer, performer, educator, and scholar who works across a broad spectrum of experimental musical idioms. Lehman’s pieces for large orchestra and chamber ensembles have been performed by the American Composers Orchestra, International Contemporary Ensemble, So Percussion, JACK Quartet, and the PRISM Saxophone Quartet. His recent recording, The People I Love, was cited as one of the “Top 10 Jazz Albums” of 2019 by NPR Music, Rolling Stone, The Los Angeles Times, and The New York Times. His previous recordings include, Sélébéyone (2016), Mise en Abîme (NPR #1 Jazz Album of 2014), and Travail, Transformation & Flow (NY Times #1 Jazz Album of 2009).
The recipient of a 2015 Guggenheim Fellowship and a 2014 Doris Duke Artist Award, Lehman is an alto saxophonist who has performed and recorded nationally and internationally with his own ensembles and with those led by Anthony Braxton, Vijay Iyer, George Lewis, Bennie Maupin, Jason Moran, Georgia-Anne Muldrow, Meshell Ndegeocello, Tyshawn Sorey, and High Priest of Antipop Consortium, among many others. He has taught undergraduate courses at Columbia University and the Conservatoire National Supérieur de Musique de Paris, and is currently a professor of music at the California Institute of the Arts near Los Angeles.
Mark Turner:
In a career that spans two decades and encompasses a broad array of musical ventures, saxophonist Mark Turner has emerged as a towering presence in the jazz community. With a distinctive, personal tone, singular improvisational skills and an innovative, challenging compositional approach, he’s earned a far-reaching reputation as one of jazz’s most original and influential musical forces.
A New York Times profile of Turner titled “The Best Jazz Player You’ve Never Heard” called him “possibly jazz’s premier player,” noting his reputation amongst his peers and his influential stature in the jazz world.
2013 finds Turner entering an exciting new creative phase, with his varied talents showcased on a variety of notable new recording projects. Later this year, he’ll release his sixth album as a leader—his first under his own name in a dozen years. He’s also featured on new or upcoming releases by pianist Stefano Bollani, guitarist Gilad Hekselman, pianist Baptiste Trotignon and the Billy Hart Quartet, of which Turner’s been a member for nearly a decade and with whom he recorded two previous albums. He’s also continuing his work as a member of Fly, a collaborative trio with bassist Larry Grenadier and drummer Jeff Ballard.
Those projects add to an already expansive body of work that encompasses Turner’s own widely acclaimed albums and an assortment of collaborations, along with his prolific work as an in-demand sideman. Turner’s diverse discography includes collaborations with many of jazz’s leading lights, including Kurt Rosenwinkel, Lee Konitz, James Moody, Dave Holland, Joshua Redman, Delfeayo Marsalis, Brad Mehldau, Reid Anderson, Omer Avital, Diego Barber, David Binney, Brian Blade, Seamus Blake, Chris Cheek, George Colligan, Gary Foster, Jon Gordon, Aaron Goldberg, Ethan Iverson, Jonny King, Ryan Kisor, Guillermo Klein, Matthias Lupri, OAM Trio, Mikkel Ploug, Enrico Rava, Jochen Rueckert, Jaleel Shaw, Edward Simon and the SF Jazz Collective.
Born in 1965 in Ohio and raised in Southern California, Turner grew up surrounded by music. “There was always a lot of R&B and jazz and soul and gospel going on in the house all the time,” he recalls. “This was in the early ’70s, when the whole integration and civil rights thing had begun to go mainstream, and my mother and stepfather were in the first wave of young black professionals and intellectuals who moved to upper-middle-class white neighborhoods. They and their friends were always going out to see live jazz. I was intrigued by that, and I was intrigued by the whole history of jazz music and African-American culture, as well as the music itself. And my father, who died when I was one and a half, had played saxophone, so maybe I was looking for a connection with him too.”