(Contemporary Jazz, Post-Bop) [CD] Jason Palmer (with Mark Turner, Godwin Louis, Mike Moreno, Kendrick Scott, Edward Perez) - Places - 2014, FLAC (tracks), lossless

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Path: ...\Jason Palmer - Places (2014) [FLAC]
1 -=- 01 Urban Renewal (For High Point).flac -=- CDDA (100%)
2 -=- 02 Falling In (For Guimaraes).flac -=- CDDA (100%)
3 -=- 03 Berlin.flac -=- CDDA (100%)
4 -=- 04 Bern.flac -=- CDDA (100%)
5 -=- 05 Rising Sign (For Paris).flac -=- CDDA (100%)
6 -=- 06 Silver (For Xalapa).flac -=- CDDA (100%)
7 -=- 07 American Deceptionalism Part I (For DC).flac -=- CDDA (100%)
8 -=- 08 Sprit Song (For Rozzy).flac -=- CDDA (100%)
9 -=- 09 American Deceptionalism Part II.flac -=- CDDA (100%)
Summary 100,00% CDDA
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Trumpeter Jason Palmer explores the creative connections between geography and composition on the aptly-titled Places, his fourth recording for Steeplechase. As with past albums he pens his own liners and in so doing does something many of his peers could take a pointer from. Rather than leaving his ideas and intentions to conjecture he spells them out in detail through enlightening prose even going so far as to craft personalized biographies of the sidemen in his sextet.
That eagerness to share in artistic specifics gives the session a welcoming quality from the start, one that’s also audible in the measure of engagement the ensemble brings to the program.
Altoist Godwin Louis and tenorist Mark Turner join Palmer on the front line. The rhythm section includes guitarist Mike Moreno, bassist Edward Perez and drummer Kendrick Scott. All of the players frequently back Palmer at his New York gigs, and their rapport makes it possible to realize the leader’s often ambitious charts. Each of the nine pieces is inspired by the distinct locale where it was composed, some explicitly as with “Berlin” and Bern”, others in less specific terms. “Urban Renewal” sets a high bar with a sectional suite that seeks to evoke Palmer’s hometown of High Point, N.C. in musical imagery that cants almost classical in parts.
“Falling In” is quite different, propelled by a playful duo section by Palmer and Scott in its opening section that expands into richly layered melodic blueprint for a soulful interlude by Turner and another by Louis. Palmer dedicates the piece to Guimaraes and the potent Portuguese flavor comes through in Scott’s bustling cross-rhythms and Moreno’s luminous comping. “Berlin” ranges still further afield as Palmer references mid-60s-era Wayne Shorter in a merging of folk and groove forms. Again, Scott’s stick work sustains the pace as the horns converge in a lush, harmonizing lead before breaking off into fragmentary solos.
“Bern” borrows the basic harmonic structure of Cedar Walton’s classic “Ugetsu” with Palmer grafting on original melodic material and a fresh time signature to create a fresh field of play for the sextet. Perez anchors the ensuing horn exchanges and solos with a stout bass line while Moreno adds liberal dabs of chordal color.
“Silver” registers as a comparative morsel in its brevity, but its source city Xalapa emerges in the breezy composed theme voiced by the horns. Split into contrastive parts “American Deceptionalism” levies a decisive musical retort to unchecked jingoism through another intricate lattice of layered horn lines in its first part and a stirring extended improvisation from the leader in the second. Political impropriety and divisiveness have no place in the picturesque pursuits of Palmer and his colleagues. Their music is instead a model of inclusivity and community. (Derek Taylor)