Temporary Kings (2)

It’s been nice to see so much positive notice of the new record!

In the Wall Street Journal, Martin Johnson finally gave me the pull quote I was waiting for, “[Iverson] has gone from one of jazz’s leading popularizers to one of its leading geeks.” [Wordpress doesn’t seem to support emojis but this is where I would usually insert at least three LOLs]

Ethan Iverson and Mark Turner team up on an austere and elegant album that belongs to a growing field known as chamber jazz..

Tonight and tomorrow we are at Crooners. I was honored that Jon Bream, a legend in Minnesota music journalism, wanted to give me a feature in the Star Tribune.

Former Bad Plus pianist still ‘loves playing in the Midwest’ despite rocketing career.

The Crooners gig is a pick by Britt Robson



And the Jazz Standard on Tuesday is a pick by Giovanni Russonello.

gio temporary kings

Tryan Grillo at the New York Jazz Record is a fan!

NYJR Temporary Kings


I had to laugh at this one:

amazon quote.jpg

If you are a practitioner, it is very important not to pay too much attention to the press.  Good notices are naturally better than bad, but in the end all that stuff is just for the larger machine of “arts career,” not for the artist themselves to sit around and think about. Forward motion is the only answer.

There is a built-in mental “safety brake” in the title of Temporary Kings. Among other meanings, it’s a reference to A Dance to the Music of Time by Anthony Powell.

After I tweeted the relevant passage

powell quote

Wesley Stace responded a photo of his first edition. I’m jealous!


The musical character in Dance is Hugh Moreland, who actually dies at the end of  Temporary Kings (the eleventh of twelve books).  Moreland was closely based on  Powell’s friend Constant Lambert.

Last night I played some of Constant Lambert’s Piano Sonata for Mark Turner before the gig at Constellation in Chicago. Mark was cautiously impressed by the harmonies that foreshadow modern jazz to a shocking degree. Good. That little exchange (with a collaborator I value so highly) made me feel like learning the first movement for London Jazz Fest in November is actually a cool move…