Chords for Mark Turner Quartet - Lathe of Heaven

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[Ab] _ Mystery and [Ebm] tension, those are two elements that I gravitate [Db] to.
[D] I like to hear a story [Am] that has [Dm] some mysteries that I [Ab] don't know about from the beginning.
_ [F] In [Gb] a lot of these songs, [Abm] you're [F] not going [Gb] to hear the whole thing from the beginning.
It's going to [D] develop over the course of the song.
[A] In this [G] music, [Db] partially it happens just because there [Gb] isn't a [Abm] harmonic instrument.
Part [Ebm] of it happens because of the way the [D] songs unfold.
Part of it happens just because of the way we [Fm] play.
[Abm] Not in so much of a maybe a glib fashion, but more like a [A] little bit more reserved. _
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[F] _ _ _ [E] _ _ _ [G] _ _
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_ [B] _ _ [Dbm] _ _ _ _ _
_ [F] _ I like to read a lot of sci-fi.
[Ab] Ursula K.
Le Guin's book, Lathe of Heaven, _ it among others relates to _ _ my feelings about mystery, negative space, tension. _
This book in particular continues to [B] unfold.
Something happens to [A] this guy, basically.
_ There's [Ab] been a holocaust.
_ _ _ _ [E] _
Even that's unclear, actually.
_ [Abm] It's unclear whether it actually [Bb] happened or if he dreamed it.
Basically, he continues to [G] dream, and whenever he dreams, that becomes a [Ab] new reality, and he's the only one that [G] realizes it.
[Ab] There are other things that have happened.
It's very [Bb] strange the way it goes on.
[B] You never quite know exactly what's [Db] going on.
Your [Ab] ground is constantly being pulled out from under [Fm] you. _
[Em] _ _ [D] _ _ [Ab] _ _ _ [Bbm] _
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[Ab] _ _ [Db] _ _ _ [G] _ _ [Eb] _
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[B] _ [Dbm] _ _ _ [Bb] _ [Eb] _ _ [Gbm] _
_ [Ab] The guys in the [Eb] band are Avi Shai Cohen [D] on trumpet, _ [Eb] Marcus [Db] Gilmore on drums, [G]
and Joe Martin on the [B] bass, and myself, of course, [Eb] on tenor saxophone.
_ [Ebm] The reason I like to have [Ab] _ bands without a choral instrument, I like it mainly because it [Eb] actually [G] puts more responsibility on each member.
Kind of the opposite of freedom.
It's kind of [Db] like [Fm] the feeling of being, if [Gbm] _
you're in _ [Ebm] a place with so [Fm] much space, [E] so [Gbm] much freedom, like if you [F] had an infinite amount of time,
you know, you have [Eb] no [Bbm] responsibilities.
You have to put [Ebm] some responsibilities on yourself. _
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_ _ [E] _ [Bb] _ _ _ All this [Ebm] [Dbm] music was [Ab] written with this band in [D] mind.
I [Bbm] think everyone has _ [Dm] a fairly wide palette of things that [Bbm] they can do, _
[Ebm] so that if we [Gm] want to, we can be fairly soft and relaxed, [D] we can be kind of [C]
forward-speaking.
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[B] _ _ [Em] _ [C] _ _ _ [Eb] _ [Db]
Avi Shai Cohen, he's very funny.
[Bb] _ _
_ [Abm] Avi [Gb] Shai has, [D] _ I think he has [Bb] a fair amount of humor in his [C] playing, but he's also very _ [Fm] _
serious.
The [C] way we play together, [D] there [Em] can be some _ of a [N] nod between Wayne and Miles.
_ I think just because we've [Bm] both heard a lot of that music, _ and some of the melodies [A] _ and some of the [Ab] harmony between us, there are a fair amount of intervals that are similar, a lot of [Bb] fourths and fifths.
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[Eb] _ _ [E] _ _ _ _ [A] _ _
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[Eb] _ _ _ _ [E] _ _ I've been playing with Joe for a long time in various bands.
[Ab] I think Joe's not afraid to embrace the role of the bass and _ state that role without _ trying to jump into the roles of other instruments.
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_ _ _ [Am] _ _ Marcus is [Em] _ _ fantastic in many ways.
[Gb] _ _ _ _ [Bb] _ _ _
[C] _ _ _ _ [Abm] _ _ _ [Db] _
_ [B] Like [Cm] everyone else, all firmly rooted in, [E] I hate to say the word tradition, but in music of the past, [Gbm] honors and music of the past, while still embracing _ _ what's going [Fm] on now, [Gb] the moment, [E] the future.
_ [Ab] They all have [Gb] their own voice, [Eb] and Marcus in [Bm] particular. _
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_ [Gb] _ _ _ [Eb] There's a tune on this record called Sonnet for Stevie, _ and it's in reference to Stevie Wonder. _ _ _
_ There's a bit of a melody in the end that's kind of _ a quote, [Dbm] but that's how [Abm] the tune started to unfold.
That tune is called Blame It on the Sun, and that's a song [D] that [F] _
I heard a lot [Eb] as a child.
I started writing this tune and listening to that record for the last five years or so.
[Bb] I've been just trying to figure out what [Ab] is the blues and what does that mean to me?
You know, you hear you're in school, you're a [E] jazz musician, [Eb] you should deal with the blues [C] and swing, [A] but _ I think it needs [Ebm] to [Bb] be _ [Ebm] personal, meaningful, _ [Gb] and have [F] some kind of reference that you can touch and hold and do something [Eb] about.
_ Otherwise, I think [Gb] the blues [Db] _
[Ab] can otherwise be _ _ banal.
[Bb] _ _ [Ab] I've heard it, I hate to say, done in that way [Gm] all too often. _
[B] I actually believe the blues to be sacred, _ [Gm] _ [A]
[Bb] like [B] a spiritual discipline, and it needs to be taken [Dbm] seriously.
[D] _ I've kind [Ebm] _
[Gm] of, in a way, _ avoided it because I felt like I would [E] disrespect it.
So this one tune, for example, in a [Gm] sort of lexicon of many things I've been doing, [Bm] was kind of a window _ [Abm] for me into looking [E] back at my [G] childhood and seeing [B] _
[Ab] how _ [Em] the blues and [Bb] Stevie Wonder, among [G] others, being a _ master of the [E] blues, affected my life.
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