David MURRAY & The Gwo-ka Masters - Gwotet 2004

David MURRAY & The Gwo-ka Masters - Gwotet 2004

Jazz

And one that lodges in the back of your brain like a musical burr of the most tenacious, albeit felicitous, sort.

What we've got here is one of David Murray's wild musical experiments--bringing together the reigning maestro of jazz tenor sax (Pharoah Sanders) with the mesmerizing ka drums of Klod Kiavue, the killer rhythm section of Jaribu Shahid and Hamid Drake, and some absolutely stunning Caribbean brass players and singers. The result must be heard to be believed.

Look, these things, which sound so natural if pulled off, don't always work. It was a risk--although understandable--to bring Pharoah Sanders, the man possessing the most distinct, glorious, and immediately recognizable tone in the history of the tenor sax, on board. He fits in so easily, it's almost as if this were the music for which he has perfected his astounding technique and tone. His entire performance on the opening number, but especially his mesmeric, declamatory, riveting solo, defies belief. David Murray follows with what I believe is one of his finest solo efforts ever recorded, seemingly driven to greater heights by the master, Sanders, but still falling far short of the latter's genius. Although Sanders plays on only three numbers, he's featured on the three longest ones and therefore is on board for about half the time. I, for one, am simply flabbergasted by Sanders's sound and concept whenever I hear him. One thing he does is prove that diligence in sticking to one thing can sometimes result in rewards and achievements beyond imagining.

Also on display here and throughout the disc is the enthralling guitar work of Christian Laviso, who brings that get-under-your-skin West African guitar thing fully to the fore with simply jaw-dropping technique, all in the service to musicality of the highest order (check out his intro to "O'leonso" and his mind-boggling solo on "Ouagadougou").

Murray, himself, seems even more energized (and with David Murray, we're talking about one of the highest-energy players in the history of jazz) than usual. Which, strangely, almost uncannily, fits these proceedings perfectly, what with their off-the-scale-although-perfectly-apposite muscular workouts. Even though, to these ears, he's only the third-most vibrant player, Murray's genius in conceptualizing this project, the coming-to-fruition of numerous forays into similar territory, bespeaks a savvy and humility that, oddly, makes him the overall greatest presence on this remarkable disc.

The last shall be first.

David Murray at the absolute top of his game, with the inimitable Pharoah Sanders on board, in the middle of an enthralling gumbo of world-jazz ethnicity: Not to be missed.
By  Jan P. Dennis.
**
David Murray-     Tenor Sax
Pharoah Sanders- Tenor Sax on #1, 3 & 7
Moises Marquez Leyva- Baritone Sax
Angel Ballester Veliz- Alto Sax, Flute
Leonardo Alarcon- Trombone
Alexander Brown, Carlos Sonduy Dimet & Elpidio Chappotin Delgado- Trumpets
François Ladrezeau- Lead Vocals, Boula Drum
Klod Kiavue - Vocals, ka Drum
Christian Laviso- Vocals, Guitar
Hervé Sambe- Guitar
Jaribu Shahid- Bass
Hamid Drake- Drums
**
01. Gwotet (12:12)
02. O'leonso (7:54)
03. Ouagadougou (12:28)
04. La Jwa (10:02)
05. Djolla Feeling (9:21)
06. Go To Jazz (4:24)
07. Ovwa (5:30)
08. Gwotet (Radio Edit) (6:22)
**
NoPassword
*
DLink
*

David MURRAY Quartet - A Sanctuary Within 1991

David MURRAY Quartet - A Sanctuary Within  1991

Jazz

David Murray in some really wonderful company here -- playing both tenor and bass clarinet on a highly percussive date that features work from Sunny Murray and Kahil El'Zabar! Murray handles straight drums, and Kahil works with a host of percussion -- very much in the same soulful spirit as the work he did with David Murray on the duo's album for Sound Aspects, but with a bit more force here, thanks to Sunny's drumming. The quartet's completed by bassist Tony Overwater, who's round tones are especially welcome on some of the gentler tracks -- giving them a nice sense of pulse -- and titles include "Waltz To Heaven", "Most Of All", "Song For A New South Africa", "Ballad For The Blackman", "Return Of The Lost Tribe", "A Sanctuary Within (parts 1 & 2)", and "Short & Sweet".
Dusty Groove America, Inc.
**
During the late fifties and early sixties, a very unusual phenomena occured in the popular field of Jazz music: the rise of some of the most extreme and abstract expression in just about any field of artistic discipline. This would be the emergence of what would come to be called 'Free - Jazz'. Not only is this genre of music some of the most complicated and confusing music ever created, but it is confounded by the fact that its emergence occured in a field and enviroment where its origin was actually in modern popular culture. Before the advent of Rock and Roll, modern Jazz, what today we refer to as the swing era, constituted the most popular form of musical expression for the record buying public. After World War II, strange musical innovations were occuring in some of the nightclubs in places like Harlem; where geniuses like Charlie Parker, Thelonious Monk, Dizzy Gillespie, Max Roach, Charles Mingus,and Bud Powell were changing this popular music and refining it into high and complicated art form. Bored and frustrated with conventional musical forms, resentful of the racist assimilation and commercialization of an art form which was basically Afro American in origin, these artist invented a genre out of the basic swing structure of jazz which convulated basic musical designs; dazzling harmonic complexity, time signatures accelerated multifold, unconventional and unorthidox chord structure, basic swing themes altered unrecognizable by overwhelming structural complication and improvisation. Bebop was born. In time, however as these innovations were explored thoroughly, even they became standardized and integrated into accepted musical architecture, they evolved into post - bebop sub catagories: hard bop, cool jazz, modal jazz, and finally and most inaccessably, free - jazz. Completely radical, defying most musical terms of comprehension, free jazz ultimately dissavowed the use of any conventional musical structures. Harmony, melody, and time were all ultimately removed from this form of music. Violently and passionately opposed by most audiences as talentless non music; and just as passionately recieved by those who saw it as the highest possble and most passionate form of musical expression; Free - Jazz today, over forty years later, continues to confound many and enthrall a select few who percieve in its torturous and sometimes joyous release some of the greatest approximation of spiritual expression.
By Warren W. Nelson.
**
David Murray- Tenor saxophone, Bass clarinet
Tony Overwater- Bass
Sunny Murray- Drums
Kahil El' Zabar- Percussion (ashiko drum, earth drum), Sanza (afrikan thumbpiano), Voice
**
01. Short And Sweet 6:37
02. Mountain Song 6:21
03. Return To The Lost Tribe 10:16
04. Waltz To Heaven 5:33
05. A Sanctuary Within – Part I (Duo) 6:08
06. A Sanctuary Within – Part II (Quartet) 9:00
07. Most Of All 8:54
08. Song For New South Africa 7:13
09. Ballad For The Blackman 10:40
**
NoPassword
*
DLink
*

David MURRAY, Aki TAKASE - Blue Monk 1993

David MURRAY, Aki TAKASE - Blue Monk 1993

Jazz

Pulled this one off the shelf the other day. The case was kinda dusty. Hadn't been played for years. I was thinking that Aki Takase has recorded quite a few duets with reed players sinse this was put out back in the early nineties and most of them are quite satisfying. Blue Monk with David Murray is in that category as well.

From the first notes on, it's clear that Aki Takase has a great feel for Monk's music (partner Alex Schlippenbach shares her affinity). Takase's confident pianistics are outstanding throughout. Although just four of the ten numbers are from Thelonious' pen, the session itself is somehow permeated in Monk.

David Murray would seem to be a logical choice for a Charlie Rouse replacement, if Monk were alive today. He has always been a strong player with an infinite amount of energy and imagination. His musical contributions on numerous projects are always an added bonus. His tenor and bass clarinet work on this album are typical Murray, full of zest and spunk, probing, daring, and true to the roots melodic.

"Ellingtonia" with Murray on bass clarinet and Takase's old school finger popping is one of the highlights for these ears. "Body and Soul" is given a gut wrenching workout that doesn't break a sweat, but doesn't have to. The final-and longest-cut on the disc, a Murray original entitled "Ballad For The Blackman" is an emotional tour-de-force indicating that Murray's playing definetely is a continuance of the tenor tradition. The rest of the program is just as varied and interesting.

This studio session is getting close to twenty years old now, yet still retains some of the original magic from that day. Non-essential but nice to have.
By  John C. Graham
**
David Murray- Bass clarinet, Tenor saxophone
Aki Takase- Piano
**
01. Blue Monk (3:12)
02. Ask Me Now (4:55)
03. Presto V.H. (5:03)
04. Body & Soul (7:07)
05. Ellingtonia (3:04)
06. Bright Mississippi (6:51)
07. Ba-Lue Bolivar Ba-Lues (7:36)
08. Mr. Jelly Roll (3:44)
09. Kaiso (6:32)
10. Ballad For The Blackman (11:29)
**
NoPassword
*
DLink
*

David MURRAY Quartet - Tenors 1993

David MURRAY Quartet - Tenors 1993

Jazz

As indicated by the title, David Murray sticks with the tenor saxophone on this date for the Japanese label DIW. Murray tackles five compositions written by Albert Ayler, Sonny Rollins, Ornette Coleman, Billy Strayhorn, and John Coltrane with his usual combination of restrained intensity and innovation. Rounding out the quartet are pianist Dave Burrell, bassist Fred Hopkins, and drummer Ralph Peterson Jr., who provide a consistently fiery undertone without totally abandoning structure. Burrell's original "Over Time," a rag dedicated to the tradition of jazz saxophones and adapted from a theme by Punaluu Peter, is a highlight and fits in with the overall theme of the session. As with most of Murray's recordings for DIW, Tenors is worth picking up despite the inflated import price tag.
By Al Campbell, All Music Guide.
**
David Murray, tenor saxophone and bass clarinet player, began his recording career more than 30 years ago, releasing more than 100 albums that have earned him countless awards including a Grammy (1989); a Guggenheim Fellowship (1989); and the Bird Award (1986) among others. Murray’s family recently secured the digital distribution rights to his master recordings on DIW, the Japanese jazz label Murray recorded for in the late 80’s and early 90’s. The 26 releases span an eleven-year period and have previously been unavailable, out of print, or simply very hard to find in both the U.S. and the E.U.

“eMusic excels at promoting and contextualizing music like David Murray’s with expert editorial and reviews, and at reaching sophisticated jazz consumers, who make jazz one of our top-selling genres,” said Rob Wetstone, eMusic Vice President of Label Relations. “Murray has been a favorite of eMusic’s jazz fans and we know they’ll be excited to hear these new titles which haven’t been available previously in the U.S. or Europe.”

In 1980, Murray was declared Artist of the Decade by the Village Voice, and in their 2006 guide to Murray’s music, seven of the DIW titles were highlighted, including; Sketches of Tokyo, Deep River, Shakill’s Warrior, Real Deal, Ballads for Bass Clarinet, and The Long Goodbye.

These highly sought after recordings demonstrate why Murray has become one of the most influential and highly regarded free jazz artists around the world. Each recording on eMusic will be accompanied by detailed notes from eMusic jazz columnist and National Public Radio contributor Kevin Whitehead.

“David Murray is one the most important (and fun to listen to) tenor saxophonists of the last 30 years,” said Whitehead. “He has made many fine records, owing to quality of his robust sound, the range of his influences from the swing era to the avant-garde, and the array of settings he records in, from duos to quartets, octet to big band.
**
Fred Hopkins- Bass
Ralph Peterson Jr.- Drums
Dave Burrell- Piano
David Murray- Tenor Sax
**
01. Equinox (6:15)
02. Ghosts (6:38)
03. Over Time (10:26)
04. Perfection (5:38)
05. Chelsea Bridge (9:03)
06. St. Thomas (9:33)
**
NoPassword
*
DLink
*

David MURRAY,Power Quartet - Like A Kiss That Never Ends 2001

David MURRAY,Power Quartet - Like A Kiss That Never Ends  2001

Jazz

David Murray is such a voracious force on tenor saxophone, naming a band of his a "power quartet" is a little like naming a boar "wild." No matter what setting he is in--quartet, octet, pan-African ensemble, gospel group--he blows lights out with his blend of gutbucket classicism and squealing modernism. But Like a Kiss That Never Ends certainly does deliver his most sustained jolt of front-and-center tenor in a while. Backed by pianist and longtime bandmate John Hicks, mainstream bassist Ray Drummond, and free-jazz drummer Andrew Cyrille, Murray sinks his teeth into an engagingly varied program, including a breakneck blues and a fine-tempered ballad, an energized free-bop workout, and the Spanish-tinged title cut. The last-mentioned song, which recalls the richly melodic tours de force of the late tenorist George Adams (and his departed piano partner Don Pullen), draws complexity from layered rhythms grounded in Cyrille's brisk march patterns. An unexpected bonus is Murray's thoughtful bass clarinet rendering of "Let's Cool One," a rare excursion by this artist into the Thelonious Monk songbook.
By Lloyd Sachs.
**
David Murray,48 years old,is one of the most impressive and original players in the contemporary jazz scene.I was lucky enough to see and hear him play in my town,three weeks ago.David's musical influences aren't only made of free jazz blowers; you can hear a lot of Ben Webster,Coleman Hawkins,Hershell Evans,some Benny Golson and Lockjaw Davis,and of course a lot of Albert Ayler and Eric Dolphy (mostly when he plays bass clarinet).Another reviewer wrote that this quartet reminds him of the John Coltrane quartet; I can't hear Coltrane's reminiscences in Murray's playing.Surely,there are in the spirit of his music,but not in his sound or phrasing.I can hear some Stan Getz (the beginning of "like a kiss that never ends"),some Benny Golson.In this fantastic CD,Murray is backed by three very great musicians: pianist John Hicks,bassist Ray Drummond,two old time associates,and the great drummer Andrew Cyrille,the veteran of the session (60 years old).The album's title song,"like a kiss that never ends" is a fascinating spanish melody,and it reminds me of some George Adams/Don Pullen masterpieces.Dewey Redman played some similar tunes too (remind the spanish songs recorded by Redman with the Liberation Music Orchestra)."Let's cool one" is Murray's salute to Thelonious Monk.The other tunes were written by Murray,except "dedication" which is by Drummond.All the tunes are great.But the main interest in this very beautiful album is that it can be heard,and appreciated,as well by free jazz lovers as by Ben Webster or Hawkins' addicts.
David Murray is one of today's most important jazz players.We only hear about Brad Meldhau or Diana Krall,but Murray's music is miles and miles away from that stuff; his music is fascinating because it is the music of life.His influences produced a very singular musician who creates something new.This is very rare in our times.Listen to this outstanding voice.
By  JEAN-MARIE JUIF.
**
Ray Drummond- Bass
Andrew Cyrille- Drums 
John Hicks- Piano
Producer- David Murray
David Murray- Tenor Saxophone, Bass Clarinet 
**
01. Blues For Felix (7:21)
02. Like A Kiss That Never Ends - Como Un Beso Que Nunca Se Acaba (For Valerie) (12:44)
03. Dedication (7:14)
04. Suki Suki Now (9:43)
05. Ruben's Theme Song (6:30)
06. Mo' Bass (For The Bulldog) (7:40)
07. Let's Cool One (9:50)
**
NoPassword
*
DLink
*

David MURRAY Black Saint Quartet - Sacred Ground (Featuring Cassandra Wilson) 2007

David MURRAY Black Saint Quartet - Sacred Ground (Featuring Cassandra Wilson) 2007

Jazz


Fresh from his forays into Senegalese, Guadeloupean, and Cuban musical genres, saxophonist/bass clarinetist David Murray has returned "home" to his classic quartet, including drummer Andrew Cyrille, bassist Ray Drummond, and pianist Lafayette Gilchrist, who took over for the late John Hicks. Murray's broad and biting saxlines, which encompass Coleman Hawkins, Ben Webster, and John Coltrane, imbue this dark-themed CD, inspired by his soundtrack for filmmaker Marco Williams's film Banished, which deals with the post-Civil War ethnic cleansing of African-American communities from several U.S. counties. "Transitions," "Pierce City," "Believe in Love," and "Family Reunion" are Afro-Caribbean-pulsed, tango-tinged, boogaloo-bounced numbers. The poet and long-time collaborator Ishmael Reed and Cassandra Wilson lend their lyrics and vocals to the Tranish title track and to "The Prophet of Doom," a sly, bluesy reference to the ancient Greek woman gifted with prophecy and a singer's name that stretches from Mycenae to Mississippi.
By Eugene Holley, Jr. AMG.
**
Tenor saxophonist David Murray has achieved international recognition not only for his highly regarded musical prowess, but also for his tireless explorations of African-American cultural evolution and the socio-political environment that has so profoundly affected it. His previous outings on Justin Time have covered a wide range of ideas and concepts, including explorations of the African Diaspora through Guadeloupean and Cuban traditions; Senegalese fusions; Spirituals; the African heritage of noted Russian author Alexander Pushkin; and homage to the unparalleled genius of John Coltrane.

"Sacred Ground" is a fascinating and important new recording that grew from David Murray's involvement in the acclaimed documentary film, Banished, directed by Marco Williams. Although it's virtually unknown, more than a dozen counties in the U.S. violently expelled thousands of families between the Civil War and the Great Depression. The film - and this recording - explores not only these historical facts, but also the legacy of these events in the communities and for the descendants of the families.

After exploring the themes of the film he'd been asked to score, Murray was inspired - indeed compelled - to dig deeper, and to compose further music. David Murray enlisted poet Ishmael Reed, one of today's pre-eminent African- American literary figures. Reed wrote two poems, performed here by the great Cassandra Wilson.

David chose to record this using his Black Saint Quartet - sometimes called Power Quartet, on the group's first outing since the passing of the great John Hicks last year. Logically then, David enlisted pianist Lafayette Gilchrist, informally a Hicks student and admirer, and on drums the great Andrew Cyrille. Bassist Ray Drummond completes this first class group.
**
Ray Drummond- Bass
Andrew Cyrille- Drums
Lafayette Gilchrist- Piano -
David Murray- Saxophone Tenor, Clarinet Bass.
**
01.Sacred Ground (8:52)Vocals - Cassandra Wilson      
02.Transitions (12:04)
03.Pierce City (9:05)
04.Banished (5:46)
05.Believe In Love (10:41)
06.Family Reunion (7:19)
07.The Prophet Of Doom (11:20)Vocals - Cassandra Wilson       
*
NoPassword
*
DLink
*

David MURRAY Octet - New Life 1988

David MURRAY Octet - New Life 1988

The David Murray Octet (which at the time consisted of the leader on tenor and bass clarinet, trumpeters Baikida Carroll and Hugh Ragin, trombonist Craig Harris, altoist John Purcell, pianist Steve Colson, bassist Wilbur Morris and drummer Ralph Peterson) stretches out on four of its leader's originals. The tunes ("Train Whistle," "Morning Song," "New Life" and "Blues in the Pocket") are each fairly memorable,the themes are strong than usual and as usual, the Octet features the right combination of adventurous solos and colorful writing. Recommended.
By Scott Yanow, All Music Guide.
**
Baikida Carroll- Trumpet
Adegoke Steve Colson- Piano
Craig Harris- Trombone
Wilber Morris- Bass
David Murray- Clarinet (Bass), Sax (Tenor), Producer, Performer
Ralph Peterson- Drums
John Purcell- Sax (Alto)
Hugh Ragin- Trumpet
**
01.Train Whistle (11:49)
02.Morning Song (10:09)
03.New Life (6:35)
04.Blues in the Pocket (11:14)
**
NoPassword
*
DLink
*

David MURRAY Octet - Ming 1980

David MURRAY Octet - Ming 1980
Label: Black Saint
Audio CD: (September 7, 1993)

Jazz

His octet was always the perfect setting for tenor saxophonist David Murray, large enough to generate power but not as out of control as many of his big-band performances. Murray contributed all five originals (including "Ming" and "Dewey's Circle") and arrangements, and is in superior form on both tenor and bass clarinet. The "backup crew" is also quite notable: altoist Henry Threadgill, trumpeter Olu Dara, cornetist Butch Morris, trombonist George Lewis, pianist Anthony Davis, bassist Wilbur Morris, and drummer Steve McCall. These avant-garde performances (reissued on CD) are often rhythmic enough to reach a slightly larger audience than usual, and the individuality shown by each of these major players is quite impressive. Recommended.
By Scott Yanow. AMG.
**
That tenor saxophonist David Murray's Ming was recorded in the 1980s is no small feat, as that era was the dawn of the neoconservative movement. All who returned to jazz-band setups then seemed tracked for high dry-cleaning bills on their suits and a modicum of attention from the likes of Time and Newsweek, writing on the rebirth of jazz. But Ming was coming from an altogether different direction. Murray was a 25-year-old prodigy heavily schooled in the avant-garde fests he snagged in the World Saxophone Quartet and elsewhere. And so he took 1960s mainstream styles like hard bop and shot them through a kaleidoscope of complex group arrangements, spicing them severely with his inestimable chops, his awesome command of the tenor sax and bass clarinet, from their lowest depths to their most skating, tonal heights. In hindsight, his band on Ming looks like a jazz summit: pianist Anthony Davis sparring with alto saxist Henry Threadgill; trumpeter Olu Dara wrapping brass lines around cornetist Butch Morris's cryptic, limber bends and curves; George Lewis holding the low brass on trombone with drummer Steve McCall; and bassist Wilbur Morris pushing fast and hard, then dipping into a soul-laced bag while Murray indulges his best ballad chops.
Ming is a classic that deserves its status.
By Andrew Bartlett.
**
David Murray's "Ming" is simply one of the best jazz albums of all time; a contemporary and progressive album that is also rooted in jazz traditions. It remains the perfect introduction to a gifted musician who is sadly unappreciated today.
The Oakland-born Murray arrived in New York City in 1975 at age 20 and quickly established himself as a force on the "Loft Jazz" scene, a brief but important jazz movement. Rather than seek their fortune with the jazz fusion that was popular at the time, Murray and his loft co-horts sought to consolidate the ideas of the avant garde and free jazz movements of the Sixties and Seventies while adding their own ideas. It was an exciting period, and David Murray soon emerged as a rising star.

Murray's intense early recordings in small group formats show a musician heavily influenced by John Coltrane, but also with a flair for striking original composition. Working with only a rhythm section was limiting, however, and the saxophonist became interested in pursuing his ideas with in a larger group.

David Murray was all of 25-years old when he recorded "Ming" (named for his second wife) in 1980. It was the first recording to feature his Octet (eight piece group), which was soon to become one of the most acclaimed groups in jazz. Murray's writing and arranging talents were readily apparent on "Ming," a welcome addition to a jazz scene that had de-valued such strengths for a number of years. The Octet also featured such other young talents as Olu Dara, Anthony Davis and Henry Threadgill, soon to become major figures on their own.

Murray's greatest strength, though, is as a tenor saxophonist. Arguably the greatest voice on the instrument since John Coltrane's death in 1967, "Ming" was the first recording to fully display both the fierce and tender side of Murray's playing. This recording is the first full realization of Murray's talents and ambitions and twenty years later, its lost none of its power. His compositions also stand up well, exhibiting the influence of Duke Ellington and Charles Mingus at times, but never in an imitative manner.

Sadly, David Murray has never gotten the acclaim in America that he deserves. The intelligent and progressive music he offered was swept aside in favor of the reactionary school led by Wynton Marsalis and others who, while talented and well-schooled, were less adventurous in their music. Murray remains vital and active as of this writing, living in France and revisiting his homeland only once or twice a year. Luckily, he has always been appreciated in both Europe and Asia, and he still records frequently. "Ming" is both challenging and beautiful, and is the perfect place to start for anyone curious about David Murray.
By  Ron Frankl.
**
Olu Dara- Trumpet
Anthony Davis- Piano  
George Lewis- Trombone
Steve McCall- Percussion
Lawrence Butch Morris- Cornet
Wilber Morris- Bass
David Murray Clarinet- (Bass), Sax (Tenor) 
Henry Threadgill- Sax (Alto)
**
01-The Fast Life 8:55
02-The Hill 10:39
03-Ming 4:28
04-Jasvan 8:51
05-Dewey's Circle 6:36
**
NoPassword
*
DLink
*

David MURRAY - Flowers For Albert 1976

David MURRAY - Flowers For Albert  1976
Label: Valley Media
Audio CD: (March 11, 1997)

Jazz

David Murray's "Ming" is simply one of the best jazz albums of all time; a contemporary and progressive album that is also rooted in jazz traditions. It remains the perfect introduction to a gifted musician who is sadly unappreciated today.
The Oakland-born Murray arrived in New York City in 1975 at age 20 and quickly established himself as a force on the "Loft Jazz" scene, a brief but important jazz movement. Rather than seek their fortune with the jazz fusion that was popular at the time, Murray and his loft co-horts sought to consolidate the ideas of the avant garde and free jazz movements of the Sixties and Seventies while adding their own ideas. It was an exciting period, and David Murray soon emerged as a rising star.

Murray's intense early recordings in small group formats show a musician heavily influenced by John Coltrane, but also with a flair for striking original composition. Working with only a rhythm section was limiting, however, and the saxophonist became interested in pursuing his ideas with in a larger group.

David Murray was all of 25-years old when he recorded "Ming" (named for his second wife) in 1980. It was the first recording to feature his Octet (eight piece group), which was soon to become one of the most acclaimed groups in jazz. Murray's writing and arranging talents were readily apparent on "Ming," a welcome addition to a jazz scene that had de-valued such strengths for a number of years. The Octet also featured such other young talents as Olu Dara, Anthony Davis and Henry Threadgill, soon to become major figures on their own.

Murray's greatest strength, though, is as a tenor saxophonist. Arguably the greatest voice on the instrument since John Coltrane's death in 1967, "Ming" was the first recording to fully display both the fierce and tender side of Murray's playing. This recording is the first full realization of Murray's talents and ambitions and twenty years later, its lost none of its power. His compositions also stand up well, exhibiting the influence of Duke Ellington and Charles Mingus at times, but never in an imitative manner.

Sadly, David Murray has never gotten the acclaim in America that he deserves. The intelligent and progressive music he offered was swept aside in favor of the reactionary school led by Wynton Marsalis and others who, while talented and well-schooled, were less adventurous in their music. Murray remains vital and active as of this writing, living in France and revisiting his homeland only once or twice a year. Luckily, he has always been appreciated in both Europe and Asia, and he still records frequently. "Ming" is both challenging and beautiful, and is the perfect place to start for anyone curious about David Murray.
By Ron Frankl.
**
Olu Dara- Trumpet, Flugelhorn
Fred Hopkins- Bass
David Murray- Sax (Tenor)
Phillip Wilson- Drums
**
CD 1
01. Flowers for Albert    14:18
02. Santa Barbara and Crenshaw Follies    15:53
03. Joanne's Green Satin Dress    12:56
04. After All This   Murray  13:59

CD 2
01. Roscoe   9:05
02. The Hill    17:55
03. Ballad for a Decomposed Beauty    9:18
**
NoPassword
*
DLink
*