The Squid's Ear
Recently @ Squidco:

Biliana Voutchkova / Michael Thieke: Blurred Music (elsewhere)

Berlin-based violinist Biliana Voutchkova and German clarinetist Michael Thieke (Magic I.D., International Nothing) present a stunning achievement in blending compositional, pre-structured material with live improvisation, creating a blurring of virtually identical sections that create microtonal anomalies in timing, rhythm, timbre and motive, as heard in 3 amazing performances. ... Click to View


Matthew Revert / Vanessa Rossetto: Everyone Needs A Plan (erstwhile)

The second collaboration between sounds artist Vanessa Rossetto and writer and sound artist Matthew Revert is a monumental work that studies the evolution of communication through fragments of spoken words, and a rich tapestry of sound from acoustic and electronic instruments, field recordings, and perplexing and dramatic sources of sound. ... Click to View


Lucio Capece / Marc Baron: My Trust In You (erstwhile)

Two electroacoustic improvisers and composers--Lucio Capece on reeds, analog synths, effects, field recordings, drums machines, speakers in motion, and Marc Baron on field recordings and analog devices--developed these 6 extraordinary recordings that blend motion, perspective, sound and noise, and concrete references in a mystifying and mesmerizing journey in sound. ... Click to View


Melaine Dalibert : Musique pour le lever du jour (elsewhere)

Inspired by the work of Hungarian-born French media artist Vera Molnar, and by the vicissitudes of natural phenomena, French pianist and composer Melaine Dalibert developed algorithmic procedures to compose this work, translating to "Music for the Daybreak", as an illusory "endless piece" of meditative layered, resonant music in the mode of Morton Feldman. ... Click to View


Otomo Yoshihide / Paal Nilssen-Love: 19th of May, 2016 (PNL)

An intensively diverse and thrilling game of "cat and dog" between Norwegian percussionist Paal Nilssen-Love and Japanese guitarist Otomo Yoshihide, performing live at Dom Cultural Center, Moscow, Russia in 2016 for two extended improvisations that exemplify incredible technical skills, reflective and introspective dialog, and cathartic release; absolutely impressive. ... Click to View


Marker (w/ Ken Vandermark): Wired For Sound (Audiographic Records)

The debut from this Chicago band merging strong grooves with free playing, with 2 guitarists--Andrew Clinkman & Steve Marquette, plus Macie Stewart on keys & violin, Phil Sudderberg on drums, and Ken Vandermark on reeds, each of the 3 tracks dedicated to an artist: Belgian movie director Chantal Akerman; German choreographer Pina Bausch; and Anthony Braxton and Bernie Worrell. ... Click to View


Vandermark / Kugel / Tokar: No-Exit Corner (Not Two)

the second CD by the trio featuring the tenor saxophonist and clarinetist Ken Vandermark, the drummer Klaus Kugel, and the bassist Mark Tokar has the band back at Krakow's Alchemia Club, bringing these three Chicago and European players together for a skronky, energetic romp of commanding playing alongside unorthodox approaches and powerfully creative intent. ... Click to View


Bobby Zankel & The Wonderful Sound 6: Celebrating William Parker at 65 (Not Two)

Celebrating bassist and composer William Parker's 65th birthday at the Painted Bride Art Center in Philadelphia in a band led by Bobby Zankel on alto saxophone, Muhammad Ali on drums, Dave Burrell on piano, Steve Swell on trombone, Diane Monroe on violin, and William Parker himself on bass, in a 4-part suite of beautifully turbulent and masterful free jazz. ... Click to View


Ernesto Rodrigues / Guilherme Rodrigues / Fred Marty / Carlos Santos: Jardin Carre (Creative Sources)

French double bassist Fred Marty joins Creative Sources core performers, violist Ernesto Rodrigues, cellist Guilherme Rodrigues and electronic artist Carlos Santos for an extensive improvisation exploring both lyrical and pointillistic improvisation, themed loosely around a garden quartet or frame, the music detailed, active and formidably sophisticated. ... Click to View


Urlich Mitzlaff : Ten Sonic Miniatures about the "Scream" by Edvard Munch (Creative Sources)

Using Edvard Munch's famous painting "The Scream" as his muse, German cellist living in Portugal, Ulrich Mitzlaff, presents 10 acoustic miniatures from just over a minute to 4 1/2 minutes in length, including wildly interactive moments of delirium to darkly melodic bowed passages, using his impressive technique to create vivid depictions of Munch's work. ... Click to View


4! (Patrizia Oliva / Carlo Mascolo / Domenico Saccente / Felice Furioso): Factorial (Creative Sources)

Free electroacoustic improvisation from the Italian quartet of Patrizia Oliva on voice, electronics, bawu, objects, Carlo Mascolo on prepared trombone, Domenico Saccente on accordion and prepared piano, and Felice Furioso on drums, cupa cupa, contrabbassa, sounded objects, using voice and unusual instrumentation to guide unusual and forward-thinking improv. ... Click to View


Frantz Loriot : Reflections on an Introspective Path (Neither/Nor Records)

French-Japanese violist Frantz Loriot's first solo album takes the viola into unusual territory, using an acousmatic approach to create music and sounds with no visual reference by transforming the sound of the viola through preparations and remarkable extended techniques, layering and assembling his works to create concrete statements of movement. ... Click to View


Costa's Acustica, Carlo: Strata (Neither/Nor Records)

New York composer and drummer Carlo Costa assembled this accomplished ensemble of NY improvisers for a live performance at IBeam in Brooklyn, capturing his piece "Strata" that evolves layers of sound from very sparse to densely yet accesibly stacked sound, varying recurring material to change perspectives in the aural space as the piece progresses; impressive. ... Click to View


Flin van Hemmen (w/ Neufeld / Obsvik): Drums of Days (Neither/Nor Records)

Debut album as a leader from drummer and pianist Flin van Hemmen, an evocative album of original compositions and improvisations recorded in a trio with Eyvind Opsvik on double bass and Todd Neufeld on acoustic guitar, with Tony Malaby on alto and soprano sax on one track; a beautifully cinematic and poetic album that allows for space and reflection. ... Click to View


Peter Blegvad : Bandbox [6 CD BOX SET] (Recommended Records)

Starting with Blegvad's "Downtime" LP, this box traces the evolution of the Peter Blegvad Trio into a quintet with Karen Mantler and Bob Drake, released in a solid box with a double CD of alternate versions, unreleased material and live performances, plus a 72 page book of photographs, memorabilia, drawings, documents and recollections; the ultimate reissue! ... Click to View


Roberto Musci / Giovanni Venosta: Messages & Portraits (2018 Edition) (Recommended Records)

A welcome reissue of two 1980s, forward-thinking albums of electronic compositions from Milanese ethnomusicologist composers, sound engineers and performers Giovanni Venosta and Roberto Musci, incorporating exotic field recordings from their world travels into accessibly sophisticated pieces, creating unexpectedly innovative, novel and melodically rich hybrids. ... Click to View


Vitor Rua & The Metaphysical Angels: When Better Isn't Quite Good Enough [2 CDs] (Recommended Records)

Guitarist Vitor Rua (GNR, Telectu) recorded the 15 pieces of this 2-CD set first as a series of overdubbed solo improvisations, using his virtuosic skills to create intriguing and compelling works, which he orchestrated and recorded with the quintet of Hernani Faustino on bass, Luis San Payo on drums, Manuel Guimaraes on organ, Nuno Reis on trumpet, and Paulo Galao on clarinets. ... Click to View


Allen Ravenstine : Waiting For The Bomb [VINYL] (Recommended Records)

Many years after Pere Ubu and his work as a pilot, one of the world's most unique synth players, Allen Ravenstine, releases an album of composed works, 18 discrete hybrid miniature sound worlds that blend acoustic, real-world and synthetic sounds in unorthodox ways that elusively twist conventional approaches with unexpected elements and narrative twists. ... Click to View


Lance Olsen Austin : Dark Heart (Another Timbre)

Four fascinating and detailed compositions from Canadian composer and painter Lance Austin Olsen, each work giving the performers space to collaborate on the results, using graphic scores and Cage-like elements from recordings; performers include Terje Paulsen, Gil Sanson, Ryoko Akama, Isaiah Ceccarelli, Katelyn Clark, Patrick Farmer and Apartment House. ... Click to View


Alex Jang : Momentary Encounters (Another Timbre)

Four fragile and mostly minimal works by Victoria-based composer Alex Jang, performed by the Apartment House ensemble, with solo pieces by Heather Roche on clarinet + field recordings, one with Cristian Alvear on guitar, an acoustic quintet, and "any three players" designed for any mix of instrumentation, here on melodica, vibraphone & cello. ... Click to View


Linda Smith Catlin: Wanderer (Another Timbre)

Eight sophisticated chamber pieces composed by Linda Catlin Smith and realized by the Canadian Apartment House ensemble, including a solo piano performed by Philip Thomas, a piano duo with Thomas and Mark Knoop, and works for percussion & cello, 2 quintet pieces for strings, percussion and winds, and two 7-piece conducted works with two percussionists, strings and brass. ... Click to View


Cassandra Miller : O Zomer! (Another Timbre)

Two ensemble works and two solo pieces by Christian Wolff's favourite contemporary composer, Cassandra Miller, who is blazing a very personal trail through the experimental music world, with brilliant performances by Apartment House, Mira Benjamin, Philip Thomas, and Charles Curtis with the BBC Scottish Symphony Orchestra, conducted by Ilan Volkov. ... Click to View


Cassandra Miller : Just So (Another Timbre)

A disc of extraordinary string works by Canadian composer Cassandra Miller, presenting four string quartets superbly played by the Quatuor Bozzini quartet of Clemens Merkel on violin, Alissa Cheung on violin, Stephanie Bozzini on viola, and Isabelle Bozzini on cello, including the large work "About Bach", awarded the Jules Leger Prize for New Chamber Music. ... Click to View


Bucher / Countryman (w/ Simon Tan / Isla Antinero): Extremely Live in Manila (ChapChap Records)

A live concert in Quezon City from the Manila based duo of Rich Countryman on alto saxophone and Swiss drummer Christian Bucher, who are joined on one track by acoustic bassist Simon Tan and trombonist Isla Antinero. ... Click to View


Ernesto Rodrigues / Guilherme Rodrigues / Adam Pultz Melbye / kriton b.: The Distant Sound Within (Creative Sources)

Three strings--cello from Guilherme Rodrigues, double bass from Adam Pultz Melbye, and viola from Ernesto Rodrigues--plus harmonium and objects from Kriton Beyer, in a live performance at Kuhlspot Social Club in Berlin, each of the 9 movements a concentrative work named with a three-letter onomatopoeia, as the players draw sound from a mysterious dark distance. ... Click to View


Akmee (Pedersen / Jerve / Albertsend / Wildhagen): Neptun (Nakama Records)

Debut album from this Oslo collective quartet of free improvisers led by drummer Andreas Wildhagen (Nilssen-Love Large Unit) with Erik Kimestad Pedersen on trumpet, Kjetil Jerve on piano, and Erlend Olderskog Albertsen on double bass, a thoroughly modern band that balances more experimental playing with improv in the European tradition; a strong start. ... Click to View


Akmee (Pedersen / Jerve / Albertsend / Wildhagen): Neptun [VINYL] (Nakama Records)

Debut album from this Oslo collective quartet of free improvisers led by drummer Andreas Wildhagen (Nilssen-Love Large Unit) with Erik Kimestad Pedersen on trumpet, Kjetil Jerve on piano, and Erlend Olderskog Albertsen on double bass, a thoroughly modern band that balances more experimental playing with improv in the European tradition; a strong start. ... Click to View


Nakama: Worst Generation (Nakama Records)

Freely improvised and unusual collective improv from the quintet of Christian Meaas Svendsen (double bass), Andreas Wildhagen (drums), Ayumi Nataka (piano), Adrian Loseth Waade (violin) and Agness Hvizdalek (voice), an abstract yet energetic album with Hvizdalek's voice adding an exotic edge to extended techniques based in free jazz strategies. ... Click to View


Nakama: Worst Generation [VINYL] (Nakama Records)

Freely improvised and unusual collective improv from the quintet of Christian Meaas Svendsen (double bass), Andreas Wildhagen (drums), Ayumi Nataka (piano), Adrian Loseth Waade (violin) and Agness Hvizdalek (voice), an abstract yet energetic album with Hvizdalek's voice adding an exotic edge to extended techniques based in free jazz strategies. ... Click to View


Machinefabriek: Engel (Machinefabriek)

Rutger Zuydervelt, AKA Machinefabriek, expanded the existing score for Marta Alstadsaeter & Kim-Jomi Fischer's dance piece "Engel", which is a contemporary piece combining dance and circus acrobatics, the new soundtrack a large work combining rich mirages of electronica, ambient sound, assertive noise, and even a section of Paal Nilessen-Love's drumwork. ... Click to View


  •  •  •    Join Our Mailing List!



The Squid's Ear
Squidco Sales



  Berlitz Jazz  

David Murray's Musical Travels


By Kurt Gottschalk 2003-12-15

David Murray
[Photo: Kurt Gottschalk]
David Murray took the stage at one of the most prestigious halls in New York City in mid October. The room itself was the beautiful new Zankel Hall, but this was nevertheless Carnegie Hall, which no matter what even when pop brothers Hanson rent it is a statement.

Less than a decade ago, Murray was living in Brooklyn, leading a big band Monday nights at the Knitting Factory and playing well lubricated gigs at the Village Vanguard and other spots around town. Despite being one of the best jazz horn players alive, he was another New York gigging musician.

But times change, and now his appearances in town, once or twice a year at best, are events. On this night, it was the 10 string players - in addition to his quartet of pianist Lafayette Gilchrist, bassist Jaribu Shahid and drummer Hamid Drake - that made the gig a concert proper. But even if this was Carnegie Hall and even if the string players were in concert black, the only orchestra Murray was taking cues from was the Love Unlimited. And while he didn't mention Philadelphia, he alluded to his other musical journeys of recent years.

"My quartet is the core of my explorations in Africa and the Carribean," he said from the stage. "We've traveled many miles together and we have many more miles to travel."

Murray's sculpting of events in part relies on a fonder heart borne of absence. But it's also or would seem to be by design, part of a master plan. When asked after a rehearsal for his Cuban Big Band's appearance at the Knitting Factory in January why he doesn't play in New York anymore, he said simply "That's by design."

It's also logistics. Murray left New York to live in France in 1995, where he and his wife Valerie Malot run 3D Family Productions. Since then, his performances in the town he called home for some 25 years haven't been gigs, they've been concerts: proper halls, thematic programming, and ticket prices to match. He brought a big band to Aaron Davis Hall in Harlem to play the music of Duke Ellington and appeared with his octet on Broadway for a performance with the dance troupe Urban Bushwomen.

And after three score and more cds leading dozens of musicians through his insightful arrangements of the jazz repertoire, Murray announced his retirement from jazz around the time he left New York, saying he would focus his efforts on musical traditions of other cultures. That and the move to Paris marked his fall from New York jazz darling, our own anti-Marsalis, to an outsider, someone whose name most often elicits responses like "Is that guy still around?" and "Oh yeah, what's he been up to?"

But for Murray, the musician's life in New York was getting worse, with fewer places to play and less opportunity to get paid.

"It seemed kind of a void, like things were going to change for the worse," he said. "The musicians didn't really want to stand up for their rights - the right to play anywhere they want to, to be creative. New York has always been the most creative city in the world. Conservatism had taken over jazz."

To sidestep that conservatism, Murray became a world traveler. In a tradition dating back to Dizzy Gillespie, Murray began looking to sounds from other cultures to feed his jazz. He's borrowed from the Carribean (Creole, released in 1998), Guadalupe (Yonn-De, from 2002) and now, Gillespie's beloved Cuba on the new Now is Another Time (released, like the others, on the Canadian label Justin Time).

"I'm not in everybody's faces," he said. "I'm in different people's faces all over the world. My mind is so far from New York at the moment. It's nice to be here, but I don't care to live here. I'm having the ball of my life right now."

The Cuban jazz he brought to the Knitting Factory shows that spirit. It's infectiously fun. But while the record was made with Cuban musicians (along with a few of his regular collaborators), the New York shows were a reunion of his old big band days, meaning pulling the musicians together and running charts with limited rehearsal time before the four-night stand.

Sixteen people, a baby grand, drums, congas, an upright bass, three trombones crossing over music stands, a five-strong sax section plus the bandleader and his unrivaled tenor were crowded onto the stage, the same stage where he held court on Monday nights for a good chunk of the '90s with his big band, often under the conduction of Lawrence D. "Butch" Morris. Rolls of sheet music fell from Murray's stand as he sang "New York, OK," then called "Sad Kind of Love."

"Ok, so y'all gotta groove with that," Murray said to the band. "It's weird, but ya gotta groove. You could even put it into a rock thing if you want - pah pah pah - but it's gotta lock. What's happening here is we're playing a ballad, and it's not going to get fast."

Much of his conducting during the rehearsal involved pointing heavenward with his right hand - always up, always more. Whatever project Murray takes on, he's unlikely to demand less than fire from is band. The band ran through some unmistakable Murray heads, vintage even, the pure sugar of albums like Shakill's Warrior, but with a Latin backbeat.

Whatever the influence, the Cuban here or the other "world music" projects he's taken on, the music swings. Taking the jazz out of David Murray would be something like taking the soft out of a pillow.

"It's jazz," he later affirmed. "It's my way of trying to seize something Latin inside what I'm doing.

"I started out studying the rhythms of the drums," he said. "I'm not a master of it. I just tried to study the masters." He cites Cuban pianist Monolito Simonet and flutist Jose Luis Cortez (who appears on the new record) as some of the sources to which he's been turning.

"It's not just me blowing my horn," he said. "You're going to countries, pacing out the project. I'm learning and I'm teaching. It takes me away from the mundaneness of what jazz has become. I think my life is a lot more exciting than a lot of jazz players."

Asked if he thinks he's fitting more into a world music than a jazz mold lately, he was careful not to commit.

"I haven't played at that many world music festivals, so I guess not," he said. "As long as I'm playing the jazz festivals, I guess what I'm doing is jazz. The European community is putting more white in it on the one side, I'm putting black in on the other. Me being an African, it's probably the truest thing I can do."

Still, he said, following the rhythms of the African diaspora isn't his sole ambition.

"I'm interested in China," he said. "There's so many curiosities in the world, for me to focus just on "I Got Rhythm" is kind of stupid."

But if his concert at the Knitting Factory was a cross pollinization, the Carnegie Hall night was pure jazz; if he was following in the tradition of Diz before, here he was touching on something that goes back to Charlie Parker with Strings. They played Billy Strayhorn's "Chelsea Bridge," a piece dedicated to Curtis Mayfield and a second for John Coltrane, in which Murray went from 1958 to 1966 in the first two minutes, eclipsed Trane altogether from a moment, then landed squarely in the early Impulse! years and worked his way to 1968.

It's with no false modesty that he takes on Trane, and he can kick it with Prez and Bean, too. And when he skips across them all like a stone across the surface of a pond, that's pure Murray. He sells big ideas, and in the end you can't blame him for whatever it takes to get him where he's going. But ultimately it isn't big ideas he delivers. It's a variety of pastiches and facades, borrowings and labellings with the same saxophone he's been playing for decades. Which may sound like harsh criticism, but it isn't, for the simple reason that Murray is still about the best saxophonist in jazz. He's easily the most dextrous and soulful, and that's what he's paid for. He's not a conceptualist, and he's not even a great composer. Out of the scores of pieces he's composed, only a handful are really memorable (and perhaps only "Hope Scope" is truly great). But his huge tone and his rich soulfulness, not to mention his equally great bass clarinet playing, have been one of the pure treasures in jazz for three decades. The rest is just window dressing.

And somewhere, behind all the dedications and below the Ben Webster hat, Murray seems to know it.

"I believe in the past," he said. "You have to study the past to have a strong future. The history of jazz is so short, why not know everything?"



The Squid's Ear is the companion magazine to the online music shop Squidco !


  Copyright © 2016 Squidco. All rights reserved. Trademarks. (3647)