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Mostly Other People Do the Killing: Paint (Hot Cup)

The first release by the piano trio configuration of Mostly Other People Do the Killing and features bassist/composer Moppa Elliott, pianist Ron Stabinsky, and drummer Kevin Shea, with each composition named after a small town in Pennsylvania that contains a color, and the town of "Paint, PA" lent its name to the title, with one apt Duke Ellington cover. ... Click to View


Moppa Elliott : Still, Up In The Air (Hot Cup)

Solo double-bass improvisations from Mostly Other People Do the Killing bassist and leader Moppa Elliot, consisting of sequences of contrasting themes, or musical cubism in the spirit of Picasso and Braque, presenting 7 of 14 sequences where the improvisation is a series of disparate musical ideas that transition rapidly in an attempt to disrupt the linear progression of thematic development. ... Click to View


Leandre / Minton: Leandre / Minton (Fou Records)

Phil Minton started as a trumpeter and became one of free improv's most outside vocalists; Joelle Leandre is a double bassist who also performs free vocal improv; this is their first recorded collaboration, and it's an unusual and wonderful album of heavy tone improvisation, plucked and bowed, and a masterfully odd free association of vocalisation. ... Click to View


Talibam! : Endgame Of The Anthropocene [VINYL] (ESP)

Talibam!'s 1st cinematic album of through-composed ecogothic geosonics, the "soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth" from NY's duo of Matt Mottel on mini moog and synths, and Kevin Shea on drums, and midi mallet percussion. ... Click to View


Talibam! / Matt Nelson / Ron Stabinsky: Hard Vibe [VINYL] (ESP)

Talibam! with Matt Mottel on sax, Kevin Shea on drums, Matt Mottel on Fender Rhodes and synth and Ron Stabinsky on organ take inspiration from Herbie Hancock's 70's electronics, Miles Davis' "On the Corner" and Albert Ayler's New grass in compositions that transforms aspects of rhythm changes into a disciplined sequence, a new take on psychedelic jazz. ... Click to View


Crys Cole / Oren Ambarchi: Hotel Record [VINYL 2 LPs] (Black Truffle)

A double LP and the second release from the duo of Crys Cole and Oren Ambarchi, also romantic partners, as they explore their relationship through sound and voice, each side presenting a unique approach to their collaboration while maintaining a certain somnambulist feeling over rich guitar and organ work, and other unfathomable sound. ... Click to View


Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Thinking Out Loud (Trost Records)

The third album from this international trio of powerful improvisers--Norwegian drummer/percussionist Paal Nilssen-Love, Chicago bassist Kent Kessler, and Chicago/NY saxophonist Mars William-- in four odysseys that take the listener from introspective playing to out and out blowing, using technique to serve their incredible dialog. ... Click to View


Sven-Ake Johansson / Alexander Von Schlippenbach : Schraubenlieder [VINYL] (Trost Records)

Drummer Sven-Ake Johansson is also a poet, writer and visual artist; here he joined forced with Alexander von Schlippenbach in 1988 to record these songs, never previously released, sung in German and English, for a set of 9 fascinating narrations that engage the listener independent of language, as von Schlippenbach improvises with prodigious technique. ... Click to View


Annette Peacock & Paul Bley: Dual Unity (Bamboo)

Reissuing the debut album by vocalist Annette Peacock and pianist Paul Bley recorded during their first European tour in 1970, in a quartet with compatriots Mario Pavone on bass and Laurence Cook on drums, Bley using an early Moog synthesizer; unique and original avant jazz. ... Click to View


Paul Bley Trio: Closer [VINYL] (ESP)

A vinyl reissue of Paul Bley's 2nd ESP album from 1966, a lyrical and lush trio setting with material mostly from Carla Bley, one Ornette Coleman number, and one from Annette Peacock, with Steve Swallow on bass and Barry Altschul on percussion, exploratory free jazz that uses melodic intention in assertive but not aggressive aways; a classic. ... Click to View


Pharoah Sanders : Quintet [VINYL] (ESP)

A vinyl reissue of Pharoah Sanders' 1965 debut release on ESP, in a quinet with Jane Getz on piano, William Bennett on bass, Stan Foster on trumpet and Mavin Pattillo on percussion, decidedly a jazz album from this outside player known for his association with John Coltrane in his freeist moments, here bridging lyrical and avant worlds with powerful playing. ... Click to View


Wadada Smith Leo: Najwa (Tum)

Paying tribute to musicians whose vision paved the way for modern creative players to use new approaches, language and philosophy in improvisation, trumpeter Wadada Leo Smith's band with four guitarists, electric bass, drums and percussion dedicates five incredible compositions to Ornette Coleman, John Coltrane, Ronald Shannon Jackson, and Billie Holiday. ... Click to View


Wadada Smith Leo: Solo - Reflections And Meditations On Monk (Tum)

An intimate album of solo trumpet from Wadada Leo Smith, performing compositions by Thelonious Monk, Smith professing in an essay in the accompanying booklet that he was motivated to become a composer by Monk above other contemporaries for his ideas of composition and bands; his admiration and love of Monk's work is clear in this beautifully lyrical album. ... Click to View


Aki Takase / Alexander von Schlippenbach: So Long, Eric! Homage to Eric Dolphy (Intakt)

Alexander von Schlippenbach and Aki Takase assembled an ensemble of Dolphy interpreters that includes bass clarinetist Rudi Mahall, saxophonist Tobias Delius, vibraphonist Karl Berger, trumpeter Axel Dorner, trombonist Nils Wogram, &c, for a fresh take on compositions from one of free jazz's most iconic composers, Eric Dolphy, captured live in Berlin, 2014. ... Click to View


Steve Noble / Yoni Silver: Home (Aural Terrains)

The two-headed snake on the cover of this album aptly describes the sublimely sinuous and dark interplay between London free jazz drummer Steve Noble and bass clarinetist Yoni Silver, their 4-part improvisation taking on sinister elements of exceptional cymbal techniques, unusual drum tones, and extended lower register tones and high harmonics; excellent. ... Click to View


Various Artists: Asian Meeting Recordings #1 (Doubtmusic)

Otomo Yoshihide started The Asian Meeting Festival in 2005 to foster creative interaction between Japanese and other Asian musicians, since 2014 curated by DJ Sniff, and here in the 2017 edition at GOK Sound, in Tokyo, Japan with a who's-who of players including Yoshihide, Ryoko Ono, Ko Ishikawa, Son X, KEITO, Yuji Ishihara, Yuen Chee Wai, &c. &c. ... Click to View


Jim Black Trio: The Constant (Intakt)

A beautiful example of the modern piano trio, led by in-demand drummer, Jim Black, with Elias Stemeseder the pianist and Thomas Morgan on bass, in a lyrical album that uses Black's compelling and elusive drumming on 9 original Black compositions and one unexpected standard, as all three deliver complex playing that sounds accessible and engaging, a true achievement. ... Click to View


Fred Frith / Barry Guy: Backscatter Bright Blue (Intakt)

Both bassist Barry Guy and guitarist Fred Frith are key artists of Switzerland's Intakt label catalog, but surprisingly the two have never shared a stage together; Intakt had a feeling about their pairing and brought them into the studio, this superb duo album being the result in 10 brilliant tracks intertwining acoustic double bass and electric guitar. ... Click to View


Fred Frith Trio: Another Day in Fucking Paradise (Intakt)

Proclaiming that he nothing more in mind then getting together with a couple of formidable musicians, guitarist Fred Frith and Mills College alumni Jordan Glenn on drums and Jason Hoopes on electric and double bass take their listeners through 13 connected pieces that reference rock, jazz and ea-soundscape in an impressive album from a remarkable new group. ... Click to View


Lotte Anker / Fred Frith: Edge Of The Light (Intakt)

An intimate dialog between frequent collaborators, UK guitarist Fred Frith and Copenhagen saxophonist Lotte Anker, both players listening carefully as they interact in a fragile dialog of profound technique and inventive approach, using texture and nuance to create unusual and captivating interchanges that demonstrate how compatible these two very different instruments can be. ... Click to View


Schlippenbach Trio (Schlippenbach / Evan Parker / Lovens): Features (Intakt)

The long-standing Schlippenbach Trio with Evan Parker on saxophone and Paul Lovens on drums presents 15 concise "Features", improvisations of great depth and diversity, from the beautifully stark solo piano that opens the album to intense collective interactions, avoiding excess in deference to the profound expression of an inspiring group chemistry. ... Click to View


Mark Dresser : Modicana [VINYL] (NoBusiness)

Double Bassist Mark Dresser, a mainstay of the Downtown NY scene as an improviser and composer, and also prominent on the US West Coast and as an international touring artist, releases a powerful album of distinctive solo playing, both technically and melodically, with 2 tracks caught live at the Umea Jazz Festival and others recorded at the University of California, San Diego. ... Click to View


Bobby Bradford / Hafez Modirzadeh / Ken Filiano / Royal Hartigan: Live at the Magic Triangle [VINYL] (NoBusiness)

A live concert at Amherst, Massachusetts in 2016 as part of the Magical Triangle Jazz Series from the quartet of legendary cornetist Bobby Bradford, Turkish saxophonist Hafez Modirzadeh on tenor, in-demand New York bassist Ken Filiano, and percussionist/drummer Royal Hartigan, the band performing two Bradford compositions, with one each from Filiano, Modirzadeh and Hartigan. ... Click to View


Andrew Lamb / Warren Smith / Arkadijus Gotesmanas: The Sea of Modicum [VINYL] (NoBusiness)

Captured live at the 2016 Vilnius Jazz Festival, the free jazz trio of saxophonist Andrew Lamb and percussionists Warren Smith and Arkadijus Gotesmanas provide a unique orchestration, with the percussionists building rhythmic structures over which AACM alumni Lamb's powerful saxophone work emerges; a great album of solid exploratory free jazz. ... Click to View


Yedo Gibson / Hernani Faustino / Vasco Trilla: CHAIN (NoBusiness)

A fiery and energetic album of masterful free jazz from Brazilian saxophonist Yedo Gibson, Portuguese-Brazilian drummer and percussionist Vasco Trilla, and Portuguese bass player Hernani Faustino (Red Trio, K4 Quadrado Azul), recording in the studio for 6 dynamic dialogs that uses a variety of approaches and references to free jazz and creative improv. ... Click to View


TON-KLAMI (Midori Takada / Kang Tae Hwan / Masahiko Satoh): Prophesy of Nue (NoBusiness)

Ton-Klami was an influential Japanese free improvising band active in the 90s, and leading to the solo careers of percussionist Midori Takada, pianist Masahiko Satoh, and saxophonist Kang Tae Hwan; here the band is heard in a 1995 live concert recorded at Design Plaza Hofu in Yamaguchi, Japan, recorded by Chap-Chap Records but never released. ... Click to View


Liudas Mockunas : Hydro [VINYL] (NoBusiness)

Lithuanian reedist Liudas Mockunas in an unusual record of clarinet and saxophone improvisations, from solo work of powerful technique to pieces using water prepared instruments to create a wealth of bubbling and aberrant sound on the instrument, side A presenting the 7 part "Hydration Suite", Side B the 3 part "Rehydration", and "Dehydration". ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk [VINYL] (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


Sun Ra & His Myth Science Solar Arkestra: The Lost Arkestra Series Vol 1 & 2 [2 10-INCH VINYL RECORDS] (Art Yard)

A double 10" featuring unreleased and rare Sun Ra recordings, including a live track from Paris in 1983, two unreleased cuts from the "Disco 3000" concert tapes, a quartet session with Sun Ra on the Crumar Mainman synth, and three selections from the Sub-Underground series of Saturn LPs, including a ballad and new material from "Live at Temple" and "What's New". ... Click to View


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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?"



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