The Squid's Ear
Recently @ Squidco:

Oliver Schwerdt / Barry Guy / Baby Sommer:
Fucking Ballads (Euphorium)

An enthusiastic and energetically powerful trio meeting between three masters--Oliver Schwerdt on grand piano & percussion, Barry Guy on double bass and Baby Sommer on drums & percussion--performing live in 2021 at naTo, in Leipzig for two extended improvisations of remarkable communication, incredible virtuosity, but most importantly, incredible and compelling creative drive! ... Click to View


JAKAL (Fred Lonberg-Holm / Keefe Jackson / Julian Kirshner):
Peroration (Amalgam)

Formerly known as J@K@L, this Chicago trio has explored hard hitting improvisation since 2014, the band name an amalgamation of the performer's names--Keefe Jackson on tenor & sopranino saxophone & tube, Julian Kirshner on drums and Fred Lonberg-Holm on cello, tenor guitar and electronics--in a dynamic and exciting 2022 concert at Elastic Arts, in Chicago. ... Click to View


The Remote Viewers :
Inside The Blizzard / Trivia (Remote Viewers)

UK Composer David Pett's Remote Viewers present two large works: "Inside the Blizzard" in five parts of configurations from solo to quintet; and "Trivia", a quintet work in eight parts; solid, compelling work of forceful confidence from members Adrian Northover, Sue Lynch, Caroline Krabbel & Petts on sax, John Edwards on bass, Hutch Demouilpied on trumpet and Rosa Theodora on piano. ... Click to View


Teiku (Harlow / Taylor / Shahid / Formanek / Leafar):
Teiku (577 Records)

Teiku, a Talmudic acronym that roughly translates to "unanswered question", was co-founded by pianist Josh Harlow and percussionist Jonathan Barahal Taylor to explore each of their family's unique Passover vocal melodies through improvisation and sonic exploration, performed in a quintet with Art Ensemble/Sun Ra bassist Jaribu Shahid and reedists Peter Formanek & Rafael Leafar. ... Click to View


Jorge Nuno:
Labirinto (Phonogram Unit)

After recovering from heart surgery, Portuguese guitarist Jorge Nuno (Ensemble MIOA, Isoptope, Voltaic Trio, &c) records this solo improv album to show his resilience, performed primarily on acoustic guitar in a balanced journey of assertive and introspective playing, accompanied by an insert of a text work by Rui Baião. ... Click to View


Bruno Duplant / Rutger Zuydervelt:
Edge Of Oblivion (Machinefabriek)

The third collaboration between sound and electronic artists Bruno Duplant and Rutger Zuydervelt (Machinefabriek) is a darkly heavy and dramatic work of subtle motion that slowly unfolds and shifts through vast sonic environments, fueled by acousmatic sources that take the listener to the edge of darkness and then pulls them back in warm waves or rich ambiance. ... Click to View


Felix Profos / Peter Conradin Zumthor:
Grund (Edition Wandelweiser Records)

Since 2021 Swiss composer Felix Profos and drummer Peter Conradin Zumthor have performed as the duo Grund, Profos performing on harmonium and on the 1973 Italian organ Bontempi Pop3, Zumthor on bass drum, gong, bells & snare, their extended work on this self-titled album a tranquil and meditative work of slow transitions with moments of terse activity, receding with grace and serenity. ... Click to View


Leap Of Faith:
Emergent Spacetime (Evil Clown)

The core of the Boston improvising collective Leap of Faith Orchestra are the duo of cellist Glynis Lomon and reedist and multi-instrumentalist David Peck, here joined by Eric Woods on analog synth and new collective member Jared Seabrook on drums & percussion, for two examples of Peck's broad palette concept yielding evolving transformations through free playing ... Click to View


Expanse:
Reach (Evil Clown)

Perhaps the most synthetic of Evil Clown releases, Expanse represents space and restraint, this the 8th album from the Boston improvising collective of David Peck on reeds, winds, synths and percussion, Robin Amos on synths, Michael Knoblach on percussion (including egg beater, humpty dumpty toy, and teething rings) and Joel Simches providing real-time processing; inexplicably interesting. ... Click to View


Ethnic Heritage Ensemble:
Open Me, A Higher Consciousness Of Sound And Spirit (Spiritmuse Records)

Celebrating 50 years, percussionist Kahil El'Zabar's Ethnic Heritage Ensemble as the trio of El'Zabar, Corey Wilkes (trumpet) and Alex Harding (bar. sax), joined on tracks by James Sanders (violin) and Ishmael Ali (cello), reinterpret classics including "Great Black Music", "Ornette" and Aretha Franklin's "Compared to What", along with Miles' "All Blues" and McCoy Tyner's "Passion Dance". ... Click to View


Simon Hanes:
Tsons of Tsunami (Tzadik)

Drawing on a far-ranging set of influences--jazz, rock, contemporary, surf & exotica--California-born improvising guitarist Simon Hanes (of Trigger, who covered Zorn's Bagatelles) now resides in NYC, appropriately releasing an album of eclectic, generally upbeat, sometimes quirky, typically melodic instrumentals performed with an octet ensemble of incredible musicianship. ... Click to View


Joel Futterman:
Perspicacity (Soul City Sounds)

Five extended improvised piano solos from Joel Futterman recording in his home base of Virginia Beach, each an incredible journey in free playing that quotes and comments on the history of jazz piano, living up to the album's title through insight, perceptiveness, wit and intuition, Futterman's technique and mastery expressing narratives of amazing confidence and solid direction. ... Click to View


Kimmel.Ali.Harris (Jeff Kimmel / Ishmael Ali / Bill Harris):
Flora Oblique [CASSETTE w/ DOWNLOAD] (Amalgam)

The third release for the Chicago collective improvising trio of Jeff Kimmel on clarinet & electronics, Ishmael Ali on cello & electronics and Bill Harris on drums & feedback, acoustic interplay in the foreground with electronics adding layers of intriguing sonic pressure as their playing evolves through clear and cohesive conversation over punctuated & textural foundations. ... Click to View


Anthony Donofrio :
These Calm Words (Edition Wandelweiser Records)

An exquisite recording of composer Anthony Donofrio 1972 work for solo vibraphone captured at the University of Nebraska where Donofrio teaches and directs their new music ensemble, this extended work for solo vibraphone performed by Donofrio himself, living up to its title in a delicate advancement from clear playing to unusual vibraphone timbres and technique. ... Click to View


Eva-Maria Houben (Kei Kondo / Takahiro Kuroda):
His Master's Voice / Aus Den Fliegenden Blattern Eines Fahrenden Waldhornisten / Lose Verbunden (Ftarri Clasical)

One of two albums capturing a May 15th, 2023 concert in Tokyo by composer Takahiro Kuroda at the Ftarri performance space, titled "Square of Thoughts Vol. 2: Eva-Maria Houben and Horn + x", this album presenting two Houben works for solo horn performed by virtuoso horn player Kei Kondo, and one solo piano piece performed by Kuroda on upright piano. ... Click to View


Eva-Maria Houben (Takahiro Kuroda / Kei Kondo):
Echo Fantasy II (Ftarri Clasical)

The second of two albums capturing a May 15th, 2023 concert in Tokyo by composer & pianist Takahiro Kuroda at the Ftarri performance space, titled "Square of Thoughts Vol. 2: Eva-Maria Houben and Horn + x", this album presenting a 2018 Houben composition for horn and piano titled "Echo Fantasy II", performed by virtuoso horn player Kei Kondo and Takahiro Kuroda on upright piano. ... Click to View


Rutger Zuydervelt :
Kites (music for a performance by Roshanak Morrowatian) (Machinefabriek)

Music for a solo dance piece performed by Roshanak Morrowatian and composed by Netherland electronic artist Rutger Zuydervelt, the subject of the dance reflecting on the experience of young asylum seekers forced from their native countries to grow up somewhere unfamiliar, the music in seven parts weaving fragments of Iranian popular music into Zuydervelt's abstract electronics. ... Click to View


Simulacrum:
Mimesis (Evil Clown)

Expanding on their 2023 Homunculus, the Boston-based collective ensemble Simulacrum with a core of David Peck on reeds, percussion, keys and direction, Eric Woods on analog synth and Bob Moores on space trumpet & guitar are expanded with Cecil Taylor bassist Albey OnBass, synthesist Eric Zinman, reedist Michael Caglianone and drummer Michael Knoblach. ... Click to View


John Butcher + 13:
Fluid Fixations (Weight of Wax)

Commissioned for the 2021 Huddersfield Contemporary Music Festival, John Butcher's fantastic work for 14 improvisers of unique approach employs what Butcher refers to as "psychological orchestration"--imagining how each performer might respond to particular ideas & their sonic company--the score, which includes photographic imagery, directing specific solos, duos & small groupings. ... Click to View


Phantom Orchard (Ikue Mori / Zeena Parkins):
Hit Parade of Tears (Tzadik)

Distilling their ensemble to its original duo configuration, New York improvisers Zeena Parkins and Ikue Mori reflect on the stories of Japanese author Izumi Suzuki through ten mysteriously eclectic and beautifully developed compositions of harp (acoustic and electric), electronics, percussion, harmonium, ondes martenot, and much more; wonderful, imaginative and evocative work. ... Click to View


Sean Lennon Ono:
Asterisms [VINYL] (Tzadik)

The chameleonic styles of Sean Ono Lennon are in full force on this instrumental record, merging rock, jazz, experimental and cinematic styles in captivating ways, performed with the spectacular ensemble of Devon Hoff (bass), Yuka Honda (electronics), Johnny Mathar (drums), João Nogueira (Wurlitzer), Ches Smith (drums), Michael Leonhart (trumpet) & Mauro Refosco (percussion). ... Click to View


Chorale Joker / Ensemble SuperMusique:
Demantibule•es (Ambiances Magnetiques)

Merging members of Ensemble SuperMusique with a subset of the ensemble Chorale Joker, Joane Hétu presents four premieres that explore our experiences during the pandemic, SuperMusique focused on electronics and synthetic instruments and offset by a wind quintet, the music and vocal interactions often explosive, reflecting on our mental states during an overwhelming cultural malady. ... Click to View


Josh Berman / Eli Wallace / Ishmael Ali / Bill Harris:
An-Ill Fitting Garment [CASSETTE w/ DOWNLOAD] (Amalgam)

Cornetist Josh Berman, drummer Bill Harris, and cellist Ishmael Ali meet with NY pianist Eli Wallace in Chicago, recording live in the studio for a session that focuses on acoustic interplay using unusual techniques, inside piano playing, textural percussion with scrapes & drags and melodic & harmonic fragments, Fitting quite well in a set of interesting moods and motion. ... Click to View


IKZ (Chris Dammann / Kevin Davis / John Niekrasz / Toby Summerfield):
I Saw The Cryptic Problem Of My Generation Destroyed (Amalgam)

Four improvisations that start as dense and scrabbly electroacoustic improv and then transport into beautiful sonic interaction from the Chicago collaborative quartet of Chris Dammann (Scott Clark) on double bass, Kevin Davis (Jason Stein's Locksmith Isidore) on cello, John Niekrasz (Poor School, The Naked Future) on drums and Toby Summerfield (Larval, Algernon, Scott Clark) on guitar. ... Click to View


Joao Gato / Bruno Parrinha:
Two (Phonogram Unit)

Two Portuguese saxophonists of different generations both playing on alto sax--Bruno Parrinha, an established and extraordinary player involved with many projects on Clean Feed and Creative Sources, and João Gato, leader of Apophenia Quartet--present 11 improvisations recorded in the studio, their voices intertwining amid masterful technique and creative impulse. ... Click to View


Danya Pilchen :
Two Songs. Anne, Germaine, Koen, Seamus, Danya (Edition Wandelweiser Records)

Two "songs" from a series of works by Netherlands composer and pianist Danya Pilchen, exploring the possibilities of making and experiencing time through attentive listening, these works focused on creating a dialogue between two measures of time, performed with Anne La Berge on flute, Germaine Sijstermans on clarinet, Seamus Cater on harmonica and Koen Nutters on double bass. ... Click to View


Paul Newland:
Things That Happen Again (Another Timbre)

A portrait of UK interdisciplinary composer Paul Newland's music through five pieces dating from 2009 to 2023 performed by members of London's Apartment House ensemble, including a string quartet, two different trio combinations, a short work for solo piano, and a score for open instrumentation, realised in this recording by a septet. ... Click to View


Michel Banabila :
The Unreal Realm (Tapu Records)

A collection of works from Netherlands composer Michel Banabila, including a piece developed with saxophonist Dave Liebman and previously released only digitally; a work with Rutger Zuydervelt (Machinefabriek); a work with Pierre Bastien; and excerpts from scores for Yin Yue's choreography in two works: "Somewhere" for New York Live Arts and "Timeless Tide" for BalletMet. ... Click to View


Rotem Geffen:
The Night Is The Night (thanatosis produktion)

Singer, songwriter and pianist Nelly Klayman-Cohen, aka Rotem Geffen, explores the fringes of dreamy pop music with lyrics in German, English and Hebrew that explore themes of memory, love, grief, loss, and the night as a vibrating room, with collaborators including Alexander Zethson on keyboards, Isak Hedtjar on clarinets and winds, Vilhelm Bromander on double bass, &c. ... Click to View



  •  •  •     Join Our Mailing List!



The Squid's Ear
Facebook: 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 presents
reviews about releases
sold at Squidco.com
written by
independent writers.

Squidco

Recent Selections @ Squidco:


JAKAL (
Fred Lonberg-Holm /
Keefe Jackson /
Julian Kirshner):
Peroration
(Amalgam)



The Remote Viewers:
Inside The Blizzard /
Trivia
(Remote Viewers)



Oliver Schwerdt /
Barry Guy /
Baby Sommer:
Fucking Ballads
(Euphorium)



Bruno Duplant /
Rutger Zuydervelt:
Edge Of Oblivion
(Machinefabriek)



Simon Hanes:
Tsons of Tsunami
(Tzadik)



Ethnic Heritage Ensemble:
Open Me,
A Higher Consciousness
Of Sound And Spirit
(Spiritmuse Records)



Phantom Orchard (
Ikue Mori /
Zeena Parkins):
Hit Parade
of Tears
(Tzadik)



Chorale Joker /
Ensemble SuperMusique:
Demantibule•es
(Ambiances Magnetiques)



Sean Lennon Ono:
Asterisms
[VINYL]
(Tzadik)



Joel Futterman:
Perspicacity
(Soul City Sounds)



Michel Banabila :
The Unreal Realm
(Tapu Records)



John Butcher + 13:
Fluid Fixations
(Weight of Wax)



Christof Migone /
Alexandre St-Onge:
undoundone
(Ambiances Magnetiques)



Anthony Braxton :
10 Comp (
Lorraine) 2022
(New Braxton House)



Ensemble SuperMusique:
Musiques Emeraude
(Ambiances Magnetiques)



Rempis /
Karayorgis /
Heinemann /
Harris:
Truss
(Driff Records & Aerophonics)



Paul Paccione:
Distant Musics
(Another Timbre)



Peter Evans
Being & Becoming (
Evans /
Ross /
Jozwiak /
Ode):
Ars Memoria
(More Is More)



Gregorio /
Smith /
Bryerton:
The Cold Arrow
(Balance Point Acoustics)



Chad Fowler /
Shanyse Strickland /
Sana Nagano /
Melanie Dyer /
Ken Filiano /
Anders Griffen:
Birdsong
(Mahakala Music)







Squidco
Click here to
advertise with
The Squid's Ear






The Squid's Ear pays its writers.
Interested in becoming a reviewer?




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


  Copyright © Squidco. All rights reserved. Trademarks. (23328)