{"title":"David Murray","description":"\u003cp\u003eDavid Murray's recorded output has included solo dates, sessions with quartets, quintets, octets, big bands and duos, for numerous European labels (notably Italy's Black Saint), as well as for Japan's DIW label. In addition, he has recorded with Music Revelation Ensemble, Clarinet Summit, and Jack DeJohnette's Special Addition (ECM). Murray is also a founding member, with Hamiet Bluiett, Oliver Lake and Julius Hemphill, of the World Saxophone Quartet, an ensemble with whom he continues to record and perform. Murray's voice is distinctive, though one can hear in his playing the influence of such classic tenor saxophonists as Ben Webster, Lester Young and Coleman Hawkins.\u003c\/p\u003e\n\u003cp\u003eHe's as comfortable playing free jazz as he is playing a gorgeous ballad, firmly in the tradition. No matter the setting, Murray always maintains absolute control of his instrument and he doesn't stop at the tenor saxophone. He has been called the most famous bass clarinetist since Eric Dolphy, and was leader of the aforementioned Clarinet Summit, whose other members included John Carter, Jimmy Hamilton and Alvin Batiste.\u003c\/p\u003e\n\u003cp\u003eA native of Berkeley, California, Murray started on tenor at age nine and led various groups as a young man. It wasn't long after his move to New York in the mid-seventies that Murray made a name for himself, building on his fiery, Ayler-esque sound and explosive delivery. After living for a long while in New York, Murray is now based in Paris (his office, \"3D Family,\" is named after one of his Hat Hut recordings), which enables him to perform extensively throughout Europe, the former Eastern Bloc countries as well as the Far East, while continuing to perform regularly in the United States.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ca href=\"https:\/\/www.facebook.com\/theofficialdavidmurray\/\" target=\"_blank\"\u003e\u003ci class=\"fa fa-facebook-square fa-3x\"\u003e\u003c\/i\u003e\u003c\/a\u003e\n\n\u003ca href=\"https:\/\/www.instagram.com\/theofficialdavidmurray\/?hl=en\" target=\"_blank\"\u003e\u003ci class=\"fa fa-instagram fa-3x\"\u003e\u003c\/i\u003e\u003c\/a\u003e\n","products":[{"product_id":"creole-1","title":"Creole","description":"Creole, Murray's latest and his second for the Canadian Justin Time label, is a pure joy. It's a high mark in a career sparkling with exceptions and boundary pushing. Recorded in Guadeloupe in early 1998, Creole is a fiery, imaginative musical coalition of Murray's long-time American compatriots, James Newton (flute), D.D. Jackson (piano); Ray Drummond (bass) and Billy Hart (drums) and a group of Caribbean percussionists, vocalists and the outstanding guitar of Gérard Lockel. The near-perfect blend is accomplished with an emphasis on rhythm, something Murray has explored on a part-time basis since at least 1989's Golden Sea (Sound Aspects), with Kahil El'Zabar.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEven when there's no percussion or rhythm section, rhythm is on Murray's mind here. Witness the two exceptional duets (Murray's \"Guadeloupe Sunrise\" and \"Guadeloupe After Dark\") with the star-worthy guitarist Lockel, who somehow suggests a surprising cross between James Blood Ulmer and Ray Lema. Murray snakes around the guitarist and plays in a dance that merely suggests percussion. Amazingly, he makes rhythm unnecessary.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut rhythm plays a significant, successful part in most of Creole. There's the thundering intro of Klod Kiavue's \"Gété\" an exotic piece that finds Murray, Jackson and Newton wandering freely (like home) over the ceremonial and rebellious Gwo-ka rhythms. The island's Spanish and French heritage are most apparent in the Latin-reggae fusion of \"Savon de Toilette,\" featuring Francoise Landreseau's chant-like vocal and a spirited, sensual interjection from Murray's tenor.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCreole, like the less successful world-beat collage of last year's Fo Deuk Revue, also on Justin Time, is a collection of spicy tastes, shifting colors and varying moods. But here, unlike Fo Deuk Revue, Murray neither belabors his exotica nor strives for a groove he can't feel. Creole's greatest moments are a result of the strong material found throughout and Murray's uncanny ability to immerse himself into the remarkable chemistry of the collective. It's apparent on the nearly straight bop of Murray's sweet \"Mona\" (one that lends itself to more coverage), the tribal dance of Kiavue's \"Gansavn'n,\" and, on the two standout tracks, both by Teofilo Chantre: \"Tonte Vontarde\" and the lovely bossa waltz of \"Flor Na Pual,\" the latter with a sensitive Nascimento-like vocal and an eloquent bass clarinet solo from Murray (recalling 1993's incisive DIW set, Ballads for Bass Clarinet ).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCreole is full of surprises - and offers much that's inviting, exciting and worth hearing again. David Murray has already moved on to other things (his orchestral tribute to Duke Ellington premiered in NewYork City last December and is scheduled to be recorded sometime this year). But Creole is one of Murray's most accessible recordings to date, one of the easiest to find and one that is superlative among his many 1990 recordings. Highly recommended.\u003cbr data-mce-fragment=\"1\"\u003e- Douglas Payne","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39509949415584,"sku":"0068944011551","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511479517344,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/7b0ab398-2607-4864-8e68-8222ed4e0b7217628619391626789194-LARGE_fb37b717-c2e3-4b17-9de5-847019749c3f.jpg?v=1616095477"},{"product_id":"fo-deuk-revue-1","title":"Fo deuk Revue","description":"Saxophonist David Murray signed to Justin Time in '95 and makes his Justin Time debut on Fo Deuk Revue, an impressively ambitious work recorded in Dakar, Senegal in mid - '96. His ensemble on this record includes American artists such as Jamaaladeen Tacuma, Darryl Burgee, Hugh Ragin, and Robert Irving III, as well as a host of Senegalese stars including sabar player Doudou N'Diaye Rose and rappers Positive Black Soul. Fo Deuk Revue brings together elements of jazz, funk, African percussion, rap, Afro-pop, and spoken word poetry—a massive fusion of styles and sounds.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNils Jacobson","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39509978972320,"sku":"0068944009459","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511484989600,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/405e65b7-1682-4879-9667-83d7e9b7898414251971197750510397-LARGE_aad4b5de-b9b3-4b81-9f44-1bec00b6d32c.jpg?v=1616095644"},{"product_id":"octet-plays-trane","title":"Octet Plays Trane","description":"So, here we have another Coltrane tribute. But wait a minute, wasn’t Murray part of another Trane project of several years back? Oh well, it doesn’t really matter because Murray and the Octet are working on a level here that magnificently transcends the typical “copycat” forms of homage. This is just as much a message about Murray as a writer and player as it is a reminder of the spirit of adventure that characterized Coltrane’s wildest inventions.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlthough Africa\/Brass proved to be the only large ensemble recording that Coltrane would assemble, the opening strains of Murray’s arrangement of “Giant Steps” makes one wonder how interesting it might have sounded to hear Trane front a big band on more than the one occasion. Taking his original solo and orchestrating it for the entire group, Murray manages a concoction that is at once modern and at the same time sounds like an updating of the swing charts of Fletcher Henderson. The hell with the fancy descriptions; it just works so well! Same goes for the boppish stride of “Lazy Bird.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMore on the mellow side, “Naima” retains all of its inherent beauty, with D.D. Jackson’s luxuriant piano ushering in Murray’s blustery tenor; further color added underneath by the flute work of James Spaulding. “India” by contrast proves to be less tumultuous then in its original form. A slow simmer is maintained by what sounds like drummer Mark Johnson’s use of tabla drums, Jaribu Shahid’s bowed bass and Spaulding’s alto flute. Murray then comes on with bass clarinet in hand, an instrument that he has made his own over the years. Making it sputter and then scream at times, the bass clarinet shows up again on “The Crossing,” a funky Murray original that fits into the program quite well.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFilling out a generous program, there’s the lengthy take on the first part of “A Love Supreme” which concludes the disc and manages to turn into a healthy backbeat groove that allows everyone to get in a solo spot or two. But then, it’s really all very heady stuff that ranks with Murray’s best and certainly his finest hour of recent vintage.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e-C. Andrew Hovan","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39510000337056,"sku":"0068944013159","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511489904800,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/238544fe-292a-4d4e-b7f3-a0754f83f68a17693768445014102676-LARGE_54f18f4e-1f69-4c2f-9c3c-b3af787b6a08.jpg?v=1616095812"},{"product_id":"waltz-again-2","title":"Waltz Again","description":"Waltz Again begins with a thick squall of strings and hyper-Ayler sax wailings, laying down a warning. The strings in this recording will not sit still as a plush backing for treacly balladeering, but will instead bob and weave in constant interplay with the quartet. And when the true ballads come, their beauty gleams off the frenzy that passed before and will rage after.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAfter the squall there is mourning, a swirling dirge of violins that would have Bernard Herrmann sneak a nod of approval. Obsessive and insistent, one envisions a paranoid protagonist bemoaning those voices in his head. That voice, I suppose, would be of Pushkin, and of the works that Murray namechecks for each movement of his \"Pushkin Suite #1.\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThat bracing opening is entitled \"Blackamoor of Peter the Great,\" after Pushkin's unfinished romance about his African great-grandfather, Ibrahim Petrovich Gannibal. A slave who rose to become a prominent member of Empress Elizabeth's court, the story fictionalizes the youth's assimilation to Russian society—and those seesawing strings and oft-times lyrical clarinet and sax stabs offer a rich portrait of angsty yearning. But comparisons should cease there, as Murray takes the music to levels no narrative could track—the bliss of the sax phrases briefly jiving with the string melodies before breaking it all down again, words can't describe. Then again... a poem by Pushkin equals Murray’s Ben Webstering a quivering heart on the floor love ballad. The Russian declaims:\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI loved you, and I probably still do,\u003cbr data-mce-fragment=\"1\"\u003eAnd for a while the feeling may remain...\u003cbr data-mce-fragment=\"1\"\u003eBut let my love no longer trouble you,\u003cbr data-mce-fragment=\"1\"\u003eI do not wish to cause you any pain.\u003cbr data-mce-fragment=\"1\"\u003eI loved you; and the hopelessness I knew,\u003cbr data-mce-fragment=\"1\"\u003eThe jealousy, the shyness—though in vain—\u003cbr data-mce-fragment=\"1\"\u003eMade up a love so tender and so true\u003cbr data-mce-fragment=\"1\"\u003eAs may God grant you to be loved again.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThat man knew the blues. He would've loved Murray.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOnward. With “Waltz Again” his sax swings on the string swell and manages some intimate asides before they ramp up again, bombastic and affecting, a similar if less adventurous feat achieved earlier this year by Wynton Marsalis in his strings concert. “Dark Secrets” continues the richness, with some syncopated rhythm and foot tappin’, the strings reaching for the stars in insistent riffs that Murray outdoes with a high-register, laid back insouciance.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e“Steps” slows it down, way on down, down in those areas that cut off major motor functions. Light some candles. Highlight: on a break he wails and sighs, poutingly imploring his lover to sidle up and make some real noise. All he gets are strings and a bass ostinato. Sublime. “Sparkle” is merely capable, the strings sawing a simple theme and Murray jabbing his way around it, eventually settling down into a relaxed, ridiculously swinging lounge act. But a lounge act it remains. No matter. David Murray has made one of the albums of the year.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e- R. Emmet Sweeney","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39510018293920,"sku":"0068944019359","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511498457248,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/e4c42086-2e03-4854-a1e8-f27fd73cb81e11018474937220265723-LARGE_4f76978c-d348-48a8-aede-e6c8dde40f39.jpg?v=1616095949"},{"product_id":"silence-2","title":"Silence","description":"David Murray (tenor saxophone, bass clarinet) and Mal Waldron (piano) recorded this album in Brussels in 1991. Waldron passed away in 2002, leaving Silence as a strong testimony to his art and skill.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe natural co-relation between Murray and Waldron characterizes the music. They construct skilled structures with the melody, essaying it with agile improvisation. Once that standard has been established, they create a sphere that embodies their sense of adventure.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMurray plays the bass clarinet on \"Free For C.T.,\" showing just why he is such a compulsive force on the instrument. He gives the melody a long caress. Having indulged in it, he shoots into the stratosphere by bending notes, tongue-slapping and furrowing a hard metier. It's a magnificent performance. Waldron lets Murray have the lion's share, but he has his own little surprise as he reshapes the melody nimbly before marking it with thunderous chords.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMiles Davis' \"Jean-Pierre\" is a sparkling tune with a lithe bounce. Waldron and Murray acknowledge that and then engage in interplay that sees them exchanging lead roles. The theme is developed by an energetic acuity that once again has Murray upfront emitting myriad startling ideas out of his tenor saxophone. Waldron is the minstrel of the melody, luxuriating in its beauty and then as is his wont, jumping into resolute chord work.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\"All Too Soon\" is an exquisitely tender ballad articulated with deep warmth and passion. Murray and Waldron linger over each note, caress it and fill it with redolent grace. The music is sublime, energetic and, in the final analysis, unforgettable\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e-Jerry D'Souza","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39510655598752,"sku":"0068944018659","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511504879776,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/acaed4d4-a6ce-4d20-b059-5a9948985fa013257877963815027748-LARGE_a7b64745-62a1-4588-b356-eeb8913543ca.jpg?v=1616100299"},{"product_id":"gwotet-2","title":"Gwotet","description":"David Murray, as well as his partners in the World Saxophone Quartet, have devoted considerable time recently to concept projects, most recently a Latin big band effort and a Hendrix tribute, respectively. Two years ago Justin Time released Yonn-De, Murray's original collaboration with the so-called \"Gwo-Ka masters\" of Guadeloupe.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe new Gwotet represents a (rather vast) extension of the Gwo-Ka masters project, so much so that it left me scratching my head and returning to the archives to check out the original anew. It doesn't bear too much in common except the return of the aforementioned masters (Klod Kiavue and Francois Ladrezeau) and a similar dedication to the subterranean African roots that inform the music of the New World diaspora.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhere Yonn-De was almost ritualistic in nature, Gwotet has an air of jam sophistication. It's bigger (fourteen players credited), brighter (eight horns), and more densely intertwined. Most of all—and this ought to be a shock to listeners familiar with the earlier Gwo-Ka record, it's funky as hell. Truth.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe title track (and the one with the greatest punch) launches the record with punchy vocals, arranged horns, and a ropey-thick rhythm section. True to the West African spirit which colors much of the post-colonial music of the Americas, the pulse consists of interlocked patterns, here delivered by drums (including those under the command of Hamid Drake), bass, and guitars times two. It's like Fela Kuti, Prime Time, and the JB Horns collided in the stratosphere and came to ground fused. (A radio edit of half its 12-minute duration follows at the end of the album.)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlong with the other unexpected surprises comes Pharoah Sanders and his tenor saxophone, a suitable complement to Murray's own outspoken voice. Murray sounds articulate but not bombastic; Sanders conveys a boldly simmering spirit with an distinct edge of his own. Some of the music suggests dance (\"O' Leonso,\" after a somewhat out-of-place solitary guitar introduction), other parts spacious abstraction (\"Go To Jazz\"), but most of it sticks to a regular groove and draws from the strength of all those horns and drums. And there are more than a few moments of unbridled intensity. Where vocals appear, they serve the music and not vice versa, and where solos appear, the band serves the soloist and not the other way around. For listeners attuned to deep Africa who keep an ear half-cocked for funk, this is a no-lose proposition.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e-Nils Jacobson","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39510694428832,"sku":"0068944020058","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511516840096,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/960ab355-d80e-4371-ad45-8d4d305a539e14506537184760787208-LARGE_55ccda3d-3505-4320-b3bc-9b04ed191c28.jpg?v=1616100499"},{"product_id":"yonn-de-2","title":"Yonn De","description":"The music of the African diaspora has recently experienced a resurgence within jazz circles. It's true that the '60s were a time of African renaissance within out jazz nuclei in Chicago and New York, but the recent explosion of recordings featuring American jazz musicians with masters from Cuba, Brazil, and West Africa stands as tribute and testament to the universality of improvisation.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eTenor titan David Murray, of course, has led the charge. Having thoroughly explored the masters of American jazz and improvised music, Murray went global on recent Creole and Senegalese records. Yonn- De continues along the same lines, with a marriage between the music of Guadeloupe and good old- fashioned American jazz. Joining Murray for this record are traditional vocalist Guy Konket and a pair of gwo ka drummers, plus a quartet of experienced jazz musicians.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFrom the first salvo of this disc, it's clear that Konket's raw vocals will take center stage. As \"Twa Jou San Manje\" evolves, it moves into more melodic territory, eventually building up to Murray's trademark explosive blowing. The primal trance-like drums and vocals fit quite naturally into this context, adding a layer of color and texture which thickens the sound and lends it a magical, mysterious quality. After ten minutes of outright jam, Murray and friends turn toward a funky groove on \"Youyou.\" Bassist Santi Debriano knows the territory well, and he almost singlehandedly turns the tune into danceworthy material. This upbeat piece stands as the high point of the record. Further explorations into a variety of rhythms and styles make use of a synergy between the American rhythm section and the drummers from Guadeloupe. \"Onomatopee\" takes counterpoint and polyrhythm to extremes, showcasing the flexibility of this group.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt times sauntering and loose, at others tight and thrusting, Yonn-De never really loses a warm, spiritual quality. Of course most jazz listeners will be unfamiliar with the gwo ka tradition, and the stark rawness of its sound may surprise and confound. But in the end, Murray's efforts here are remarkably successful in their musicality and cultural richness. Yonn-De is a gateway to a fascinating kind of fusion, and it's sure to open doors for fans of improvised music the whole world around.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e-Nils Jacobson","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39510727032992,"sku":"0068944014057","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511526211744,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/e4a74bb6-26f3-449b-88f0-6fc3e94e746715189683976555316075-LARGE_4c89835c-d5b9-41c1-aee4-f27b89b3ce50.jpg?v=1616100686"},{"product_id":"the-devil-tried-to-kill-me-2","title":"The Devil Tried To Kill Me","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor an album that clocks in at just under 50 minutes with only six songs and two radio edits one would assume that the latest offering from David Murray and the Gwo Ka Masters would drag, at least from time to time.  However, the opposite is true with “Kiama for Obama” introducing the listener to an eclectic mix of jazz, and the unique ka drums and vocals of Klod Kiavue and Francois Ladezeau.  On “Africa” Taj Mahal offers his Grammy award winning voice and immedietly changes the tone of the record from that of celebration to redemption.  It has to be said though that the radio edit truly does not do the whole piece justice and misses the call and answer of David Murray(on bass clarinet and tenor sax) and Taj Mahal trading verses.  With the addition of Sista Kee to “Southern Skies” Taj Mahal along with David Murray and the Gwo Ka Masters go into full funk mode.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn typical David Murray fashion the song strays from traditional funk models with Taj Mahal coming close to reggae toasting and Sista Kee switching between soulful singing and spoken word that leans toward rap.  The title track also features Sista Kee singing over a rapid fire guitar, slapped bass and tribal drums.  The song waits until 2:25 for David Murray to make an appearance and when he does he comes in with a vengeance, dancing around the previously established rhythms with his tenor sax and building them to a crescendo before Sista Kee returns and the guitarists bring the song to a finale with a blazing guitar solo.  The final two tracks (“Congo” and “Canto Oneguine”) return the cd to the theme laid out in “Kiama for Obama” and bring the piece full circle with David Murray continuing to prove why he is one of the best tenor saxophonists in the world. -Geoff Hutchin\u003c\/span\u003e\u003c\/p\u003e","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39510867542176,"sku":"0068944022458","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511537909920,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/0e56e258-f075-4bbf-9c2b-1ddef3ab5b578886617806531787691-LARGE_d4ba35e7-35f6-4b9f-b99d-1f2c585cb0e1.jpg?v=1616101446"},{"product_id":"sacred-ground-2","title":"Sacred Ground","description":"With three decades of recording to his credit, multi-reedist and composer David Murray's oeuvre is a varied one; his dabbling in pan-global multi-ethnic fusions and ensembles has ranged from solo recitals to big bands.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMurray's tenth album for Justin Time Records, Sacred Ground is inspired by his recent film soundtrack for Marco Williams' Banished, which documents the rarely discussed expulsion of thousands of African-American families from their homes at the close of the Civil War through to The Great Depression.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSacred Ground is the first official recording of Murray's quartet without his long-standing pianist John Hicks, who passed away last year. Lafayette Gilchrist, a former student of Hicks, assumes his role with intensity and flair. Bassist Ray Drummond and drummer Andrew Cyrille have been two of Murray's main collaborators for years, bringing fresh perspectives to traditional concepts.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eVocalist Cassandra Wilson joins Murray's stellar line-up on the dramatic ballads that open and close the album, with intrepid lyrics written by poet Ishmael Reed.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAn indictment against the oppression of former slaves after the Civil War, the titular opener features Wilson's soulful croon animating Reed's texts with simmering intensity. Rending at the supple fabric of the ballad structure, the quartet brings the piece to a simmering boil, climaxing with Murray's brawny tenor erupting in blistering, altissimo catharsis.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNot all mordant introspection, the carefree West Indian lilt of \"Transitions\" provides respite, with Murray, Gilchrist and Cyrille delivering vibrant, pneumatic statements.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe mournful \"Pierce City\" and \"Banished\" redirect the album through anguished lamentation. Filled with raw emotion, \"Banished\" unveils Murray's caterwauling bass clarinet over a roiling dirge, anchored by Drummond's sinewy arco bowing. \"Believe In Love\" and \"Family Reunion\" re-emerge from the depths with optimistic verve, the former a sultry tango work-out, the latter a riveting hard bop excursion.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBringing the album full-circle, Cassandra Wilson rejoins the quartet on \"The Prophet of Doom,\" a slinky blues work-out that draws socio-political parallels to the exploited Cassandra of Greek mythology with wry attitude and erudite refrains, mirrored by Murray's effusive tenor.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eA focused and powerful statement from a multi-faceted artist, Sacred Ground is a perfect introduction for novices to Murray's voluminous discography.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e- Troy Collins","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39510912696480,"sku":"0068944020454","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511548592288,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/df2d2f59-0686-402f-be82-d3f5bbe73b027549979987772149935-LARGE_d8c176ae-3a9a-43f4-b0bd-b90920bc0f1b.jpg?v=1616101688"},{"product_id":"now-is-another-time-1","title":"Now Is Another Time","description":"David Murray shares the microphone with two large ensembles here to combine articulate big band arrangements with fiery, Afro-Cuban improvisation. His wall of percussionists and detailed harmonic landscape introduce the leader's seven compositions. Where one piece moves slowly along sensual borders, the next selection charges headlong into a frenzy of animation. All the while, the composer fills each bar with the cultural colors we identify as Afro-Cuban.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMurray's \"Aerol's Change\" glides swiftly over a syncopated dance floor with intricate shades embedded in his harmonic structure. Throughout each adventurous piece, he balances detailed ensemble interplay with enthusiastic soloing. Murray is in fine form, adding spontaneity everywhere he goes. The soloists he's enlisted for this project work well. Of particular note, Roman Feliu O'Reilly, Hamiet Bluiett, Bacilio Bernardo Marquez Richards, Moises Marquez Loyva, Alexander Brown Cabrera, Kahil Ikzir, Cristobal Ferrer and Craig Harris provide exciting fare.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMurray is at his peak throughout the session. Up high and down low, the master innovator does it all. Highly recommended, his Afro-Cuban jazz big band album provides an excellent representation of the way we should view the music: with open arms.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e-Jim Santella","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39510941761696,"sku":"0068944016150","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511554556064,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/74c2a879-e53b-4654-9b14-d5f0fff9eefd10426855638373128312-LARGE_ba173063-72df-4424-b6b7-630a3ae52f12.jpg?v=1616101926"},{"product_id":"speaking-in-tongues-1","title":"Speaking in Tongues","description":"The case could be made that as jazz music's most prolific recording artist, David Murray has been speaking in tongues through the language of jazz and various potent offshoots for lo these many years. When Murray gets knee-deep into a groove he emits a fervor that fondly recalls his Berkeley days in the gospel church with his mother, speaking in tongues indeed. On this disc he quite literally goes back home. His chief cohort in this musical home-going is the wonderful voice of Fontella Bass, who once delivered rhythm \u0026amp; blues and who has on several occasions brought the gospel to jazz musicians, notably Lester Bowie's Roots and the World Saxophone Quartet. The material ranges from spiritual standards-\"Amazing Grace,\" \"Blessed Assurance,\" \"A Closer Walk With Thee,\" \"Nobody Knows the Trouble I've Seen\"-to the original, Murray's fervent and on-point \"Missionary.\" One is immediately struck by the obvious kinship of Murray and Ms. Bass, and the authenticity with which this material is delivered.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e-Willard Jenkins","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39510987571360,"sku":"0068944011858","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39511568548000,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/0bbfec7b-db0e-4722-9c40-7144271e2d944155538846848070940-LARGE_ec229d62-dc5e-42a9-9d44-bb22ed7c5d6b.jpg?v=1616102411"},{"product_id":"like-a-kiss-that-never-ends-1","title":"Like a Kiss That Never Ends","description":"Ever since David Murray's arrival on the seventies New York loft scene, he has been hailed as the heir to Albert Ayler, John Coltrane, and Ben Webster. He has also been assailed for lacking imagination, proper technique, and authenticity. Perhaps this wide range of opinion reflects the fact that Murray has spoken with many voices over the last 25 years. He's played in every imaginable ensemble size, performing the full spectrum of music from notated arrangements to free improvisation. He's done tributes from Albert Ayler to Jerry Garcia, and explored rock, urban music, and gospel styles. If Murray has been anything, he has been prolific.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHis latest group, the Power Quartet, is actually not a new organization. Although he has recorded with John Hicks, Ray Drummond, and Andrew Cyrille in several previous configurations, this particular quartet made two recordings (now out-of-print) in 1993 for Bob Thiele's Red Baron label. His sidemen have worked all angles of the jazz scene from inside to out. Murray boldly asserts the primacy of his music when he states in the liner notes that \"a good concept would be not to have a concept—just write songs and play them.\" True to his word, the Power Quartet plays mostly originals on Like A Kiss.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThey kick off the session with \"Blues For Felix,\" tearing through the composition as if to say, \"Dig this groove. We're here for a good time—please enjoy!\" Murray states themes and then runs through his trademark slurry\/slapping style of improvisation, backed by a fired-up rhythm section. Andrew Cyrille rolls out the beat on the tango title track, suggesting the sensuality of a South America dance sequence. Murray's versatility here extends to ballads (\"Dedication\"), funk (\"Suki Suki Now\"), and soul jazz (\"Ruben's Theme Song\"). His critics-be-damned approach makes for crowd-pleasing music that asks the question, \"What is jazz, if it is not entertainment first?\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe album closes with two adventurous tracks, \"Mo' Bass\" and \"Let's Cool One.\" Drummond and Cyrille signal an open architecture on \"Mo' Bass\" by trading off each other's energy and encouraging Murray to open his bag of sound for upper-register blowing. The surprisingly unrestrained playing on this tune helps demonstrate just how the free forms of jazz fit within the timeline of this creative music. The closing tune, Thelonious Monk's composition \"Let's Cool One,\" sums up the entire session, with Murray trading his tenor for the distinctive bass clarinet. Like Monk playing a toy piano, Murray's use of the bass clarinet presents a signature sound once unfamiliar to jazz. When you consider the entire history of jazz, individual expression is what makes a lasting mark. David Murray makes that mark on Like A Kiss.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMark Corroto","brand":"David Murray","offers":[{"title":"Digital Download","offer_id":39559983988896,"sku":"0068944015351","price":9.99,"currency_code":"CAD","in_stock":true},{"title":"CD","offer_id":39560344699040,"sku":"","price":15.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/products\/f07414f8-05df-4754-a994-34026e45d0ec398705790039775457-LARGE_946f663a-a744-4c77-9451-0e68f168bf11.jpg?v=1616681242"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0537\/8477\/2768\/collections\/picArtist164.jpg?v=1616076566","url":"https:\/\/justin-time-records.myshopify.com\/collections\/david-murray.oembed","provider":"Justin Time Records","version":"1.0","type":"link"}