Complete Recordings on Black Saint & Soul Note Vol.2

Sweet Lovely (1979): DM, ten sx; Fred Hopkins, b; Steve McCall, dr.Morning Song (1983): DM; John Hicks, p; Reggie Workman, b; Ed Blackwell, dr.I Want to Talk About You (1986): DM; John Hicks, p; Ray Drummond, b; Ralph Peterson, Jr., dr.The Hill (1986): DM; Richard Davis, b; Joe Chambers, dr.A Sanctuary Within (1991): DM; Sunny Murray, dr; Kahlil El Zabar, perc, voc.Body and Soul (1993): DM; Sonelius Smith, p; Wilbur Morris, b; Rashied Ali, dr.Windward Passages (1993): DM; Dave Burrell, p, voc; Monika Larsson, voc.Murray is, bar none, the best tenor sax player alive today. I say this with all due respect for such figures as Joe Lovano and Mark Turner, Peter Brotzmann, Evan Parker, Ken Vandermark. They are formidable players and in the case of Brotzmann and Parker innovators, but Murray passes them on all counts.A player of immense talent and expansive imagination, Murray embodies an extraordinarily swath of jazz history in his bold and cutting sax work. He can play tender with the best of them (think Ben Webster), honk and squeal like a Texas tenor (Ammons, Jacquet), and when he takes off into the nether reaches, play Albert Ayler as well (though slightly differently) as Ayler did himself. He plays with a variety of tones, but always capaciously. His ballad sound is powerful but caressing. His honker sound as on Butch Morris original on I Want to Talk About You, is unrestrained and strong, strong, strong. (You want to dance with him when he plays in this mode.) His characteristic attack in the early albums in this set (1979, 1983) in Ayleresque –resorting to high notes, pinched and powerful, edging toward squealing, though he never engages in the outright speaking in tongues Ayler employed in his more ecstatic moments. Even here, there is a difference though. Murray’s work is rooted in the bop tradition. He’s learned from everyone who came before him, from Hawkins and Webster through Trane and Ayler (most of all from Paul Gonsalves), but beneath the overt modernism of his work lies a phenomenally good late bop player, who merges jazz’s past with a forward pointing present.It’s hopeless to try to single out good moments in a sea of good playing like these albums offer us. You might start by listening to Murray Ed Blackwell in duet on “Duet,” in 1983’s Morning Song. Or listen to almost any cut on The Hill (1986) thing with bassist Richard Davis, who does some superb arco work. Fred Hopkins and Steve McCall are Murray’s partners on Sweet Lovely (1979) and Dave Burrell, who plays everything from Kurt Weill or Irving Berlin-like 20s-ish show tune music to free jazz is on Windward Passages (1997). “Mountain Song”, on 1992’s A Sanctuary Within, builds around a repeated figure on African thumb piano played by Kahlil El Zabar. On the following cut, “Return of the Lost Tribe,” Zabar’s hand drums lay the foundation for a duet with Murray, free drummer Sonny Murray playing around the edges with splashes of cymbal.

Murray's first box set in this series was one of Black Saint/Soul Note's better reissues. And this second volume is it's equal, and in some instances possibly better. The seven albums here span the years 1979 to 1993, and show Murray in different playing styles, but always close to the top of his skills. If you've read this far you're probably familiar with Murray's music, so I'll be brief in my album notes."Sweet Lovely", (1979) is an early trio set, with Fred Hopkins-bass, and Steve McCall-drums (both from the great trio Air with Henry Threadgill), and it's a pretty fine set of jazz. "Coney Island", "The Hill", and "Hope/Scope" are all very fine, each with their own sound and mood, but it's difficult to pick high points. These tunes, all played with some intensity, benefit from Hopkins' deep bass sound, and the ever inventive McCall's drum patterns. This album needs to be listened to at one sitting, and then digested--there's a lot going on. All the tunes are by Murray."Morning Star", (1983) is a quartet including Murray, the fine John Hicks on piano, and a dream rhythm section of Reggie Workman-bass, and Ed Blackwell-drums. Another fine album. Listen to "Body And Soul" or "Jitterbug Waltz" (among others) and you'll wish this band had recorded more music together. Hicks (a personal favorite) is a fine player alongside Murray. And listen to Blackwell's time keeping--yes. Another fine album."I Want To Talk About You", (1986) is a live set with Murray, Hicks, Ray Drummond-bass, and Ralph Peterson, Jr.-drums. Here Murray blends both earlier playing styles with later styles--the result--some pretty hot playing. One listen to "Heart To Heart" and the title track will clue you in about this very good live set."The Hill", (1986) is yet another fine set, this time featuring Murray in a trio setting with Richard Davis-bass, and Joe Chambers-drums. Murray is also heard here playing his bass clarinet to good effect. Compositions like the title track, and "Take The Coltrane" show how good this trio was--intelligent playing and arranging to maximum effect. Murray almost always seemed to know instinctively who to choose for his trios for some good sounding jazz. This is one of the better albums in this volume--but it's a close call."A Sanctuary Within", (1991) sounds like it came from Murray's earlier "outside" period. This is a trio with the great Sunny Murray-drums (hear his work on the ESP label from the 60's and with Albert Ayler), and Kahil El' Zabar-percussion and vocals. While there's some good playing from Murray and drummer Murray, with Zabar occasionally adding something of interest, he doesn't seem to really fit in with the other two players--not quite in step with what they're doing. A lesser album but still containing good music in spots."Body And Soul", (1993) finds Murray once again playing closer to the top of his skills. A quartet of Murray, Sonelius Smith-piano, Wilber Morris-bass, and the fine drummer Rashied Ali. There's a vocalist here also, Taana Running. Even though some of these musicians are relatively unknown (at least to me), this is a good band, with Murray looking slightly backwards (again) to earlier jazz styles. Listen to "Body And Soul" for an example of his thinking--just don't expect a Ben Webster-like sound at this late date. But overall the band is a good one and gets down to playing some good jazz."Windward Passages", (1993) is another trio with Murray (once again playing his bass clarinet), the fine pianist Dave Burrell (also on vocals), and Monika Larsson-voice. Don't let the players (especially Burrell) deceive you. This is pretty close to a duet set at times between Murray and Burrell. You'll hear a number of different influences here (especially from Burrell) that gives the music a different feel. Larsson (at least to my ears) is fairly expendable here. I can't help but wonder how this set would've sounded as a true duet. The two takes of Coltrane's "Naima", "The Cave", and "It Hurts So Much To See" have some good interplay with little in the way of fluff. You may feel differently. But Murray and Burrell are the obvious stars here.The packaging is similar to all the others in this series. A substantial lidded box, with each disc inside a reproduction of the original vinyl album cover. But be warned--some of the notes on the backside are so small as to be unreadable. But all in all the packaging is pretty good. But I still wish a booklet that gives some overall context to the music would be helpful. But the music is what's important--and on that point this set delivers.For fans of either/and Murray/post-bop/post-modern jazz, this is another good collection of music. Hopefully you've heard Murray's first collection in this series, featuring his octet groups. He can also be heard to great effect on another box set in this series as a member of the World Saxophone Quartet. Much of that band's great music is included in that set. Murray, as a college student, "...decided to align myself with the avant-garde...That was also the point when I really began hearing things in a new way." But Murray was also influenced by older tenor players like Ben Webster that leavened some of his outside playing style.His tenor sax playing has that sharp, precise sound, and when combined with a slightly rougher sound he sometimes used, gave his tone a depth and accuracy other players didn't have. And when you add in his composing and arranging skills, Murray can combine avant-garde playing with earlier styles into music that's both intelligent and has the ability to swing. His music has an impact that stays with you. Another reason to check out this (and his octet recordings) set.

Solid Gold!This set is a cracker, the highlights being "The Hill", and "Morning Song" records. The former has the awesome trio of Murray with older master musicians Richard Davis (double bass) and the brilliant Joe Chambers on drums. The latter is a killer with Ed Blackwell on drums, with a fantastic version of "Jitterbug Waltz". In fact all of the set has a bewildering lineup of great musicians: Ralph Peterson, Reggie Workman, John Hicks, Sunny Murray, Fred Hopkins, Dave Burrell. A must have for fans of great tenor sax, and for the wonderful bands on each record. Black Saint!

David Murray és un dels saxofonistes més interessants de la dècada dels vuitanta. Aquesta caixa conté 7 CDs que van del genial al sublim, tant en formació trio com en quartet. Només té un punt d'avantguarda que no pot espantar a cap aficionat al jazz. El preu per cada CD surt ridículament baix.Igual de bona que aquesta caixa, o encara més, és la dedicada als seus octets, també dins els segells italians Black Saint i Soul Note. Les dues caixes són absolutament recomanables.

Dopo il primo volume dedicato agli ottetti guidati da Murray la Camjazz propone un secondo volume.Cofanetto corposissimo a prezzo ridicolo. Qualità extra.7 album che documentano benissimo il periodo tra anni '80 e '90 di Murray. formazioni varie: duo, trio , quartetto, quintetto, etc.Da segnalare gli album:- The Hill (Richard Davis e Joe Chambers)- A sanctuar within- windward passagesinteressante confrontare l'album "Sweet Lovely" con i contemporanei album degli Air. L'organico di Sweet Lovely è infatti quello degli Air con Murray che sostituisce Henry Threadgill ai fiati.

Cette compilation permet d’apprécier, à sa juste mesure, le travail d’un des plus grands saxophonistes encore vivants. Saluons donc le travail de réédition effectué par Cam Jazz qui, après le vol.1  Octets , sort le vol.2 correspondant aux 7 albums gravés en formation plus réduite par le saxophoniste pour les labels italiens BLACK SAINT et SOUL NOTE entre les années 1979 et 1997.Disc 1 « Sweet lovely » (2 étoiles/5)Enregistré en décembre 1979, cet album présente le saxophoniste avec Fred HOPKINS (basse) et Steve Mc CALL (batterie). C’est peut-être l’album le plus difficile d’accès du lot car, dès le premier morceau « Coney island » (9 min 27 avec un beau solo du bassiste), l’auditeur est agressé par une multitude de sons, partant un peu dans toutes les directions, comme c’est souvent le cas dans le free jazz caractérisant cette époque. L’album comporte ensuite « Corazon » (8 min 29) et « The hill » (12 min 29) deux autres compositions perso free, au rythme pas trop rapide, pour terminer sur une version échevelée (et pas particulièrement harmonieuse) de "Hope/Scope" (8 min).Disc 2 “Morning song” (5 étoiles/5)Enregistré en septembre 1983, c'est avec plaisir que je redécouvre ce CD (après tant d’années passées à sa recherche), avec John HICKS au piano, Reggie WORKMAN à la basse et Ed BLACKWELL à la batterie.Après une belle version de « Morning song » (8 min 05) et un grand « Body and soul » (6 min 50), on a droit à un décapant « Light blue frolic » (7 min 27) suivi d’un merveilleux « Jitterbug walz » (6 min 26), interprété à la clarinette basse. « Off season » (10 min 56), le morceau suivant, et "Duet" en duo avec le batteur, sont également de belles réussites.Disc 3 « I want to talk about you “ (5 étoiles/5)Enregistré en mars 1986, cet album me parait idéal pour découvrir le saxophoniste.Celui-ci, entouré de John HICKS au piano, Ray DRUMMOND à la basse et Ralph PETERSON Jr à la batterie commence par interpréter « Heart to heart », une magnifique composition de 12 min 48 du pianiste, suivie de "Quads", une composition de 6 min 58 du bassiste, interprété avec beaucoup de brio à la clarinette basse par le leader ; ces deux morceaux, magnifiques, vous donneront un bon aperçu de la qualité du quartet, ici enregistré live dans un club de Boston…« Red car », le 3° morceau, est une composition de 8 min 37 signée Laurence Butch MORRIS au swing irrésistible, flirtant souvent avec le free (mais oui, c’est possible !), qui vous donnera une autre facette des talents du saxophoniste, d’autant plus que les 2 morceaux suivants sont du même haut niveau, que ce soit « I want to talk about you » merveilleuse ballade de Billy ECKSTINE (13 min 38) ou « Morning song » (14 min40), belle composition personnelle, toute en énergie.Disc 4 « The hill » (3 étoiles/5)Enregistré en décembre 86 en trio avec Richard DAVIS (basse) et Joe CHAMBERS (batterie, vibraphone) « The Hill » est un album assez hétéroclite comportant 6 morceaux dont la plupart sont ouvertement free ; cependant, même si vous n'appréciez que peu le genre, il faut avouer que le free de David MURRAY est souvent de qualité…Après la cacophonie plus ou moins maîtrisée des deux premiers morceaux, « Santa Barbara and crenshaw follies » (8 min 25) et « The hill » (9 min), deux compositions franchement free du leader, on a la surprise d’écouter « Fling » (7 min 09), étonnante composition en marge du free, qui vous permettra d’admirer l’homogénéité et la qualité du trio. Mais le free revient à l’honneur avec une version iconoclaste de « Take the Coltrane » (7 min 42) signée Duke ELLINGTON, puis « Herbie Miller » (5 min 52), une composition du leader (jouée à la clarinette basse).Quelle ne sera pas alors votre surprise d’avoir droit à une splendide version (toute en délicatesse et nuances) de « Chelsea bridge » (10 min 31) de Billy STRAYHORN, avec notamment Joe CHAMBERS, au vibraphone cette fois.Disc 5 « A sanctuary within » (4 étoiles/5)Enregistré en décembre 1991, cet album constitue une excellente surprise en présentant le saxophoniste entouré d’un bassiste (Tony OVERWATER), d’un batteur (Sonny MURRAY) ainsi et d’un percussioniste (Kahil EL’ ZABAR). Après un premier morceau assez free « Short and sweet » (6 min 37), on a droit à trois morceaux intéressants montrant l’excellente entente existant entre le batteur et le percussioniste qui laissent au saxophoniste le soin de développer un jeu inspiré et très moderne au ténor ainsi qu’à la clarinette basse (notamment une merveilleuse version de « Waltz for heaven »). Après deux versions de « A sanctuary within » (une en duo entre le saxophoniste et le batteur ; l’autre, bien supérieure, en quartet, respectivement 6 min 08 et 9 min), on a droit à « Most of all » (8 min 54), une belle composition de Sunny MURRAY. Enfin, malgré un « Song for new South Africa » (7 min 13), sans grand intérêt, le CD se termine par une belle version au ténor de « Ballad for the blackman » (10 min 40).Disc 6 « Body and soul » (4 étoiles/5)Je me limiterai à dire qu’il s’agit d’un CD permettant de découvrir un excellent pianiste Sonelius SMITH (écoutez ses prestation dans « Slave song » et « Celebration dance », les deux premiers morceaux composés par ses soins, avec à chaque fois, une performance étonnante du leader au ténor !) ainsi que Rhashied ALI, un batteur extraordinaire particulièrement dans son duo avec le leader dans « Cuttin’ corners » (sa seule composition perso).A noter une belle version lyrique de « Body and soul » (7 min 30) avec la chanteuse Taana RUNNING…Disc 7 « Windward passages » (4 étoiles/5)Enregistré en décembre 1993 en duo avec Dave BURRELL au piano (et, pour « Ca me va », sa femme Monica LARSSON au chant), c’est un bel album peu connu sorti en 1997, avec, au début, une très belle version au ténor de « Sorrow song » (8 min 28), puis à la clarinette basse, de « It hurts so much to see » (8 min) ainsi que « Naïma » (11 min 33) (avec quelques petites dérives free du pianiste).Suivent ensuite « Cela me va » accompagné du chant sensuel de M. LARSSON (5 min 26) ; les trois morceaux suivants ont un intérêt assez restreint (« The crave » est un ragtime (6 min 04) assez moyen, alors que « Zanzibar blue» (9 min 22) et « Conversation with our mothers » (6 min 09), sont deux compositions free signées respectivement par Dave et David qui , en s’accélérant progressivement, finissent de façon franchement free). Par bonheur, le CD finit par une version assagie, fort mélodieuse de « Naïma » (13 min 59 interprétée cette fois au ténor) où les deux musiciens rivalisent de lyrisme… Octets

This second set of albums by saxophonist David Murray on Black Saint is highly welcome. While the Octets, collected on the first volume, are considered by some to be the peak of his career, they have only ever been a tiny proportion of his total output (I count 7 albums, out of more than 150!) so it's great to have easy access to some of his other 1980s music once more. One of the problems with David Murray is that the majority of his discography is out of print, and thus expensive even when you can find discs - mainly because he recorded on smaller labels, but also because the sheer number of his records must make it difficult to decide what to reissue. With that mind, getting 7 albums for £20 is a real bargain! These cover the period 1979-1993 and feature Murray in quartet, trio (w/bass & drums) and duo (w/piano) settings. Individual albums vary but I'd say that on the whole this is more accessible music than on the Octets, and Murray himself gets more space (inevitably), making it perhaps a better place to start than the first set (even though the octets are, of course, essential). Each album is different and will appeal to different kinds of listeners. "Body & Soul" features the title-track, which all tenor saxophonists in jazz seem destined to record eventually - and while this is a great contribution to that tradition, the earlier version on "Morning Song" is if anything even better - more adventurous and lacking the rather lacklustre lyric. There's a bit of repetition of tunes across these discs, which I consider a good thing - it's nice to see how a musician, especially in jazz, re-treats the same material at different points in its career. My favourite of these albums at the moment is Morning Song - but they're all good, and it's such a welcome to have these easily available that it's impossible not to grant this the full five stars.

同シリーズのエドブラックウェルのボックスセットと１枚ダブります。