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9048
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https://www.theaudiodb.com/artist/130780-David-Murray
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TheAudioDB.com
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Artist: David Murray, MusicBrainzID: 89380b6c-0961-44ad-a7fe-f9115d840aac, data, artwork, logo, fanart, clearart, charts, best songs, musicvideos
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../images/ico/favicon.ico
| null | |||||
9048
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2
| 41
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https://www.nytimes.com/2011/11/17/arts/music/david-murray-on-his-new-nat-king-cole-album.html
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en
|
David Murray on His New Nat King Cole Album
|
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[] |
[] |
[
""
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[
"Larry Rohter"
] |
2011-11-17T00:00:00
|
The jazz saxophonist David Murray has turned his sights to a relatively obscure phase of Nat King Cole’s career: two albums, in 1958 and 1962, on which that singer and pianist recorded in Spanish.
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en
|
/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico
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https://www.nytimes.com/2011/11/17/arts/music/david-murray-on-his-new-nat-king-cole-album.html
|
In his musical career the jazz saxophonist David Murray has always been omnivorous, which helps explain why, after playing on more than 150 albums, he has finally turned his sights to the Nat King Cole repertory. But Mr. Murray’s taste can also be quirky, which is why his latest project focuses on a relatively obscure phase of Cole’s career: two albums that the singer and pianist recorded in Spanish in 1958 and 1962.
A result is “David Murray Cuban Ensemble Plays Nat King Cole en Español,” a new CD in which Mr. Murray, 56, has assembled a group of young Cuban musicians to play his reworked versions of old chestnuts like “Quizás, Quizás, Quizás” and “Cachito.” On Thursday Mr. Murray and a nine-piece band will perform selections from the album at the Skirball Center for the Performing Arts at New York University.
In an interview after a recent rehearsal, Mr. Murray, who is black, said his reasons for undertaking the project were a mixture of the personal and the musical. Seeing a picture of Nat King Cole on the wall of Egrem Studios while in Havana several years ago, and talking about him with the Cuban singers Omara Portuondo and Isaac Delgado, jogged his memories of seeing Cole on television as a child.
“My parents were very religious people who didn’t particularly like anything that was jazz,” he said. “But they liked Nat King Cole because he was a positive image for black people, and that was what they wanted us to see. And to me he looked very cool and debonair in that tuxedo, with that trio of his. He was not only one of the first African-American guys on TV, he was also one of the first serious crossover artists with talent.”
On the more personal side, Mr. Murray, who was born and reared in Oakland, Calif., but now divides his time between France and Portugal, said he also wanted to help his wife, Valerie Malot, and children explore their own heritage and pay them homage. Ms. Malot, who is also Mr. Murray’s manager and co-producer, is of mixed French and Spanish-Cuban descent, and the CD is dedicated to her mother, Maria Olga Duque Torres.
“We’ve done a lot of things where I go to try and find my roots in Africa,” Mr. Murray said, referring to albums like “Fo Deuk Revue” (1997) and “Gwotet” (2004), recorded with Senegalese ensembles. “But we have two kids together, and maybe she’s looking for her roots a little too. So that was her reason, and it became part of mine.”
The saxophonist and clarinetist Hamiet Bluiett, like Mr. Murray a founding member of the World Saxophone Quartet and with credentials in the jazz avant-garde, said he was not surprised to see his colleague take this direction. He accompanied Mr. Murray on a trip to Cuba a decade ago, where he said both men were inspired by the musical culture.
On an early trip to Cuba Mr. Murray met the alto-saxophonist Román Filiu O’Reilly, now 39, who quickly concluded that “we were both drinking from the same well.” So when Mr. Murray decided to tackle the Nat King Cole project, Mr. Filiu, in addition to being offered the alto chair, was asked to assemble a group of young players who could keep up with Mr. Murray’s demanding arrangements.
“David’s way of playing is loose and free and always surprising, but he doesn’t lose the essence of Cuban music, and even if it may seem dissonant at times, it has its beauty,” Mr. Filiu said in a telephone interview. “His arrangement of a bolero or a cha-cha-cha can be daring and fresh, but the voicing of the instruments, the lines he writes for us to play, however challenging they may be, are perfectly in the tradition.”
The Cuban ensemble has toured with Mr. Murray throughout Europe and in Latin America, both before and after recording the “Nat King Cole en Español” CD in Buenos Aires last year, with strings overdubbed in Portugal. But with some restrictions on the ability of Cuban musicians to travel still in place in the United States and Cuba, Mr. Murray will be performing at the Skirball Center with a New York-based group that includes several Cuban musicians.
The two Cole albums on which the project is based were recorded in Havana and then, after Fidel Castro took power in 1959, Los Angeles and Mexico City, drawing on a repertory that is largely Cuban and Mexican. Listening to the records, Mr. Murray, called “the most formidable tenor soloist of his generation” by the comprehensive Penguin Guide to Jazz Recordings, was struck by how dated the original arrangements seemed.
“A lot of it sounded like the soundtrack for a bad B-movie, very Hollywood, so the first thing I had to figure out was what not to do,” he said. “The strings are too syrupy, the trumpets are too loud and the clave is not even there. So I had to go and reharmonize a lot of the songs and bring them into our century before I even did the arrangements.”
Mr. Murray, who early in his career played in R&B bands around San Francisco, also has a pop side that surfaces occasionally. In the early 1990s he sometimes played with the Grateful Dead, which led to his making a CD called “Dark Star” after Jerry Garcia’s death, and most recently he has been working with the neo-soul singer Macy Gray, whom he met this summer while both were involved in an Afro-pop project organized by Ahmir Thompson, known as Questlove, drummer for the Roots.
“He’s just a very accomplished musician who knows everything there is to know about orchestrating, plus he’s one of those people who seems to live and breathe music,” Ms. Gray said of Mr. Murray. “On the Afro-pop project I loved his arrangements: a specific blend of horns that he put together with a sound that I’d never heard before. So I wanted that on my new album,” devoted to covers of rock and hip-hop songs, “and whenever I do horns now, I’m going to send them his way.”
|
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9048
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dbpedia
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2
| 57
|
https://diplomatsofsound.org/new-signing-david-murray-saul-williams/
|
en
|
New Signing: David Murray & Saul Williams
|
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[] |
[] |
[
""
] | null |
[
"Josh Burne"
] |
2018-03-26T15:33:48+00:00
|
Award-winning David Murrayâs talent is expressed in a prolific career in both production and musical direction (from the World Saxophone Quartet to his big band and the Caribbean jazz fusion of the Gwo Ka Masters). alongside the greatest musicians. With his quartet Infinity, named in memory of his early New York years in the … Continue reading New Signing: David Murray & Saul Williams
|
en
|
Diplomats of Sound
|
https://diplomatsofsound.org/new-signing-david-murray-saul-williams/
|
Award-winning David Murrayâs talent is expressed in a prolific career in both production and musical direction (from the World Saxophone Quartet to his big band and the Caribbean jazz fusion of the Gwo Ka Masters). alongside the greatest musicians.
With his quartet Infinity, named in memory of his early New York years in the loft-studio Infinity, the saxophonist invites the voice of Saul Williams, a committed and unclassifiable figure on the New York scene. Multi-faceted artist â poet, writer, rapper, actor â Saul Williams cites from among these sources of inspiration names as diverse as Tupac Shakur, Prince, Jean-Michel Basquiat, James Baldwin, the writers of the Beat Generation or Beyoncé.
Joined by Nasheet Waits, Orrin Evans and Jaribu Shahid, the quintet-turned Infinity develops an intense and out of the genre music, between abrasive jazz and inhabited spoken word.
|
|||||
9048
|
dbpedia
|
1
| 1
|
https://en.wikipedia.org/wiki/David_Murray_(actor)
|
en
|
David Murray (actor)
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
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[
"Contributors to Wikimedia projects"
] |
2015-10-04T13:04:13+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/David_Murray_(actor)
|
Irish actor (born 1970)
David Murray (born 1970 in Cork) is an Irish actor who has portrayed both minor and major characters in Irish film and television. Some of his best known roles include his portrayal of Brian Lenihan Jnr in The Guarantee and Ben Bailey in the Irish television series Amber. Additionally he has had small roles in major productions such as King Arthur, Batman Begins and G.I. Joe: The Rise of Cobra. In 2010, he starred in a television commercial for the opening of Dublin Airport's new terminal building.
The Sun, the Moon and the Stars (1996) - Danny
Flick (2000) - Jack Flinter
Veronica Guerin (2003) - Charles Bowden
The Honeymooners (2003) - Ray
Cowboys & Angels (2003) - Keith
King Arthur (2004) - Merlin's Lieutenant
Out of Season (2004) - Simeon Guant
Batman Begins (2005) - Jumpy Thug
Dorothy Mills (2008) - Tom O'Brien
Zonad (2009) - Benson
G.I. Joe: The Rise of Cobra (2009) - James McCullen IX (1641)
Keys to the City (2012) - Declan
King of the Travellers (2012) - Black Martin
Davin (2014) - Philip
The Guarantee (2014) - Brian Lenihan
Traders (2015) - Kevin
Johnny Gone Down (2016) - Ishmael, Abraham
Lead Us Not (2016) - Dr. Alan Ryan
The Cassidys (2001) - Giles
Little White Lie (2008) - Director
Raw (2008) - Karl Creed
Revolution (2009) - David Ash
The Importance of Being Whatever (2011) - Mr. B
Silent Witness (2013) - Alan Lane
Jack Taylor: The Dramatist (2013) - Professor Doyle
Vikings (2013) - Lord Aethelwulf
Ripper Street (2013) - Ely
Amber (2014) - Ben Bailey
Quirke (2014) - John Millican
White City (2015) - Colin Flanagan
|
||||
9048
|
dbpedia
|
0
| 19
|
https://angelcityjazz.com/event/david-murray/
|
en
|
David Murray Trio
|
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2022-07-14T05:28:31+00:00
|
Legendary sax man David Murray comes to Word Stage to present material from his recent release 'Seriana Promethea'
|
en
|
Angel City Jazz
|
https://angelcityjazz.com/event/david-murray/
|
David Murray
The career of Oakland-born tenor saxophonist David Murray (1955) went through at least three well-defined phases after he moved to New York in 1975: a confrontational free-jazz phase in which he developed a wildly dissonant style of playing, an erudite phase in which he focused on composition rather than performance, and a phase in which his performance and composition came together into an elegant (as opposed to furious) display of idiosyncratic languages at the instrument that also mirrored a rediscovery of jazz tradition.
|
|||||
9048
|
dbpedia
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1
| 22
|
https://ironmaiden.fandom.com/wiki/Dave_Murray
|
en
|
Dave Murray
|
https://static.wikia.nocookie.net/ironmaiden/images/4/43/New_Jersey_7.jpg/revision/latest?cb=20090125165248
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[
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[
"Contributors to Iron Maiden Wiki"
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2024-07-29T22:27:06+00:00
|
Dave Murray (born David Michael Murray on 23 December, in Edmonton, London) is an English guitarist and songwriter. Dave is best known as one of the original members of the Iron Maiden. He joined the band just two months after their inception in 1975. As a boy, Murray was a fanatical football...
|
en
|
/skins-ucp/mw139/common/favicon.ico
|
Iron Maiden Wiki
|
https://ironmaiden.fandom.com/wiki/Dave_Murray
|
Dave Murray (born David Michael Murray on 23 December, in Edmonton, London) is an English guitarist and songwriter.
Dave is best known as one of the original members of the Iron Maiden. He joined the band just two months after their inception in 1975.
Career[]
As a boy, Murray was a fanatical football (soccer) player and fan as well as a keen cricketer. But his family was poor – his father was disabled and his mother worked part-time as a cleaner – and the family never settled anywhere long enough for Murray to establish himself in any of the schools' teams he could have played for. By his reckoning, he had been to a dozen different schools by the time he left for good at the age of 16.
Murray developed an interest in Rock music when he was 15 after hearing "Voodoo Child (Slight Return)" by Jimi Hendrix on the radio. He got his first guitar and being such a keen guitarist, he would practice up to 7 hours a day. He formed his first band, a trio called Stone Free. This band also included Adrian Smith (Guitar/Vocals) who would later become a member of Iron Maiden.
From there, Murray had played with a number of different bands before meeting Steve Harris and joining Iron Maiden for the first time in 1976. He briefly left the band following an argument with then vocalist Dennis Wilcock. Murray rejoined Smith in a band called Urchin. During this short tenure with the band he recorded one single titled "She's A Roller". Following the single Murray left Urchin and returned to Iron Maiden as Wilcock had left the band during Murray's hiatus.
Murray's guitar style throughout his career has been mainly of the legato based solo variety. This can be seen in songs from their first self titled album, such as "Phantom of the Opera", to the watery solo from "Lightning Strikes Twice", to songs from their 2006 release A Matter of Life and Death, such as its lead single "The Reincarnation of Benjamin Breeg". Murray's sound and style can be distinguished from Janick Gers' and Adrian Smith's style, mostly because of his frequent use of the neck pickup. Murray is noted for having naturally strong fingers and frequently using hammer-ons and pull-offs. Murray has also written for the band, though less often than other band members. Usually leaving lyrics to someone else, he occasionally co-writes songs, with "Charlotte the Harlot" being his sole composition released.
Murray and Harris are the only members of Iron Maiden to have appeared on every one of the band's albums.
In his spare time Murray is an avid golfer, as seen in the Rock in Rio DVD. Murray and his wife Tamar have one daughter named Tasha.
Equipment[]
Throughout his career, Murray has used and endorsed Marshall amplifiers and has used Fender Stratocasters almost exclusively. His black 1957 Stratocaster previously owned by late Free guitarist Paul Kossoff (used from circa 1976-1990 and made by Fender as an Artist Signature model since 2009 - http://www.fender.com/products//search.php?partno=0118802806) now resides in a glass case at his home. Although he has been occasionally seen with various Dean, Gibson, Ibanez, ESP and Jackson electrics as well as his acoustic guitar arsenal, Murray's primary instrument has been a Stratocaster. He used the DiMarzio Super Distortion and PAF in his Strats before switching to Seymour Duncan JB's and Hot Rails in the 1990s. He also occasionally uses Seymour Duncan SH-11 Custom blade-coil humbuckers.
Guitars[]
3 Fender Stratocasters with Floyd Rose systems.
Some Jacksons on past tours.
Guitar Specs[]
Ernie Ball Strings (.009, .011, .016, .024, .032, .042)
Seymour Duncan Hot Rails humbucking pickups
"Original" Floyd Rose Locking Tremolo Systems
His black '57 Stratocaster sports a HSH configuration - DiMarzio Super Distortion DP100 (bridge), American Vintage '57/'62 (middle), DiMarzio PAF DP-103 (neck) - with 3-way switching and American Vintage hardware.
Guitar Effects, Controllers and Processors[]
Dunlop Wah Controller
Rocktron All-Access Foot Controller
Amplifiers[]
Marshall 1960B Straight Cabinet / 4x12 300-Watt Loaded with Celestion 12" G12T 75 Watt Speakers[1]
Marshall DSL100 tube heads (rack gear plugs into power amp section via FX loop).
Units and Tuners[]
Boss Tu-12H Digital Tuner
Peterson 490 Autostrobe Tuner
Shure U4D UHF Wireless Unit
Dunlop DCR-1SR Rack CryBaby Wah
Custom-Built Pete Cornish Routing and Power Supply Units
Marshall JMP-1 Valve Midi Preamp
Marshall JFX-1 Effect Unit
Reference: Guitar World (January 2007)
Discography[]
Iron Maiden
Main article: Iron Maiden discography
1980: Iron Maiden
1981: Killers
1982: The Number of the Beast
1983: Piece of Mind
1984: Powerslave
1986: Somewhere in Time
1988: Seventh Son of a Seventh Son
1990: No Prayer for the Dying
1992: Fear Of The Dark
1995: The X Factor
1998: Virtual XI
2000: Brave New World
2003: Dance of Death
2006: A Matter of Life and Death
2010: The Final Frontier
2015: The Book of Souls
2021: Senjutsu
Guest appearances
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David Murray
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David Murray (born February 19, 1955) is an American jazz musician who plays tenor saxophone and bass clarinet mainly. He has recorded prolifically for many record labels since the mid-1970s.[1] Murray was born in Oakland, California, USA. He was initially influenced by free jazz musicians such...
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JazzSkool.org
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https://jaz.fandom.com/wiki/David_Murray
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David Murray (born February 19, 1955) is an American jazz musician who plays tenor saxophone and bass clarinet mainly. He has recorded prolifically for many record labels since the mid-1970s.[1]
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Murray was born in Oakland, California, USA. He was initially influenced by free jazz musicians such as Albert Ayler and Archie Shepp. He gradually evolved a more diverse style in his playing and compositions. Murray set himself apart from most tenor players of his generation by not taking John Coltrane as his model, choosing instead to incorporate elements of mainstream players Coleman Hawkins, Ben Webster and Paul Gonsalves into his mature style.[2] Despite this, he recorded a tribute to Coltrane, Octet Plays Trane, in 1999. His 1996 tribute to the Grateful Dead, Dark Star, was also critically well received.[3]
Murray was a founding member of the World Saxophone Quartet with Oliver Lake, Julius Hemphill and Hamiet Bluiett.[4] He has recorded or performed with musicians such as Henry Threadgill, James Blood Ulmer, Olu Dara, Tani Tabbal, Butch Morris, Donal Fox, McCoy Tyner, Elvin Jones, Ed Blackwell, Johnny Dyani, and Steve McCall. David Murray's use of the circular breathing technique has enabled him to play astonishingly long phrases.[5]
He is currently living in Sines, Portugal, and participates yearly in its FMM Music festival.
Awards[]
In 1980 David Murray was named Village Voice Musician of the Decade
Murray was honoured with the Bird Award[6] in 1986.
Awarded a Guggenheim Fellowship in 1989[7]
David Murray and his band earned a Grammy Award in 1989 in the Best Jazz Instrumental Group Performance category for Blues for Coltrane: A Tribute to John Coltrane[8]
1991 honoured with the Danish Jazzpar Prize[9]
Newsday named him Musician of the Year in 1993[10]
Discography[]
Main article: David Murray discography
References[]
[]
Template:Commons category
David Murray Fans Website
Official David Murray for management and publishing
Unofficial David Murray Website
-commentaires de CBS 2007 sur bordeauxsalsa.com
David Murray interview at allaboutjazz.com
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David Murray NYC Shows on doNYC
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Check the event calendar for David Murray in NYC along with ticket and venue information, photos, videos, bios, maps and more.
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doNYC
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https://donyc.com/artists/david-murray
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David Murray – Jazz Desk
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Posts about David Murray written by Jazz Desk
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Jazz Desk
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https://jazzdesk.wordpress.com/category/david-murray/
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Category: David Murray
David Murray with a new quartet
David Murray convinces on a new quartet album with a new young band. David Murray Quartet – Francesca (Intakt, 2024) Tenor saxophonist and bass clarinettist David Murray has been active for five decades recording with musicians like McCoy Tyner, Elvin … Continue reading David Murray with a new quartet
David Murray live streaming at the Village Vanguard
Last summer I heard David Murray playing at a big jazz festival. A year later I get to hear him live stream from the Village Vanguard playing new music with pianist Lafayette Gilchrist. David Murray, tenor saxophone and bass clarinet; … Continue reading David Murray live streaming at the Village Vanguard
David Murray and Saul Williams live – vocal jazz up to date
Saxophonist David Murray and poet Saul Williams brings vocal jazz right up to date. They were a great success at Middelheim Jazz Festival. David Murray, tenor saxophone; Saul Williams, vocals; David Bryant, piano; Rashaan Carter, bass; Hamid Drake, drums. Live at Middelheim Jazz Festival, … Continue reading David Murray and Saul Williams live – vocal jazz up to date
Poetry and protest on a future classic
David Murray – “Blues for Memo” (Motema, 2018) Is it surprising to hear saxophonist David Murray collaborate with rapper and poet Saul Williams who previously has performed with artists such as Nine Inch Nails and Nas? Not at all! The … Continue reading Poetry and protest on a future classic
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Saxophonist David Murray returns to the New York jazz scene in a new role
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After two decades abroad, a onetime pillar of New York's music and theater communities has come home to play statesman to a new generation of jazz musicians with original views and leadership qualities.
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From the 1970s through the ’90s, David Murray was a titan of New York’s downtown culture. He was a brilliant jazz saxophonist who crossed social and stylistic borders, and a composer who collaborated with poets, writers and photographers, feeding the era's interdisciplinary energy.
In the late ’90s, Murray followed his heart — and a more global music-minded outlook — to Paris, where he spent two decades working with musicians from the Caribbean and Francophone West Africa.
Now, having returned to New York City, the 67-year-old Murray is regaining vitality as a jazz elder — a quality and status he's revealing this week at the Village Vanguard with a quartet of great young musicians.
“They call me O.G.,” Murray said, during a long and winding conversation just prior to his Vanguard stint. “It came so fast. I went from being enfant terrible, to one of the oldest living.”
Murray arrived in New York in September 1975, as a college sophomore. He’d grown up in the Bay Area, and played alto saxophone at church with his family since the age of 9, and in local bands as a teen. But after studying with renowned jazz critic Stanley Crouch and trumpeter Bobby Bradford at Pomona College, he felt the pull of Manhattan’s avant-garde music. On arrival, he jumped straight into the deep end of the jazz pool, seeking out some of the city’s most avant-garde artists
“I came here on an independent study,” Murray said. “I interviewed Ornette Coleman, Cecil Taylor, John Cage and McCoy Tyner. I went around to every concert I possibly could, wrote a review of it, talked about the musicians. I had my heart set on being a writer and a saxophone player.”
Murray moved into a East 2nd Street loft with Crouch, and began playing in the city’s then-vibrant loft jazz scene. Yet he instantly saw himself standing apart from his contemporaries.
“When I got to New York, I realized that, of the people that were around the Lower East Side, I knew a little more music than they did," Murray said. "I was into this whole new-music thing 'cause Stanley was into it, and the people around me were into it. But I could play a lot of different things, I read music, I understand the construction of songs and how to do it. Which led me to writing.”
Murray cites his time as a founding member of the World Saxophone Quartet, alongside composer Julius Hemphill, as especially beneficial. “That helped me in a large way, to see how he constructed things,” he said.
Murray began collaborating with the many New York writers and poets living around him — Crouch, Amiri Baraka, Steve Cannon, Ishmael Reed — and often performed with them. Also among those poets was Ntozake Shange whose choreopoem, “for colored girls who had considered suicide / when the rainbow is enough,” was a smash hit at The Public Theater before moving to Broadway.
Murray and Shange created numerous pieces at the Public — including “A Photograph” and “Spell #7” — and inspired its now-legendary music series, New Jazz at The Public. They also fell in love and got married. The romantic union didn’t last long — “about three months,” by his estimation. “But it was a hell of a story.”
He has great memories of the downtown’s creative community, during a time when he could buy smokes with The Ramones, his neighbors on East 2nd Street, bump into pop-culture figures like Tiny Tim, or see a young painter named Jean Michel Basquiat try his hand at music.
"I remember he played really bad clarinet, and they played really loud," Murray said. "Everybody was just growing up, and it was wide open during that time."
In 1980, the Village Voice, then the city’s cultural bible, called Murray its “Musician of the Decade.” According to veteran jazz critic Jim Macnie, Murray's appeal was in the joy and charisma of his playing. What people at times heard as “avant-garde” was enthusiasm, “a young guy's version of playing everything he could," Macnie said.
“There's the blues in his playing, deep lyricism in his lines — it's not all exclamation,” he added, invoking mid-’80s albums the notoriously prolific Murray recorded as homages to classic jazz saxophonists Ben Webster and Coleman Hawkins.
“He's long appealed to an adventurous mainstream audience," Macnie said. "It's versatility and growth that marks his work, and after a while it felt like he could do anything and go anywhere. So, playing with the [Grateful] Dead, working with African drummers, working with Ishmael Reed, and later when he started to investigate music around the world, Guadalupe and other places: his cultural investigations are his passport to all these various worlds.”
Those investigations grew in the late-’90s, when Murray left New York for Paris. He had fallen in love with Valerie Malot, a global-music activist and booking agent, and began seeking collaborators and creative challenges around the world. Over the next two decades he recorded throughout the Black Atlantic — in Senegal, Cuba and throughout the Francophone Caribbean — and with immigrants and transplants who passed through Paris’s cultural melting pot.
“My whole idea was if I did world music, I wanted to play with the best musicians — the top tier of people,” he said.
After his marriage in Paris ended, Murray returned to New York in 2017. And thought his studio output has slowed down, he’s continued to play live. And if age robbed Murray of many jazz peers (“all of my great rhythm sections are gone”), he has been reinvigorated by a new generation of players fluent in the music’s many histories, but with something new and original to contribute.
“They're all leaders in their own rights,” says Murray of the other members in the quartet he's leading through Sunday night at the Village Vanguard.
Madrid-born, Brooklyn-based pianist Marta Sanchez is a perfect example. You can find her 2022 album, "SAAM (Spanish American Art Museum)," near the top of many jazz year-end lists. Sanchez leapt at the opportunity to work with Murray. What she gets from sharing his bandstand has less to do with specific techniques or songs than with the freedom and authority to express herself in his music.
“It's [his] open approach: how you hear the same tune in different recordings, and the approach and the treatment are totally different,” Sanchez said of Murray’s music. “I love the openness to let the musicians put their personality on the tunes, and reshape the tunes.”
On opening night at the Vanguard, Murray sounds powerful playing with Sanchez, bassist Luke Stewart and drummer Kassa Overall. He even makes an occasional dancing leap during his solos. While the weight of a hard-lived 67-year-old artist is apparent, so is his joy at transitioning from a jazz firebrand to a leader of younger players, who view him as an elder statesman.
“It makes me feel quite admirable, that my life was worth something,” Murray said. “To have played with Max Roach and Julius Hemphill when I happened to be 15-17 years younger than them, I looked up to them. I guess now it’s my time.”
He attributes his current resurgence to his wife and manager, Francesca Cinelli, who he calls “my muse.” They live uptown, not far from where Murray first landed in 1975. He’s eager to play, and wants to record again soon — maybe even with this quartet.
“My life is better,” Murray said. “I'm more healthy now than I probably have been in many years. And I'm hoping that it reflects in my playing.”
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David Murray ← People ← Cafe OTO
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Since he arrived in NY in 1975, David Murray established himself as one of the prominent saxophone players and leaders of jazz. He has released over 200 albums under his own name, working with the likes of Max Roach, Randy Weston, Pharoah Sanders, McCoy Tyner, Taj Mahal, Mal Waldron, Amiri Baraka, Jerry Garcia, Doudou N’daye Rose, Cassandra Wilson, Jason Moran, Macy Gray, Omara Portuando, Saul Williams, Vijay Iyer, Quest Love, Black Thought, and Gregory Porter to name a few. He is also a founding member of the groundbreaking World Saxophone Quartet which toured and recorded for 40 years.
As well as being a well known bandleader, he is a noteworthy composer and arranger providing memorable melodies and harmonies. His approach to improvisation is instantly recognizable. Even in its freest flights, he acknowledges the gravity of a tradition he honors more than most, combining all the influences he grew out of: gospel, jazz, free/avant-garde jazz, rhythm’n blues, R&B and, in his associations with writers, poetry. The great Cecil Taylor compared him to his greatest predecessors who had signature sounds: “You stick your ear in the door, you know it’s David!’’
His most recent trio, The Brave New World Trio, released an album May 2022 after touring for 2 years. The critics unanimously agree that he is at the top of his game! “The concept of freedom expressed here involves drawing freely from myriad styles, minting them into music that is both uncompromisingly rigorous and directly communicative.” (Downbeat, July 2022)
David Murray goes down as a worthy successor for some of the biggest names in jazz, and he is now contributing to the rise of many young talents acclaimed by the critics.
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Celebrity Portraits: David Murray — MARTINE BARRAT
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See American jazz musician, David Murray through the lens of New York based French photographer, Martine Barrat.
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MARTINE BARRAT
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https://www.martinebarrat.com/celebrity-portraits-david-murray
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I am very proud David wrote a lot of titles for my exhibition in Paris, I was so thankful for his special time creating some of the titles for my photography. I was so happy and surprised he play for the opening of the show and his text was at the entrance of the museum.
This is the photo David chose for the cover of his album Silence. The little boy is a violin player, and he was playing in a concert at Harlem school of the art. I wish I could remember his name.
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https://trackingangle.com/music/david-murray-teams-up-with-questlove-and-analog-tape
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David Murray Teams Up with Questlove (and analog tape)
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David Murray Teams Up with Questlove (and analog tape) – The jazz master saxophonist stretches out with new improv-mates
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https://trackingangle.com/music/david-murray-teams-up-with-questlove-and-analog-tape
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The jazz master saxophonist stretches out with new improv-mates
David Murray was the tenor saxophonist of the 1980s and ‘90s, first as junior member of the World Saxophone Quartet, among the most innovative jazz groups of the era, then as leader of a dozen different ensembles of varying size, from duets to big band and everything in between, playing a range of music (much of it self-composed) from frenzied avant-garde to swooning ballads, his solos sweeping arpeggios in pleasingly jarring intervals laced with Sapphiric blue notes, one passage recalling Albert Ayler’s wails, the next Ben Webster’s sultry vibrato, at all times tapping into the rhythms of the planet.
At his peak, Murray was releasing an album a month, mainly on the Italian label Black Saint or the Japanese label DIW, which, for a while, had US distribution deals with Polygram and Columbia, respectively. (Those were the days!) In the mid-to-late ‘90s, Murray also played every Monday night at the Knitting Factory in downtown Manhattan, usually with his big band, which featured nearly every star in the prog-jazz firmament.
Then, around the turn of the century, he disappeared—moved to France, got married, took up with the Guadaloupean Gwo-ka masters, returned to the States for occasional gigs with younger players and a refurbished WSQ, but the visits were rare. (In the decade between 2010 and 2020, he recorded four albums—the same number that he used to put out routinely every few months.) Then, a few years ago, he moved back to New York, formed a solid new quartet, booked gigs at outposts like the Village Vanguard. He is now 69. (He was 24 when he first attracted notice.) And yet he still has that sound—the fiery rhythms when he wants them, the smoky soulful tone when it wants that too.
Murray has two albums now out. The one I’ll focus on here, Plumb, is a four-LP set with the drummer Questlove and the keyboardist Ray Angry, recorded and mixed on analog tape by a peculiar New York label called J.M.I. The label puts out nothing but all-analog jazz albums, often in strangely small sessions. I first heard of the label when I came across a solo David Murray album, Sun/Moon, mastered on two LPs in 45rpm. There is also a James Carter solo baritone sax album, Un.
Plumb covers the Murray waterfront, plus some: uptempo improv (all but two 15 tracks are improvs), Coltrane-ish sheets of sound, backbeat-driven R&B, stirring balladry. It’s like listening to Murray traverse his entire repertoire, backed by a highly skilled electro-soul band. (It reminds me a bit of Shakill’s II, a stunning 1994 Murray album with the great pianist Don Pullen pulling a rare stint on a Hammond B-3.)
There’s a great album in here, but its extraction would require an editor, someone like Teo Macero, who molded some of Miles Davis’ rambling sessions of the late 1960s and ‘70s into albums like Bitches Brew, A Tribute to Jack Johnson, On the Corner, and In a Silent Way. (Many years later, Columbia or Mosaic released the complete uncut sessions on multi-disc sets, which were interesting to plow through once, at most.) Plumb, even in its raw shape, is more coherent than those raw Miles tapes. Still, some of its tracks go on for too long, some (especially those with vast acres of Angry’s ambient noodling) could be cut way down to size if not excised altogether. As is, Plumb is a very good album; it lets Murray stretch out with a freedom that he hasn’t been allowed in many sessions lately, or actually ever. But paying $140 for four albums’ worth of this—2-1/4 hours of music—might be a bit much for the non-aficionado (though, given the vinyl market’s robust health these days, maybe not—go ahead, give it a shot).
The sound is spectacular. Engineer James Yost laid it all down at Reservoir Studios in New York through a Studer A800 MK III Master Recorded on 2” ATR Magnetics Master tape. (It was later mixed to a Studer A80 on ATR ½” tape). The three musicians all played in the the same room—no isolation booths, no headphones—all into vintage microphones. Neumann U67s, in cardioid, handled Questlove’s drum kit, with an AKG C24 overhead. Murray’s sax was picked up by a U49 (a U67 when he switched to bass clarinet). Anger’s keyboards were recorded with direct input, with a little bit from an Ampex amp (though mainly so the other musicians could hear them).
All the instruments are vivid, dynamic, spread out. They’re in the room. It’s a jaw dropper. I’ve heard a few new albums recorded on analog tape (Jerome Sabbagh’s Heart and Vintage are others), and they have a transparency, an effortless airiness that you just don’t hear on albums sourced from ProTools. Digital is much better now than it was a decade ago, but it’s a shame that analog recording has dwindled to a nearly lost art—especially now that vinyl mastering and plating have made such advances. It is expensive. Plumb required 20 reels of tape, at $380 per reel. And it’s an awkward medium, especially for improvised music. Yost told me that, on a few occasions, the tape ran out mid-improv. “I guess that’s the end of the track,” he’d have to announce.
This is special. The whole label is worth checking out.
Murray has another new album out, Francesca, with his regular quartet, on his regular label, Intakt. Musically, it’s a terrific album, another pastiche of ballads, blues, and a little bit of frenzy, though economized, like most studio albums, for 7- to 11-minute tracks. His quartet, which I’ve seen live at the Vanguard, approaches the high standards of his earlier groups, especially his pianist Marta Sanchez, whose sextet album as a leader, SAAM (Spanish American Art Museum) was a highlight of 2022. But the sound is so-so. Everything is well balanced, but the horn is two-dimensional, the piano hooded, and the drums rustled like paper and cardboard (probably due to the phase distortion that comes with over-miking). It’s still worth repeated listen, but the engineers could do a lot better. Maybe in advance of his next album, Murray will tell them to check out Plumb.
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https://www.allmusic.com/artist/david-murray-mn0000182855
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Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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AllMusic
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https://www.allmusic.com/updated
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https://www.capitalbop.com/interview-david-murray-on-the-roots-of-his-music-and-the-budding-talents-of-today/
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David Murray on the roots of his music, and the budding talents of today -
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2012-07-12T05:33:25+00:00
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Ed. note: this article was recovered from a previous version of our site for re-publication in advance of David Murray’s appearance at Rhizome DC on March 10, 2019. Learn more about this performance, and the DC Jazz Loft that immediately follows it, here. by Luke Stewart Editorial board Protean, prolific and quietly iconic, David Murray […]
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CapitalBop
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https://www.capitalbop.com/interview-david-murray-on-the-roots-of-his-music-and-the-budding-talents-of-today/
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Ed. note: this article was recovered from a previous version of our site for re-publication in advance of David Murray’s appearance at Rhizome DC on March 10, 2019. Learn more about this performance, and the DC Jazz Loft that immediately follows it, here.
by Luke Stewart
Editorial board
Protean, prolific and quietly iconic, David Murray is one of the most discussed and written about figures in his generation of jazz. He developed alongside his friend, the infamous writer and scholar Stanley Crouch. In the Los Angeles area, Crouch — trying his hand as an avant-garde drummer — founded a group called Black Music Infinity, which featured some of the top musicians in the area at the time, including the legendary trumpeter Bobby Bradford and the soon-to-be-legendary Arthur Blythe, among many others. The name and the sentiment behind Black Music Infinity have stuck with David Murray throughout a career spanning more than three decades, with appearances on over 150 recordings.
Now he feels it’s time to reignite the ensemble and its radical message – only this time, with some of today’s finest firebrands. This weekend at Bohemian Caverns, he is joined by drummer Nasheet Waits, pianist Marc Cary and bassist Charnett Moffett.
In an interview conducted yesterday for WPFW 89.3 FM, I was able to speak in depth with Murray about his music, and the state of jazz today. The audio of that interview is available below.
https://www.capitalbop.com/wp-content/uploads/2012/07/David-Murray-Interview-2012-07-12.mp3
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https://theshfl.com/guide/David-Murray
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David Murray
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Read Phil Freeman on David Murray
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/favicon.ico
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https://theshfl.com/guide/David-Murray
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Tenor saxophonist David Murray was born in Oakland, California in 1955. He grew up in the Pentecostal church, playing gospel. He started out on alto before switching to the tenor, and shifted from R&B to jazz at Pomona College, where he studied with Arthur Blythe and connected with poet, jazz critic and wannabe drummer Stanley Crouch. When Crouch left California for New York, Murray followed, and the two played together in the loft scene.
Murray was an almost instant sensation. Though he understood the language of free jazz, and could blow as forcefully as anyone around, he was not part of the post-John Coltrane lineage. Instead, he took inspiration from the church (which manifested in an almost Albert Ayler-esque intensity) and from swing-era players like Coleman Hawkins and Ben Webster, which gave his ballads a roundness and heft. He made important connections quickly, working with Art Ensemble of Chicago trumpeter Lester Bowie on Live At The Lower Manhattan Ocean Club and forming the World Saxophone Quartet with Julius Hemphill, Oliver Lake and Hamiet Bluiett. He also joined forces with guitarist James “Blood” Ulmer and drummer Ronald Shannon Jackson in the Music Revelation Ensemble.
Murray has been astonishingly prolific; he’s made literally hundreds of albums for a vast number of labels, including India Navigation, Black Saint, and Justin Time. His longest-running professional association was with the Japanese DIW label, for whom he recorded over 30 times in the ’80s and ’90s.
Unlike many tenor saxophonists, he never touches the soprano, though he has recorded often on the bass clarinet, including the self-explanatory Ballads For Bass Clarinet, from 1991. Although he has some favorite sidemen, like pianist John Hicks and bassist Fred Hopkins, he tends to change personnel on virtually every album, heading into the studio with a concept, exploring it to his satisfaction, then moving on. (One notable exception came in 1988, when he recorded five albums — Lovers, Deep River, Ballads, Spirituals, and Tenors — with the same group: Dave Burrell on piano, Hopkins on bass, and Ralph Peterson on drums.)
Given his nature as a conceptualist, it’s no surprise that many of Murray’s best albums arise out of his exploration of archetypal jazz forms or ensembles. His 1991 release Shakill’s Warrior featured a funky organ quartet; his long-running octet (five horns plus rhythm) made its debut with 1980’s brilliant Ming and has reappeared from time to time ever since. He also formed a big band that year, which made two solid records before disbanding. (A decade later, he assembled a different Latin Big Band for one album.) He has explored gospel and the blues, and the musical traditions of Cuba, Senegal and Guadeloupe; recorded duos with several notable pianists, including Randy Weston, Dave Burrell, Mal Waldron, John Hicks and Aki Takase; and made multiple solo albums. He’s slowed his pace in recent years and settled into elder statesman status, but his catalog is deep enough by now that listening to it all could be a scholar’s lifetime project.
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https://www.bimhuis.nl/en/calendar/david-murray-black-music-infinity-quartet-2/
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DAVID MURRAY “BLACK MUSIC INFINITY” QUARTET
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2012-01-04T09:52:30+00:00
|
Tenor saxophonist David Murray has a mighty sound and an open mind. He has linked his soulful free jazz style to, among others, a gipsy ensemble and a Latin big band. Following the great success of his previous project, ‘Nat King Cole En Español’, Murray will come to the Bimhuis with three top musicians from […]
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https://www.bimhuis.nl/wp-content/themes/bimhuis/favicon.ico
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https://www.bimhuis.nl/en/calendar/david-murray-black-music-infinity-quartet-2/
|
Tenor saxophonist David Murray has a mighty sound and an open mind. He has linked his soulful free jazz style to, among others, a gipsy ensemble and a Latin big band. Following the great success of his previous project, ‘Nat King Cole En Español’, Murray will come to the Bimhuis with three top musicians from New York and a brand new repertoire. Black Music Infinity is inspired by the forward-thinking New York loft jazz scene, which Murray was part of in the 1970s.
FEAT. MARC CARY, JARIBU SHAHID, HAMID DRAKE
David Murray tenor saxophone, Marc Cary piano, Jaribu Shahid bass, Hamid Drake drums
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Tom Hull: David Murray
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The David Murray Guide (2020)
This is a supplement to my David Murray Guide, published by The Village Voice on May 20, 2006. It is mostly collected from my Jazz Guide draft files. Note that I revised my grade scale there: A as well as A+ became [10], A- [9], B+ stars range [6-8] or [+] where I didn't use stars; B is [5], B- [4], C+ [3], C [2], lower is [1] (or maybe [0], I forget). Also note that the two Guides have different ordering conventions: pre-2000 I order by recording data, post-2000 by release date. In both, I list groups after individuals, but sometimes place group credits under individuals, but I've tried to move them back here (also treating World Saxophone Quartet as a special case).
David Murray
B. 1955; tenor saxophone, bass clarinet.
Born 1955 in California, David Murray fed on church, funk, and the great saxophonists of the '60s -- Albert Ayler and Paul Gonsalves were key influences, but sooner or later Murray mastered everyone while never sounding like anyone else. By 1975 when he moved to New York avant-jazz had gone underground, and Murray dug deep, recording prolifically for tiny labels -- 90 as a leader, 90 more as a sideman (including 20 with the World Saxophone Quartet). Far and away the greatest tenor saxophonist of his generation, his records are hard to find and little known -- with the demise of DIW, half of the records below are out of print.
David Murray: Low Class Conspiracy (1976, Adelphi) At twenty-one, Murray moved to New York from California and bulled his way into the lofts that had become one of the avant-garde's last refuges. His first studio album was a trio where he yielded a lot of space to bassist Fred Hopkins, including a solo dedicated to Jimmy Garrison. But he already shows his trademark chops, especially his skill at punctuating stratospheric runs with abrupt honks. [9]
David Murray: Flowers for Albert: The Complete Concert (1976, India Navigation 2CD -97) Penguin Guide lists Flowers for Albert as a 4-star record, but closer inspection reveals something fishy. This one is IN 2026; their one is IN 2004. This one was recorded 1976-06-26 with Olu Dara, Fred Hopkins and Phillip Wilson; their one was recorded 1977-09 with Butch Morris, Don Pullen, Fred Hopkins and Stanley Crouch (the writer on drums). So clearly they're not the same records, but I can't find any other corroboration for IN 2004. Closest match in Murray sessionography (which, btw, I suspect is incomplete -- certainly isn't up to date) is a 1977-08-17 record, West Wind 2039, also called Flowers for Albert, released 1990, combining two LPs originally released on Circle. This one expands an LP with three additional tracks, 45:47 of new music, which slops about half-way onto a second CD. Same lineup as Low Class Conspiracy except that this one has Olu Dara on trumpet, a second horn that takes some of the focus off Murray -- 21 years old, and already a very imposing performer. On the basis of focus and sound, I give the nod to the studio album. Those are the only two Murray albums I have before Sweet Lovely, his second album for Black Saint. There's a fair amount of live material in his discography, very little of which is still in print. This is a good one, but perhaps a bit of caution is in order. [8]
David Murray & Low Class Conspiracy: At the Bim Huis: First Set (1977, Circle -98) One of a handful of live albums from Murray's early years. Many different ways the artist name and title could be parsed. The spine says David Murray Quintet. The back cover adds "featuring Don Pullen and Stanley Crouch." Why someone would be more impressed with Crouch on drums than Butch Morris on cornet and Fred Hopkins on bass beats me, but even the most marginal of labels think they have marketing geniuses. The music isn't exceptional, but Pullen's part is interesting, and ordinary Murray is still pretty impressive. [6]
David Murray: Live at the Lower Manhattan Ocean Club (1977, Jazzwerkstatt -10) In 2006 I was one of five writers asked to work up a consumer guide to the records of a jazz great. I was the only one to pick a living artist: tenor saxophonist David Murray, b. 1955 in California, raised on church, funk, and saxophonists from Paul Gonsalves to Albert Ayler. (The others opted for Billie Holiday, John Coltrane, Thelonious Monk, and Sun Ra.) I managed to pick out and write short reviews of seventeen key albums, from Low Class Conspiracy in 1976 through Now Is Another Time in 2003. At the time I credited him with 90 albums as a leader and 90 more as a sideman, and figured I had heard 60 + 40 of them -- pretty good that that left some gaps, most notably in the late 1970s when he moved to New York and took the "jazz loft scene" by storm. That period is mostly documented by live albums like this one on defunct labels: this set was originally released by India Navigation on two LPs, then in 1989 was squeezed onto one CD by hacking about eight minutes off the last song. It's finally back in print, the times slightly rejiggered from the CD. It's not a long lost classic, but it has historical interest -- for one thing, Murray plans soprano sax on his trashed trad jazz "Bechet's Bounce" -- and then some. A quartet with Lester Bowie the opposite horn, Fred Hopkins on bass, and Phillip Wilson on drums. Hopkins is already a fascinating player, and Bowie's wit complements Murray's power. [7]
David Murray: Let the Music Take You (1978, Marge): Tenor saxophonist, early quartet, with Lawrence "Butch" Morris (cornet), Johnny Dyani (bass), and George Brown (drums), live shot from Rouen, France. Strong performance, wobbles a bit. [8]
David Murray Trio: 3D Family (1978, Hatology -06) Early in Murray's career, just before the Black Saint recordings that established his career and effectively ended the decade-long exile of the avant-garde to the lofts of New York; live in Willisau with South Africans Johnny Dyani on bass and Andrew Cyrille on drums, a bit on the crude side but bursting with the raw force of creation. [9]
David Murray: Intergoogieology (1978, Black Saint): The tenor sax great's first album on the Italian label that first established him as a star (and, more than any other label, rescued the American avant-garde by providing an outlet for their work). Quartet with Morris, Dyani, and Oliver Johnson (drums), plus Marta Contreras vocals on two (of four) tracks. "Blues for David" is the only cut that really catches fire. [7]
David Murray: The London Concert (1978 [1999], Cadillac, 2CD): Quintet in August, Morris again, plus locals on piano-bass-drums. Album appeared as 2-LP in 1979, reissue adding two long songs (46:27). [8]
David Murray Trio: Sweet Lovely (1979, Black Saint -80) Murray finally found a steady outlet in Italy on Giovanni Bonandrini's label. His second album there was this bare bones trio, with Fred Hopkins and Steve McCall setting up obstacle courses for Murray's fierce saxophone runs. The title comes from a Murray song that didn't make the cut -- fittingly, as there's nothing sweet or lovely this time. [9]
David Murray Octet: Ming (1980, Black Saint) A startling album when it appeared, recalling Mingus both in its complex layering and its sheer energy, but pushing further as it gave vent to some of the most singular musicians of the '80s -- most notably Henry Treadgill, George Lewis, and Murray himself. Cornettist Butch Morris went on to make a cottage industry out of conducted improvisations -- conductions, he called them. This is where he learned his craft. [10]
David Murray: Home (1981, Black Saint) [+]
David Murray: Murray's Steps (1982, Black Saint) Further adventures with the Octet, a group that returns for Octet Plays Trane (1999, Justin Time). [+]
David Murray Quartet: Morning Song (1983, Black Saint -84) The title track recurs frequently in his oeuvre, but never again so joyously as in leading off this ebullient album. Other delights include a meditation on "Body and Soul," a bass clarinet romp through Fats Waller's "Jitterbug Waltz," and a brief but intense "Duet" with drummer Ed Blackwell. Neither avant nor diluted -- one of his most accessible albums. [9]
David Murray: Children (1984, Black Saint -86) Three Murray tunes plus "All the Things You Are" done by a quintet with James "Blood" Ulmer's guitar and Don Pullen's piano locked in a furious race; thrilling when they keep it up, loses something when the pace slackens. [7]
David Murray Big Band: Live at Sweet Basil, Volume 1 (1984, Black Saint -85) [5]
David Murray Big Band: Live at Sweet Basil, Volume 2 (1984, Black Saint) These Butch Morris records always seem to slip by me, but now I realize that a big part of the reason is that they're so underrecorded: it takes some volume to get any detail at all. But here, at least when you can hear it, Murray is his usual brilliant self, and Craig Harris stands out among the background. I've always preferred Murray's quartets to his octet, and his octet to the big band; I may even prefer Murray's duos to his quartets. Good as this one is, there's another thirty, maybe forty, Murray albums I'd put on first. [5]
David Murray: New Life (1985, Black Saint -87) [5]
David Murray: I Want to Talk About You (1986, Black Saint -89) A live trio that ties this period together. [9]
David Murray: Recording NYC 1986 (1986, DIW -95) Another snapshot from a memorable year -- started with I Want to Talk About You and ended with The Hill; a quartet, of course, but with guitarist James Blood Ulmer on guitar instead of the usual piano, Fred Hopkins on bass and Sunny Murray on drums; sound is a little muffled, but the tenor sax has no problem breaking through. [7]
David Murray/Jack DeJohnette: In Our Style (1986, DIW -89) Mostly tenor sax-drums duets, the drummer marvelously supportive (as ever), the saxophonist psyched up; two cuts add Fred Hopkins on bass, never a bad idea; DeJohnette plays a bit of credible piano, and kicks off the final cut with some exotic percussion -- I thought vibes at first, but given the title is "Kalimba" it's most likely African thumb piano. [9]
David Murray Trio: The Hill (1986, Black Saint) Richard Davis and Joe Chambers are more orthodox than Murray's usual trio-mates -- they complement rather than compete, which lets Murray relax and expand. He reveals new subtleties in his tricky title cut, works out a Butch Morris puzzle, takes Ellington's Coltrane, and ends leisurely on Strayhorn's "Chelsea Bridge." But this isn't standard fare. Davis plays quite a bit of bass fiddle, especially on the bass clarinet feature, and Chambers closes on vibes. [9]
David Murray: Hope Scope (1987, Black Saint -91) [5]
David Murray/Randy Weston: The Healers (1987, Black Saint) [5]
David Murray: Deep River (1988, DIW -89) Murray was already famously prolific, but never more so than during the January 1988 quartet sessions he recorded in New York for Japan's DIW label. They split up the surplus into self-evident album titles: Ballads, Spirituals, Lovers, Tenors. The first released has a bit of each and two Africa-themed originals that head elsewhere. They're so consistent they should be wrapped up into a magnificent box set. With Dave Burrell, who repays every second of solo time, Fred Hopkins, and Ralph Peterson Jr. [10]
David Murray: Lovers (1988, DIW -89) Cut at the same January 1988 studio session that also produced Deep River, Ballads, and Spirituals, same quartet; mostly ballads, "In a Sentimental Mood" the only standard, its solo coda Murray at his most tender; on "Ming" pianist Dave Burrell rises to match Murray's emotional bravura. [9]
David Murray: Ballads (1988, DIW -90) [10]
David Murray: Spirituals (1988, DIW -90) [9]
David Murray: Ming's Samba (1988, Portrait -89) [+]
David Murray/Dave Burrell/Wilbur Morris/Victor Lewis: Lucky Four (1988, Tutu) [+]
David Murray: Tenors (1988, DIW) [9]
David Murray: Special Quartet (1990, DIW -91) With McCoy Tyner and Elvin Jones, not to mention Fred Hopkins. [9]
David Murray Quintet: Remembrances (1990, DIW -91) Cover suggests this is child's play, and indeed this is exceptionally light and lively, with Hugh Ragin's trumpet dicing with Murray's tenor sax, and pianist Dave Burrell mixing some boogie into the rhythm section; less explicit about its place in the tradition than Tenors or Sax Men, except on "Dexter's Dues." [8]
David Murray/George Arvanitas: Tea for Two (1990, Fresh Sound -91) This is the most conventional of Murray's piano duos: songbook fare, all ballads, ably supported, exquisite. [10]
David Murray Quartet: A Sanctuary Within (1991 [1992], Black Saint): With Tony Overwater (bass), Sunny Murray (drums), and Kahil El'Zabar (percussion, voice, thumb piano) -- names featured on the cover, each bringing a song (Sunny 2, leaving 5 for Murray). His sax runs are often brilliant, and El'Zabar can chant "song for the new South Africa" as long as he keeps the beat. [9]
David Murray: Shakill's Warrior (1991, DIW) Soul jazz formula takes organ and drums, then adds sax and/or guitar. Here we get both, but this doesn't settle for the funk guitarist Stanley Franks delivers on Andrew Cyrille's piece. That's because Don Pullen's organ goes places only his piano has gone before -- compare "At the Cafe Central" with his original. [10]
David Murray Big Band Conducted by Lawrence "Butch" Morris (1991, DIW/Columbia -92) [5]
David Murray/James Newton Quintet (1991, DIW -96) This is one of several projects which joined Murray and Newton. Newton is sort of the odds-on champ in the arena of jazz flute, although I have usually found his work rather tedious. Murray, of course, is at least as eminent in the much more competitive field of tenor sax -- and plays bass clarinet as well, which complements the flute. The Quintet lists six players, including two drummers who presumably played on separate days, but the cuts aren't listed by date or personnel. There are some outstanding saxophone runs here, as well as excellent John Hicks piano and Fred Hopkins bass. So the only real question mark is Newton. I like Newton best when he complements, as on the little hoot that ends one tune. I like Murray best when he plays, and his solo on "Doni's Song," with Hopkins backing, is one of his best ballad turns. After which, Newton chimes in with some flute that is eerily beautiful. [+]
David Murray: Black and Black (1991, Red Baron) [+]
David Murray: Fast Life (1991, DIW -93) [9]
David Murray/Milford Graves: Real Deal (1991, DIW -92) Graves is an innovative drummer with roots in the '60s avant-garde. He sets the pace and Murray freewheels, at times so caught up in the rhythm that he just clicks and pops. [9]
David Murray: Death of a Sideman (1991, DIW -00) Featuring trumpeter Bobby Bradford, who preceded Don Cherry in Ornette Coleman's quartet and had a long collaboration with John Carter up to his death in 1991; Bradford wrote the songs in Carter's memory, and Murray picks up the thought; with Coleman alum Ed Blackwell on drums, Murray regulars Dave Burrell and Fred Hopkins on piano and bass; poignant, profound. [9]
David Murray: Ballads for Bass Clarinet (1991, DIW -93) Murray adopted the bass clarinet as a second horn in 1979 with the World Saxophone Quartet, used it on Ming in 1980, and brought it to the fore in 1981's Clarinet Summit. Since then he's used it for a song or two on most of his albums, but this is his only showcase. He gets much more out of the instrument than its characteristic hollow tone, including a clean high register he can soar in and honk against. [9]
David Murray/Pierre Dørge: The Jazzpar Prize (1991, Enja -93) [+]
David Murray Big Band: South of the Border (1992, DIW -95) Murray's previous big band efforts, starting in 1984 with Live at Sweet Basil, merely diluted him. But looking south for beat and vibe, conductor Butch Morris weaves the extra horns into seamless flow. Not that they look very far: the table setter is a Sonny Rollins calypso. [9]
David Murray Octet: Picasso (1992, DIW -95) The title comes from a Coleman Hawkins piece, but where Hawk recorded the first landmark tenor sax solo album, Murray wraps a seven-slice suite around the idea and fleshes it out with five horns and some dazzling Dave Burrell piano; not as jarring or protean as earlier octets like Ming, the sense of motion and flow is flush throughout. [7]
David Murray: MX (1992, Red Baron -93) [5]
David Murray: Body and Soul (1993, Black Saint) Another twist on the Hawkins classic. [+]
David Murray: Saxmen (1993, Red Baron) [+]
David Murray: For Aunt Louise (1993, DIW -95) [9]
David Murray/Dave Burrell: Windward Passages (1993, Black Saint -97) [9]
David Murray: Jazzosaurus Rex (1993, Red Baron) The four 1992-93 albums recorded for Bob Thiele's Sony-distributed label are the closest Murray ever got to a major US label, but the net effect is that they're relatively easy to find as cutouts. Cut the same day as Saxmen his quickie survey of the alumni, this one's good for cosmic relief -- especially the memoir of Miles Davis with Murray noodling behind the rap. [10]
David Murray Quartet: Skahill's II (1993, DIW -94) A follow-up to Shakill's Warior, a 1991 album which also featured Don Pullen on organ, providing an edgy soul jazz groove for Murray's powerful improvisations. [9]
David Murray Quartet: Love and Sorrow (1993, DIW -00) Another ballad album, framed with "You'd Be So Nice to Come Home To" and "You Don't Know What Love Is"; the sole original "Sorrow Song (for W.E.B. DuBois)" leading into "A Flower Is a Lovesome Thing" for what may be his most quiet storm side ever; an especially touching John Hicks on piano, Fred Hopkins on bass, Idris Muhammad on drums. [9]
David Murray Quintet With Ray Anderson and Anthony Davis (1994, DIW -96) [9]
David Murray: Jug-a-Lug (1994, DIW) Two upbeat sets with organ and electric guitars, one with "Sex Machine." [+]
David Murray: The Tip (1994, DIW) Two upbeat sets with organ and electric guitars, one with "Sex Machine." [+]
David Murray Quartet: Live at the Village Vanguard (1995, 411 Records -03) This has a fly-on-the-wall quality, catching just one instant of the great saxophonist doing what he does better than almost anyone else; one wonders just why this particular instant -- good players with no special magic -- was chosen over so many others. [+]
David Murray: Dark Star: The Music of the Grateful Dead (1996, Astor Place) [5]
David Murray: The Long Goodbye: A Tribute to Don Pullen (1996, DIW) Four songs by the late, great pianist; two by protégé D.D. Jackson, who occupies the hot seat; the title cut a dirge by Butch Morris. Despite some rousing passages, this has a becalming, elegiac feel, a fitting companion to Pullen's own Ode to Life. [10]
David Murray: Fo Deuk Revue (1996, Justin Time -97) [+]
David Murray: Creole (1997, Justin Time) In moving to France, Murray left the US and moved out into the world. Fo Deuk Revue introduced him to Senegal's griots and rappers. Here he goes to Gaudeloupe, encountering the ka drums, flutes and vocals at the other end of the middle passage. Two remarkable reunions followed -- Yonn-Dé (2002) and the Pharoah Sanders-fortified Gwotet (2004) -- but this is one jazz-world fusion that comes together whole. [10]
David Murray: Seasons (1998, Pow Wow -99) [+]
David Murray/Fontella Bass: Speaking in Tongues (1999, Justin Time) [5]
David Murray: Octet Plays Trane (2000, Justin Time) [9]
David Murray Power Quartet: Like a Kiss That Never Ends (2000, Justin Time -01) More like his Classic Quartet, with longtime mates John Hicks, Ray Drummond and Andrew Cyrille on board. Classic album too, full of power but with none of the rough edges of his early quartets. [10]
David Murray & the Gwo-Ka Masters: Yonn-De (2002, Justin Time) Back to Martinique, sans flutes. The rush here is the percussion and chants, which are harder to track than Creole's exuberance, and there's also a shortage of Murray. Yet when Murray does play, he electrifies the joint. And the percussion and chants finally hold up. [9]
David Murray Quartet: Live at the Village Vanguard (1995, 411 Records -03) This has a fly-on-the-wall quality, catching just one instant of the great saxophonist doing what he does better than almost anyone else; one wonders just why this particular instant -- good players with no special magic -- was chosen over so many others. [+]
David Murray Latin Big Band: Now Is Another Time (2001-02, Justin Time -03) Another bridge, a huge band with muy Latinos and no Butch Morris. Still, Murray stands out -- like Dizzy Gillespie, no band is big enough to contain him. [9]
David Murray: Circles: Live in Cracow (2003, Not Two) Sax trio, featuring local bass and drums duo, telepathic twins Marcin Oles and Bartlomiej Brat Oles, although they seem to be overwhelmed by their guest; Murray holds the spotlight, showing off his extensive bag of improvisatory tricks, especially on bass clarinet. [8]
David Murray & the Gwo-Ka Masters: Gwotet (2004, Justin Time) As with Murray's two previous Guadeloupe albums, a foray into pan-African cosmopolitanism is built around the gwo-ka drums and chant vocals of Klod Kiavué and François Ladrezeau. But the rest of the cast is new, including Guadaloupean guitarist Christian Laviso and Vietnamese/Senegalese hybrid Hervé Samb, extra brass from Murray's Latin Big Band, and featured saxophonist Pharoah Sanders. Where Creole settled for lush exoticism, and Yonn-Dé strove for modest authenticity, this one is a nonstop riot of rhythm and horns. [10]
David Murray 4tet & Strings: Waltz Again (2002, Justin Time -05) Back in 1998 I decided that Murray's Creole was the record of the year. When I praised the record to Christgau, he tersely wrote back that he hates flutes and the record is covered with them. I'm not a flute fan myself, but I was so caught up in the Guadeloupean drums and the master's sax I had hardly noticed. Murray is so monumental he can overpower your prejudices, and he's done so many times -- despite initial reservations I eventually applauded his Latin Big Band and items like Octet Plays Trane. But the strings here are just too much for me. They are as modern and intrusive as those on Stan Getz' Focus, but denser and indecisive -- little swirling maelstroms, they take over the work to such an extent that even Murray has trouble saying his piece. When he does get a word in edgewise, he's magnificent, of course. But there are plenty of other places to hear him to clearer effect. Guess this has to go on the Duds list. [4]
David Murray Black Saint Quartet: Sacred Ground (2006, Justin Time -07) Begins and ends with two Ishmael Reed lyrics sung by Cassandra Wilson: the title cut, tied to Murray's soundtrack for the Marco Williams film Banished, recalls atrocities between 1890 and 1930 when rioting white mobs drove thousands of black Americans from their homes, clearing out whole neighborhoods, while the closer conjures up an ancient Cassandra as "The Prophet of Doom." In between, Murray waxes poetic -- lamenting the past, redeeming the present, offering hope for the future. [10]
David Murray/Mal Waldron: Silence (2001, Justin Time -08) Cut in Brussels a year before Waldron's death, this may now be seen as a remembrance of an all-time piano great, but Murray fills the room so prodigiously that you have to work to hear how skillfully Waldron ties it all together. [9]
David Murray Black Saint Quartet: Live in Berlin (2007, Jazzwerkstatt -08) The piano and bass slots aren't much, but muscular bass clarinet and monster sax prevail. [8]
David Murray and the Gwo Ka Masters: The Devil Tried to Kill Me (2007, Justin Time -09) Murray's connection to Guadeloupe has produced a remarkable series of albums: 1998's Creole, 2002's Yonn-Dé, and 2004's Gwotet. I figured one more would automatically be a year-end contender, so rushed this advance CDR into the player. Two plays later it's certainly not a contender. The saxophonist is brilliant, natch, and the gwo ka drummers power an awesome beat. Can't complain about the guitarists, or Rasul Biddik's occasional trumpet. But the vocals barely connect, especially on Taj Mahal's solo feature, the generic "Africa" with the overly didactic Ishmal Reed lyric. Sista Kee holds up a bit better, with or without Taj. My copy includes two "radio edits" -- shorter versions of the two Taj Mahal songs. I don't mind recapping a hit, but a miss is something else. [6]
David Murray Cuban Ensemble: Plays Nat King Cole en Español (2010, Motéma -11) More inspired by than based on Cole's 1958-62 Spanish-language records, En Español and More En Español. Cole took backing tracks from a small Cuban group and dubbed in his sweet vocals -- one story is that the 1958 revolution prevented him from finishing the album in Havana. Murray is at least equally circuitous, recording his Cuban band in Buenos Aires with tango singer Daniel Melingo -- as rough as Cole is smooth -- then dubbing in strings in Portugal, mixing the album in France, and mastering it in the UK. Even with Melingo on board, the vocals are trimmed way back, leaving more room for the sax, as imposing as ever. [9]
David Murray Infinity Quartet: Be My Monster Love (2012, Motéma -13) Paul Krugman likes to refer to Joseph Stiglitz as "an insanely great economist"; Murray, for much the same reason, is an insanely great tenor saxophonist: his solos here are monumental, taking off in flights of fancy that no one else can think of much less do. Unfortunately, he decided to do songs here, or more precisely, of texts improvised into something song-like. Three of the texts come from Ishmael Reed, whose own deadpan authority made them work on Conjure. Here, Macy Gray sings the title piece in her own idiosyncratic mien, and Gregory Porter tries to croon the others, plus a bit by Abiodun Oyewode on the importance of children. The texts mean well, but the hymn about "making a joyful noise" is doubly ironic: if only Porter would shut up and let the sax man wail. [8]
Murray, Allen & Carrington Power Trio: Perfection (2015, Motéma -16) That's David Murray (tenor sax, bass clarinet), Geri Allen (piano), and Terri Lyne Carrington (drums) -- "Power Trio" would have been redundant had they just spelled out those names. I missed this, and passed up Murray on my latest DownBeat ballot because I hadn't heard anything by him since 2013. My bad. [9]
David Murray Feat. Saul Williams: Blues for Memo (2016, Motéma -18) Williams is more poet than singer, but has a half-dozen albums, notably Martyr Loser King (2016). He read a poem at Amiri Baraka's funeral, and Ahmet Ulug got the idea of arranging a meet up with Murray in Turkey, where this album was originally released. The saxophonist is typically magnificent here, the singer/rapper harder to hear and suss out, but offhand doesn't seem like a good match (unlike, say, Murray's work with Ishmael Reed). [7]
World Saxophone Quartet
With 20 albums to date, Murray's longest-running side-project is the World Saxophone Quartet, formed in 1977 with Julius Hemphill, Oliver Lake, and Hamiett Bluiett. Hemphill was the main arranger until illness sidelined him in 1990. His records, with four saxes and nothing else, follow a purism I've never enjoyed and often found tedious. The later records are more eclectic, often with extra musicians as well as whoever they could find for Hemphill's slot.
World Saxophone Quartet: Point of No Return (1977, Moers) Early on, a live performance from Festival Moers. One's tempted to ask whether it's so early they haven't learned to play yet, but most certainly they were just being nasty, as they were wont to do. And the nastiness is actually the most becoming thing about them. [5]
World Saxophone Quartet: Steppin' With the World Saxophone Quartet (1978, Black Saint -79) If this was their only album I'd use the names on the cover as the artist credit: Hamiet Bluiett (baritone sax/flute), Julius Hemphill (alto/soprano sax), Oliver Lake (alto/soprano sax), David Murray (tenor sax/bass clarinet). But they recorded 20+ albums, starting with a 1977 debut on Moers, then five albums on Black Saint, a major label move to Nonesuch, then from 1996 on Justin Time (like Murray). Hemphill dominates, writing 4 tracks vs. 1 each for Lake and Murray, but the whole approach to harmony was his -- something he pursued on his other records, but kept especially pure here. I've always found their limited monophonic range unpleasant, but this is more dynamic than most. [5]
World Saxophone Quartet: W.S.Q. (1980, Black Saint -81) Hamiet Bluiett steps up here, with two short pieces (or five, as his "Suite Music" is broken into five parts), vs. 3-2-1 for Hemphill, Lake, and Murray. [6]
World Saxophone Quartet: Revue (1980, Black Saint -82) Hemphill wrote four pieces, the whole first side. The others split the second, with Murray offering "Ming" and "David's Tune," and Lake and Bluiett offering hymns. Hemphill's side is the more cohesive, which doesn't necessarily make it better. [6]
World Saxophone Quartet: Live in Zürich (1981, Black Saint -84) Bluiett riff pieces open and close, brief at 1:40 and 1:30. In between it's all Hemphill, six substantial pieces, played slow and soft enough to focus on complex harmony rather than indulging in the thrash that gladiators are prone to. [6]
World Saxophone Quartet: Live at Brooklyn Academy of Music (1985, Black Saint -86) More of a group effort, with Murray's "Great Peace" longest at 14:58, but Hemphill gets the last word. [5]
World Saxophone Quartet: Plays Duke Ellington (1986, Elektra) [3]
World Saxophone Quartet: Dances and Ballads (1987, Elektra) [+]
World Saxophone Quartet: Rhythm and Blues (1989, Elektra) [4]
World Saxophone Quartet: Metamorphosis (1990, Elektra/Nonesuch -91) [+]
World Saxophone Quartet/Fontella Bass: Breath of Life (1992, Elektra/Nonesuch -94) [+]
World Saxophone Quartet: Moving Right Along (1993, Soul Note -94) Eric Person takes over for the departed Julius Hemphill, the mastermind for better and worse of this group. Plus James Spaulding shows up for two tracks. I've always had problems with this group -- both the tone and their tendency to scratch -- but this one redeems itself less than most. [4]
World Saxophone Quartet: Four Now (1995, Justin Time -96) Julius Hemphill became ill, stopped playing, left the group in 1990 (between Rhythm & Blues and Metamorphosis), and died in 1995 (age 57). (He continued composing. His 1993 Five Chord Stud, played by six other saxophonists, perhaps the best of his sax choir records, and a sextet in his name recorded a good Live in Lisbon in 2003. He had a profound influence on many saxophonists, notably Tim Berne and Allen Lowe.) The other three sax giants kept WSQ going through 2006, running through a series of alto replacements (Arthur Blythe was the first, but it's John Purcell here) and adding other musicians as opportunity arose. The cover notes: "With African Drums" (Chief Bey, Mor Thiam, and Mar Gueye). They make a difference, inspiring a vocal on the Thiam's closer, "Sangara." [7]
World Saxophone Quartet: Takin' It 2 the Next Level (1996, Justin Time) The four saxophonists (Hamiet Bluiett, Oliver Lake, David Murray, and John Purcell) get a full rhythm section for backup this time: Donald Blackman (keyboards), Calvin X Jones (bass), and Ronnie Burrage (drums). All but Jones contribute pieces, and they're all over the place. [5]
World Saxophone Quartet: Selim Sevad: A Tribute to Miles Davis (1998, Justin Time) [9]
World Saxophone Quartet: M'Bizo (1997-98, Justin Time -99) [+]
World Saxophone Quartet: Requiem for Julius (1999, Justin Time -00) [4]
World Saxophone Quartet: Steppenwolf (1999, Justin Time -02) Bluiett is one of my favorite saxmen, and Murray, well, he's my main man. Dunno about Purcell, but Lake's pretty good, too. So I keep going back to the well (10 albums so far), but the fact is that I've always found WSQ's sound way too monotonic -- what a difference some African drums make -- and I've also found them prone to slip into incomprehensible cacophony (especially when Julius Hemphill was present, in person or in memory). Twenty-some years down the road, this live set seems about par for the course: brilliant musicians, startling runs, astonishing tones, and more than a dollop of incomprehensible cacophony. [4]
World Saxophone Quartet: 25th Anniversary: The New Chapter (2000, Justin Time -01) After a decade of trying new things, back to the well -- just four saxophonists harmonizing, no bells or whistles (or African drums). Before this came their look back, Requiem for Julius, their tribute to founder and visionary Hemphill. Here they look forward, dressed on the cover in white tuxes, John Purcell way out front, pictured with saxello but credited with alto. Once again, I get it, but don't especially enjoy it. [5]
World Saxophone Quartet: Experience (2004, Justin Time) If Hendrix's songs were just scaffolds for great guitar, why not great sax? The group has been fleshed out here with drums (Gene Lake), bass guitar (Matthew Garrison), violin (Billy Bang) and trombone (Craig Harris, also credited with didgeridoo and spoken word, which mostly amounts to "foxy lady"). That gives them what they've always needed, with is a bottom, a beat, and some sonic differentiation. (Otherwise, the saxes, even given the richness of the interplay, often seem much too much the same color.) Not a complete success, in part because it too complicated for Hendrix's songs, which worked just fine in the simplest of trios. [+]
World Saxophone Quartet: Political Blues (2006, Justin Time) The political situation has gotten so dire that the old masters feel compelled to write tirades. David Murray and Oliver Lake go so far as to step up to the mike, while Hamiet Bluiett recruits gospel heavyweight Carolyn Amba Hawthorne to excoriate the nation's "Amazin' Disgrace." In the first recorded understatement of his career, Murray complains that "the Republican Party is not very nice." But like most Americans, they'd still rather party than protest, so they bring their friends in. In the spirit of anger, Craig Harris weighs in on the "Bluocracy" -- Lincoln Center's, presumably, they've been on the front lines of that political struggle all their careers. All Blood Ulmer has to offers is "Mannish Boy," but why not? They've always struck me as uptight without bass and drums, but with a backbeat and their blood up they're the champs. [10]
World Saxophone Quartet: Yes We Can (2009, Jazzwerkstatt -11) Murray and Bluiett celebrate Obama, with Kidd Jordan for Lake's grit, and James Carter for Hemphill's soul. [7]
Some side credits:
Bobby Battle Quartet With David Murray: The Offering (1990, Mapleshade) The "with" clause is the one that matters. Battle is a drummer who has catalogued nothing else under his name, no doubt because he also wrote nothing here. Six long, relaxed performances, the two classics (Waller and Monk) being the ones you most notice, but solid work all around. [+]
Big Band Charlie Mingus: Live at the Theatre Boulogne-Billancourt Volume 1 (1988, Soul Note) [+]
Big Band Charlie Mingus: Live at the Theatre Boulogne-Billancourt Volume 2 (1988, Soul Note) [9]
Jeri Brown/Leon Thomas: Zaius (1998, Justin Time) [5]
Dave Burrell/David Murray: In Concert (1991, Victo) [9]
James Carter: Live at Baker's Keyboard Lounge (2001, Warner Bros. -04) Overstuffed with four generations of Detroit saxophonists -- Johnny Griffin goes virtually unnoticed for the first time ever, Franz Jackson sings to be heard, and David Murray has to play like David Murray -- this isn't a great album, but it's voluble and exciting the way Carter can be. If he recorded for boutique labels, they'd be on his case for three or four records like this per year, and he'd deliver. But with the majors this sits on the shelf until he moves on and they decide to flush it. [9]
Andrew Cyrille Quintet: Ode to the Living Tree (1994, Venus -95) Recorded in Senegal with an all-star group: David Murray (tenor sax/bass clarinet), Oliver Lake (alto sax), Adegoke Steve Colson (electric piano), Fred Hopkins (bass). Two Cyrille pieces, one each by Murray and Colson, plus a 19:12 slice from "A Love Supreme." Loud, raucous even, still feels cluttered and slipshod. [4]
Jack DeJohnette: Special Edition (1979, ECM -80) Quartet with Peter Warren (bass, cello) and two saxophonists: David Murray (tenor, bass clarinet) and Arthur Blythe (alto). That's a lot of firepower, but for some reason it's deployed rather erratically. [7]
Jack DeJohnette's Special Edition: Album Album (1984, ECM) Horn-heavy quintet, with John Purcell (alto/soprano sax), David Murray (tenor sax), Howard Johnson (tuba/baritone sax), and Rufus Reid (acoustic/electric bass). On the downside I find that I don't like the sax section playing at all -- Purcell's smaller saxes sound tinny, and Johnson's bottom washes out, but Murray's solos are pretty impressive. There's just not enough of them to put the album album over. [5]
Barbara Dennerlein: Junkanoo (1997, Verve) [+]
Kahil El'Zabar With David Murray: One World Family (2000, CIMP) The duo's record on Delmark is easier to grasp, probably because the sound is much more upfront. CIMP likes to give the listener as much dynamic range as possible, which means that the quieter parts tend to drop out -- at least unless you have a billion dollar stereo system and the patience to use it. The title cut is a prime example of this, with a big hole all the way to the end. There's some prime Murray here, but there's lots of prime Murray all over the place. [+]
Kahil El'Zabar Trio: Love Outside of Dreams (1997, Delmark -02) While El'Zabar is always interesting, the real attraction here is David Murray, who blows his ass off. Makes up for underplaying on Yonn-Dé. [9]
Kahil El'Zabar & David Murray: We Is: Live at the Bop Shop (2000, Delmark -04) El'Zabar is an important conceptualizer of pan-Africanist world jazz, but he can get to be annoying. He takes two long drum solos here, lots of banging and thrashing, but they never quite come through with whatever it is that drum solos are supposed to deliver. Worse are his chants, grunts, and vocalizations, which only make sense on "One World Family." On the other hand, Murray transcends all that. Give him space to blow and he generates wonders. His tenor sax intros to "Groove Allure" and "Blues Affirmation" are clear, concise, and breathtaking. His plays bass clarinet on "One World Family" and he's simply the all-time master of the instrument. Murray's recorded a number of duos, and the one thing they all have in common is a lot of great Murray. This is his third record with El'Zabar. One World Family (CIMP) came from the same year, covers much the same ground, and has pluses and minuses to this one: the sound here is better, much warmer, at least for Murray -- El'Zabar's vocals are clearer on the CIMP; this one has live crowd noise and a lot more drum solo. I rate the CIMP a tad higher, but they're very close. Better than either is the trio with bassist Fred Hopkins, recorded in 1997 but unreleased until 2002, Love Outside of Dreams. [+]
Kahil El'Zabar Ft. David Murray: Kahil El'Zabar's Spirit Groove (2019 [2020], Spiritmuse) Chicago percussionist, leads a quartet with Murray on tenor sax, Justin Dillard on keyboards, and Emma Dayhuff on bass. The leaders have history, but it's been a while since their 1997-2000 albums. Both have slowed down, gotten sentimental, which is why I forgive El'Zabar's singing, and treasure what's left of the saxophonist's chops -- not awesome, but still inspiring. [9]
Donal Fox/David Murray: Ugly Beauty (1993, Evidence) [5]
Henry Grimes Trio: Live at the Kerava Jazz Festival (2004, Ayler -05) The sound doesn't favor the return of Ayler's long-lost bassist, but David Murray and Hamid Drake do. [8]
Andy Hamilton: Silvershine (1991, World Circuit) [+]
[Kip Hanrahan] Conjure: Music for the Texts of Ishmael Reed (1983, American Clavé -85) [9]
[Kip Hanrahan] Conjure: Cab Calloway Stands in for the Moon (1987-88, American Clavé) [5]
Kip Hanrahan: Vertical's Currency (1984, American Clavé) [5]
[Kip Hanrahan] Conjure: Bad Mouth (2005, American Clavé 2CD -06) Long after two '80s albums, another helping of Ishmael Reed texts, read by the man over Kip Hanrahan's music. The first was called Conjure: Music for the Texts of Ishmael Reed, the title becoming a virtual group of sorts. I dig the concept, admire the man, only wish the music was a bit better -- especially from what looks on paper to be a Latin percussion dream team. Only David Murray truly rises to the occasion. [7]
John Hicks/David Murray: Sketches of Tokyo (1985, DIW -86) The first of many duos with pianists, this one stands out because Hicks keeps pushing his ideas even when Murray is flying. Starts with Hicks solo on Monk, then Murray joins in -- overpowering at first, but the pianist hangs tough. Piano duo albums are a Murray staple, but his regular pianists have the edge [9]
William Hooker: Light: The Early Years 1975-1989 (1975-89, NoBusiness -4CD -16) A trawl through the avant drummer's early oeuvre. First disc starts with him solo, a failed soul singer backed only by his own percussion. Then comes two monster pieces with saxophonists: a 26:48 trio with David Murray (1975), and a 19:27 duo with a young and even more visceral David S. Ware. Second disc is more obscure, ending with a 16:07 trio with two saxophonists (Jameel Moondoc and Hasaan Dawkins). Third jumps ahead to 1988, a previously unreleased trio with Roy Campbell on trumpet and Booker T. Williams on tenor sax. Fourth gives you a set with Lewis Barnes (trumpet) and Richard Keene (reeds) and a 16:18 drum solo. All avant, very underground, and while the horns make a lot of noise, there's very little filler -- I think just one cut with bass, no piano or guitar -- so the drums always ring clear. [9]
D.D. Jackson/David Murray: Peace-Song (1994, Justin Time -95) [9]
D.D. Jackson: Paired Down, Vol. 1 (1996, Justin Time -97) [+]
D.D. Jackson: Paired Down, Vol. 2 (1996, Justin Time -97) [+]
Michael Gregory Jackson: Clarity (1976, ESP-Disk -10) Guitarist, first album at 23, also credited with vocals, mandolin, flute, timpani, marimba, percussion, but what caught my attention was the three young horn players: Leo Smith, Oliver Lake, and David Murray. Still, those horns are generally wasted, although Lake has some moments, and gets into the label's ad hoc aesthetic with flute and percussion. [5]
Jon Jang Sextet: Two Flowers on a Stem (1995, Soul Note) Jang's melodies are rooted in Chinese music, but the real oriental feel comes from Chen Jiebing's erhu -- a string instrument likened to a cello. The only other oriental instrument is the gong that bassist Santi Debriano uses. The rest of the group: Billy Hart (drums), James Newton (flute), David Murray (tenor sax, bass clarinet). The early sections here tend to favor newton, his flute providing an arch airiness. On rarely does the music here lapse into the stateliness I associate with Chinese music -- the bottom line is that Jang swings too much for that. The latter half is increasingly turned over to Murray, who rips off an astonishing solo on "Variation on a Sorrow Song of Mengjiang Nu." [+]
Jon Jang/David Murray: River of Life (1998-2001, Asian Improv -02) A mixed bag. Murray is frequently outstanding in duo frameworks, so the surprise here is that he seems to be the source of the trouble. He feels awkward on several of these pieces, probably because they don't have a lot of melodic flow. Nor is this problem all Jang's fault: Murray takes another shot at his "Requiem for Julius," which is as difficult as anything Julius ever wrote. Also the bass clarinet doesn't seem to fit a couple of pieces. On the other hand, when he's hot he's hot. This starts strong, and ends stronger. The other high point is Jang's arrangement of a Chinese piece. Jang actually is interesting throughout. Like I said, a mixed bag. [+]
Ranee Lee: Seasons of Love (1997, Justin Time) Jazz singer, born in Brooklyn but based in Montreal since 1970, recording a dozen albums 1980-2009. Tenor saxophonist David Murray gets a "with special guest" credit on the cover, but only plays on 4 (of 12) songs. Otherwise backed by piano, guitar, bass, and drums, all very deliberate. [6]
Allen Lowe: Louis Armstrong: An Avant Garde Portrait (1992, Constant Sorrow -16) Recorded live at Knitting Factory, originally released as Mental Strain at Dawn: A Modern Portrait of Louis Armstrong (1993, Stash), the band included Doc Cheatham and Robert Rumboltz on trumpet, Paul Austerlitz (clarinet, bass clarinet), David Murray (bass clarinet, tenor sax), Lowe (alto/tenor sax), Loren Schoenberg (tenor sax), John Rapson (trombone), and Ray Kaczynski (drums). Some old, some new, Lowe is clever enough he rarely tips his hand. [8]
Abdoulaye N'Diaye: Taouè (2001, Justin Time -03) [9]
Ralph Peterson: Presents the Fo'Tet (1989, Blue Note) [5]
The Roots: Illadelph Halflife (1996, DGC) [B+]
Hal Singer: Challenge (2010, Marge) Ninety years old, seems likely to be his last album, recorded in Paris, but his pick up band for once is American, young, and pretty famous: Lafayette Gilchrist (piano), Jaribu Shahid (bass), Hamid Drake (drums), plus Rasul Siddik (trumpet) on two tracks, and David Murray (tenor sax) everywhere. The latter more than earns his "featuring" credit, but the two-sax work early on is pretty thrilling. [9]
Jamaaladeen Tacuma: Renaissance Man (1983, Gramavision -84) [5]
Aki Takase/David Murray: Blue Monk (1991, Enja) [9]
Aki Takase/David Murray: Cherry Shakura (2016, Intakt -17) Piano/sax duets, Murray also playing bass clarinet. The pair recorded a previous album in 1991, Blue Monk, long a personal favorite, and they add another Monk piece here, along with seven originals (Takase 4, Murray 3) which makes this a bit harder to fall for, but the pianist is superb, and Murray is as awesome as ever. [9]
McCoy Tyner: 44th Street Suite (1991, Red Baron) [+]
James Blood Ulmer: Are You Glad to Be in America? (1980, Rough Trade) [+]
James Blood Ulmer: Free Lancing (1982, Columbia) David Murray on 3 tracks. [5]
Paul Zauner's Blue Brass feat. David Murray: Roots n' Wings (2019, PAO/Blujazz) Austrian trombonist, handful of albums with variants of this group, an octet here including his guest star. Zauner played some with Murray in the late 1980s. Good to hear him here, but two other saxes and trumpet vie for attention. [8]
Wildflowers: The New York Loft Jazz Sessions Complete (1976, Knitting Factory, 3CD) Collects five LPs, originally Douglas 7045-7049; Murray appears on three tracks.
Other Albums
This is very partial.
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[] |
[] |
[
""
] | null |
[
"AXOME"
] |
2023-04-04T14:30:00+00:00
|
Jim Rolland known as "Jimmy Sax" is an incredible saxophonist, multi-intrumentist, composer and entertainer more oriented towards electronic music. A true performer, he has played worldwide, from New York to Saint Tropez, Miami, Cannes, Dubai, Paris, Monaco, Toronto, Capri, New Delhi, Cancun, Rome, Berlin, Saint Barth
|
en
|
//www.selmer.fr/cdn/shop/files/favicon.webp?crop=center&height=32&v=1670497750&width=32
|
Henri SELMER Paris
|
https://www.selmer.fr/en/blogs/artistes/jimmy-sax
|
Jim Rolland known as "Jimmy Sax" is an incredible saxophonist, multi-intrumentist, composer and entertainer more oriented towards electronic music.
A true performer, he has played worldwide, from New York to Saint Tropez, Miami, Cannes, Dubai, Paris, Monaco, Toronto, Capri, New Delhi, Cancun, Rome, Berlin, Saint Barth (where he lives) and many others.
His track record of 1,500 shows, 1 million followers, 300 Million views and 2 golden discs has turned him into a unique figure in the world of saxophone and electronic music. 2022 will be another great year with his new Album Jimmy, his participation in the Italian TV show IBAND as the main Jury, and is upcoming tour with the Jimmy symphonic dance orchestra!
Photo credit: Sylvain Vincent
Find the artist
On social networks
Facebook
Instagram
YouTube
|
||
9048
|
dbpedia
|
3
| 4
|
https://www.learnjazzstandards.com/blog/famous-saxophone-players/
|
en
|
37 Famous Saxophone Players (the Best Saxophone Players Ever)
|
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2024-06-12T17:42:34-04:00
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Who are the most famous saxophone players? In this article, we'll look at 37 of the best saxophone players of all time from all across jazz history!
|
en
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Learn Jazz Standards - The Ultimate Jazz Musician Resource
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https://www.learnjazzstandards.com/blog/famous-saxophone-players/
|
Jazz history is full of incredible jazz saxophonists, but deciding on the best saxophone players of all time requires some thought and reflection. The jazz saxophonists on this list brought (or are still bringing) something unique to the jazz world.
Whether they were amazing multi-instrumentalists, genre renegades, fearless innovators, or jazz pioneers, the jazz musicians on this list brought something special to jazz saxophone and to the greater jazz culture.
In this article, we’ll learn about 37 famous saxophone players who deserve the title Best Saxophone Players of All Time!
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Table of Contents
Most Famous Saxophone Players Criteria
In this list of the greatest, most famous saxophone players, we’ll consider all different jazz saxophonists from the entire saxophone family, from soprano saxophone players all the way to baritone sax players.
We’ll also consider the development of jazz saxophone playing as an evolutionary process and categorize these saxophone players by the eras in which they were first recognized.
Some of the famous saxophone players on this list survived and thrived through many eras of jazz history. Many played various jazz styles and brought different perspectives to the jazz community. Some grew up learning jazz in jazz clubs, while others had an academic jazz upbringing.
Our categorizations reflect different jazz eras where each player came into their own style and changed music history.
For example, famous saxophonists like Sonny Rollins or Wayne Shorter saw many different jazz eras come and go, but they are each sorted into the era where they first became recognized as sax pioneers.
Our eras of jazz saxophone playing are definitely a simplification of the history of jazz saxophone. However, we have to draw lines somewhere! Remember, these are loose and porous categories. Certainly, many famous saxophone players on the list could appear in several categories.
We’ll look at famous saxophone players from these eras:
Early Jazz Saxophone Pioneers of the Hot Jazz and Swing Era (1920s-1940s)
Best Jazz Saxophonists of the Bebop Era (1940s-1950s)
Famous Jazz Saxophone Players of the Hard Bop, Post-Bop, and Cool Jazz Eras (1950s-1960s):
Avant-Garde and Free Jazz Eras (1960s-1970s):
Soul Jazz and Jazz Fusion Sax Players (1970s-1980s)
Contemporary and Modern Jazz Saxophonists (Active 1990s-Present Day)
So, without further ado, let’s dig into the 37 most famous saxophone players of all time!
If you are new to jazz saxophone and want to get started, check out our article on beginner jazz saxophone.
Early Jazz Saxophone Pioneers of the Hot Jazz and Swing Era: Jazz’s Golden Age (1920s-1940s)
Before digging into famous sax players from this important era of jazz history, let’s learn a bit about the early jazz scene.
Hot Jazz Era (1920s-1930s)
Hot jazz was the first recorded version of jazz we have access to.
Technological advances in radio broadcasting and audio recording allowed musicians to create a sonic record of performances, which was previously not possible or practical.
These early recordings helped create a jazz phenomenon that swept the entire country. In fact, the Roaring 20s is also known as the Jazz Age because jazz music perfectly represented modernity and captured the energy and vitality associated with the era.
Hot Jazz music pushed against traditional musical boundaries, just as American youth pushed back against traditional gender and social roles.
Hot jazz originated in New Orleans but spread to nearly all major metropolitan areas in the United States. Generally, Hot Jazz featured small ensembles and solo performers who emphasized spontaneous, high-energy performances.
Swing Era (1930s-1940s)
Swing directly followed the Hot Jazz era and represented jazz at its most popular point in American history. Jazz music was pop music, and jazz musicians—along with their big bands—were the pop stars of the day.
This period was notorious for big bands and jazz orchestras. Swing music featured a smoother, more structured sound compared to the lively energy of hot jazz. It emphasized strong rhythmic grooves, catchy melodies, and orchestrated arrangements.
More importantly, big band jazz was music to be danced to.
Though there were jazz solos and soloists (especially in the saxophone section), the overall performance featured the big band as the main focus. This would not be the case in later periods. This era solidified jazz as a nationwide phenomenon and inspired a whole new generation of sax players.
Lester Young
image source: Wikipedia Commons
Lester Young (1909–1959) was primarily a tenor saxophone player who occasionally played clarinet. He was born in Woodville, Mississippi. Nicknamed the “Prez,” he came to fame in Count Basie’s orchestra and was known for his melodic style and smooth tone.
Apart from coining jazz jargon that is still with us today, his early tenor saxophone playing influenced many of the other players on this list, including John Coltrane and Stan Getz.
Check out Lester Young playing in this video:
Johnny Hodges
image source: Wikipedia Commons
Johnny Hodges (1907 –1970) was born in Cambridge, Massachusetts, and was the lead alto sax player in the Duke Ellington Orchestra.
As a teen, he studied with another entry on this list, Sidney Bechet. His playing style is characterized by tenderly slurred notes and a vibrato that makes his playing instantly recognizable. Hodges is recognized by many bebop and hard-bop players as a massive influence.
Check out Johnny Hodges playing I Got It Bad:
Benny Carter
image source: Wikipedia Commons
Benny Carter (1907-2003) was another early alto saxophonist who would pioneer saxophone playing for later generations of musicians. Born in New York City and taught piano at an early age, Carter was a multi-instrumentalist who also had success as a trumpeter, band leader, arranger, and film composer.
Carter set an early example for many jazz musicians who would follow. He is one of jazz’s early entrepreneurs, showing that there is more to the business than performance.
Check out Benny Carter on the jazz standard I Can’t Get Started:
Coleman Hawkins
image source: Wikipedia Commons
Coleman Hawkins (1904-1969) was born in St. Joesph, Missouri, and is considered one of the foundational tenor saxophone players in all of jazz history.
Sometimes called “Hawk” and sometimes called “Bean,” Coleman Hawkins took the tenor saxophone to new heights in the Hot Jazz Era, the Swing era, and later in the Bebop era. This famous saxophone player embraced many of the new saxophone players and their innovative styles and concepts, evolving his playing style to match.
This famous tenor saxophonist appears alongside many other foundational jazz icons, including Thelonius Monk, Dizzy Gillespie, Don Byas, Oscar Pettiford, Max Roach, and Sonny Rollins.
Check out Coleman Hawkins on the jazz standard Body and Soul:
Sidney Bechet
image source: Wikipedia Commons
Sidney Bechet (1897-1959), the only entrant on this list born in the 19th century, was a pivotal figure in the development of jazz and was no doubt a massive influence on the other saxophonists on this list.
Born and raised in New Orleans, this famous saxophone player and Jazz itself came of age and matured together. His improvisational style was one of the first to be recorded and, therefore, served as the de facto saxophone sound for those who would follow him.
He played alongside Louis Armstrong and appeared on many pivotal early jazz recordings. Early in his career, Bechet moved to France and embedded himself in the burgeoning jazz scene in Paris before returning to New York in 1932. Later in his life he would return to France permanently.
Check out Bechet on the French tune Si Tu Vois Ma Mare:
Ben Webster
image source: Wikipedia Commons
Ben Webster (1909-1973) was a jazz musician born in Kansas City and studied music from an early age. He was a renowned tenor saxophone player and played tenor sax alongside Johnny Hodges in Duke Ellington’s Orchestra. This famous saxophone player considered Hodges a major influence.
He played in bands with Benny Carter, Fletcher Henderson, and Cab Calloway before becoming a band leader in New York in the 40s and 50s. Webster’s career would take him to Europe, where he resided and performed till his death in 1973.
Check out Ben Webster playing on Somewhere Over The Rainbow:
Best Jazz Saxophonists of the Bebop Era (1940s-1950s)
The Bebop era directly followed the Swing era and was, in many ways, a direct revolt against it. When they weren’t on the bandstand, jazz players often got together to jam, practice and play. Many players loved the structure of the small combo and felt liberated from the constraints of orchestrated jazz.
Bebop, or “bop,” evolved from young, innovative musicians who sought greater artistic expression and technical challenges in music. The style includes fast tempos, intricate melodies, and advanced harmonies, which require a high level of virtuosity and improvisational skill.
This period is when jazz started to become “art music.” Jazz musicians were no longer performing to please audiences of dancers. Rather, they were practicing and performing in the service of a greater artistic vision, which included technical mastery, artistic expression, and musical identity.
Many of the famous saxophone players in this list first cut their teeth in the bebop era.
Charlie Parker
image source: Wikipedia Commons
Out of all the famous saxophone players on this list, we’ve got to carve a special place out for Charlie Parker.
Charlie Parker (1920–1955), the king of Bebop, was born in Kansas City, Missouri, and was perhaps the most influential saxophone player of all time. Charlie Parker’s contributions to bebop vocabulary and improvisation can’t be understated.
Nicknamed “Yardbird” or “Bird,” he was not only an incredibly virtuosic alto saxophone player, but he also introduced new harmonic and rhythmic concepts into the jazz language that are now foundational to the genre.
Here is Charlie Parker (and Buddy Rich) playing on Celebrity, a rhythm changes head:
Dexter Gordon
image source: Wikipedia Commons
Dexter Gordon (1923–1990) was a composer, band leader, and influential tenor saxophone player who had a long and successful career spanning over 40 years. He was known for quoting the melodies of other songs in his improvisation, a characteristic that would become commonplace in jazz improvisation.
Through his friendly and humorous stage presence, Dexter brought great showmanship and levity to jazz. His playing influenced other famous sax players like John Coltrane and Sonny Rollins.
Check out Dexter Gordon playing on the classic jazz standard Lady Bird:
Sonny Stitt
image source: Wikipedia Commons
Sonny Stitt (1924–1982) was a tenor saxophone player who occasionally also played alto saxophone and baritone saxophone. Stitt is one of the most recorded jazz saxophone players of all time, recording over 100 albums throughout his career.
He is known for his warm tone and blistering bebop lines. When playing alto sax, he was often called the “New Bird” and was compared to Charlie Parker, who even remarked on their similarities. However, Sonny Stitt’s voice came into its own when he played the tenor saxophone.
Notably, famous saxophone players Cannonball Adderly and Phil Woods also were given the moniker “New Bird.”
Check out Sonny Stitt and Dizzy Gillespie playing on the standard On The Sunny Side of the Street:
Art Pepper
image source: Wikipedia Commons
Art Pepper (1925–1982) was an alto saxophonist who also occasionally played clarinet and bass clarinet. Born in California, his music career began at an early age. He became a professional sax player before reaching adulthood, playing alongside Benny Carter at the age of 17!
He would soon go on to join Stan Kenton’s orchestra.
He became a staple of the West Coast jazz scene alongside other household names like Gerry Mulligan and Chet Baker. By the time of his death in 1982, he was considered one of the world’s greatest alto saxophonists.
Check him out crushing the blues:
Lee Konitz
image source: Wikipedia Commons
Lee Konitz (1927–2020) was an alto saxophone player and composer whose career started in the bebop era and passed through various eras of jazz. Lee was known for combining long melodic lines with interesting rhythmic concepts, no doubt inspired by his friend and mentor Lennie Tristano.
In the bebop era, alto sax players were often compared to Charlie Parker. However, Lee avoided that comparison because of his unique sound and improvisational sensibilities. He played with many jazz icons like Miles Davis, Gil Evans, and Gerry Mulligan.
Lee’s career even branched into the Avant-garde jazz scene, working with names like Ornette Coleman and Charles Mingus.
Check out Lee Konitz crushing it on the classic jazz standard All the Things You Are:
Famous Jazz Saxophone Players of the Hard Bop, Post-Bop, and Cool Jazz Eras (1950s-1960s):
These eras of jazz saxophone are distinct but related enough to warrant putting them together. Many sax players in this section could be considered part of all three movements depending on which part of their career you focus on.
These three sub-genres of jazz evolved from Bebop (or as a reaction to it) and represent how different jazz philosophies grew from the initial seeds planted by the Bebop revolt. This is where the playing styles of famous saxophone players start to diverge and evolve out of the swing and bebop eras.
Cool Jazz
The Cool Jazz era emerged in the late 1940s and gained prominence in the 1950s as a reaction to the intensity and energy of bebop. Cool jazz features relaxed tempos, lighter tones, and more subtle, melodic, and understated improvisations.
Hard Bop
The Hard Bop era emerged in the mid-1950s and was also a response to the virtuosic demands of bebop. Though it kept the fast tempos and complex improvisational ideas, it pulled more heavily from blues and gospel music, making hard bop more accessible to average listeners.
Post-Bop
The Post-Bop era sought to move past Bebop and hard bop by incorporating elements from modal jazz, classical music, world music, and other musical characteristics that were not generally associated with jazz at the time.
Though this style retained elements of bebop and hard bop, it more prominently featured complex harmonies, unusual time signatures, and a further emphasis on individual artistic expression, musical identity, and musical experimentation.
Let’s check out the famous saxophone players from this important and foundational era of jazz.
John Coltrane
image source: Wikipedia Commons
John Coltrane (1926–1967) is one of the most famous saxophone players of all time. He is instantly recognizable as a saxophone wizard and the creator of the “sheets of sound.” No other saxophone player sounds quite like him.
Though he ocassionally played alto saxophone and soprano saxophone, he usually played tenor saxophone. John Coltrane was always hungry to learn more and practiced at a high level for much of his life. He always approached jazz with a student’s mindset.
His career gave him many opportunities to play with his idol, Charlie Parker, and other big names in jazz, such as Miles Davis, Thelonius Monk, Red Garland, and Lee Morgan. Many of his compositions have since become classic jazz standards, including Giant Steps, Moment’s Notice, and Lazy Bird.
Here is John Coltrane playing on the tune Alabama:
Cannonball Adderly
image source: Wikipedia Commons
Cannonball Adderly (1928–1975) was an alto saxophonist who came of age in the hard bop and Post-Bop eras of jazz. He would go on to become a pivotal figure in the Soul Jazz movement, playing on the classic tune Mercy, Mercy, Mercy, a crossover hit on the R&B and pop music charts.
Cannonball Adderly played with the Miles Davis sextet, appearing on the albums Milestones (1958) and Kind of Blue (1959). He was sometimes called the “New Bird,” which was a name also given to contemporary jazz saxophonist Phil Woods.
Here is Cannonball Adderly playing on his own composition Work Song:
Stan Getz
image source: Wikipedia Commons
Stan Getz (1927–1991), also known as “The Sound,” was a tenor saxophonist who had a characteristically warm tone and smooth playing style that became synonymous with the cool jazz movement. He was often compared to Lester Young.
Stan Getz is also notorious for being one of the American jazz saxophonists who helped to popularize Bossa Nova in the US, working alongside Bossa Nova artists Antônio Carlos Jobim, João Gilberto and Astrud Gilberto.
Here is Stan Getz playing on the Bossa Nova tune Wave:
Joe Henderson
image source: Wikipedia Commons
Joe Henderson (1937–2001) was an iconic American jazz tenor saxophonist with a distinctive improvisational style and a long professional music career that took him through various jazz eras.
Though his playing was firmly rooted in hard bop, he evolved to embrace Latin Jazz, R&B, and Avant-garde jazz. In a five-year span, he appeared on 30 albums for Blue Note artists, including classic jazz albums like Lee Morgan’s The Sidewinder and Horace Silver’s Songs For My Father.
His original composition, Inner Urge, has become a jazz standard.
Check out his quartet from 1977:
Sonny Rollins
image source: Wikipedia Commons
Sonny Rollins (1930) is one of the most iconic tenor players and professional musicians of all time. This Tenor sax player has had a career spanning seven decades and is still alive today (as of the publish date of this article). At 93, Sonny Rollins is a living jazz legend.
As a composer and leader of his own band, this professional musician composed many jazz standards we play and practice over to this day, including Airegin, Doxy, Oleo, and St. Thomas.
Know for his incredible jazz vocabulary, idiosyncratic and quirky improvisational prowess, and unique sound, there is no doubt that Sonny Rollins is one of the best jazz saxophonists on this list.
With a career spanning seven decades, Rollins has worked with countless jazz legends, including Miles Davis and the Miles Davis Quintet, Charlie Parker, and Thelonius Monk. His album Saxophone Colossus (1957) is a foundational jazz album for jazz fans.
Check out Rollins playing on his original composition St. Thomas:
Hank Mobley
image source: Wikipedia Commons
Hank Mobley (1930–1986) was a tenor saxophonist known for his laid-back and subtle approach to the instrument. Often compared to his contemporaries, he wasn’t as aggressive as players like John Coltrane, nor was he as mellow as players like Lester Young.
This middle-of-the-line approach guaranteed him plenty of work with many other jazz greats, including Lee Morgan, Art Farmer, Pepper Adams, Milt Jackson, Sonny Clark, Herbie Hancock, and Wynton Kelly.
Mobley was also an original member of Art Blakey’s Jazz Messengers, working with the drummer in early iterations of the group. He was also an accomplished band leader, releasing many albums over the course of his career, his most famous being the 1960 album Soul Station.
Check out this rare footage of Mobley playing on the tune Summertime in 1968:
Gerry Mulligan
image source: Wikipedia Commons
Gerry Mulligan (1927–1996) was an iconic baritone saxophone player, composer, and arranger. Well-versed in other wind instruments in the saxophone family and the piano as well, Mulligan was a powerful voice in the cool jazz movement.
He came to fame playing with Miles Davis during the Birth of the Cool era. He also worked alongside Chet Baker and arranged for Miles Davis and Stan Kenton, among others. He also worked with the Dave Brubeck Quartet and Fletcher Henderson’s orchestra.
However, he is best known for his work with trumpeter Chet Baker and their innovative piano-less quartet. Being a baritone saxophone player, Gerry could handle the low end while Chet covered higher ranges.
His work as an arranger and composer led to some film scoring and composition work for theater later on in his career.
Check out Mulligan playing in 1962 with valve trombonist Bob Brookmeyer:
Benny Golson
image source: Wikipedia Commons
Benny Golson (1929) is another iconic alumnus of the Art Blakey and the Jazz Messengers who went on to have an incredible solo career. He is still active today at 95! He is one of the hard bop tenor players who had a significant impact on the direction of jazz.
As a prolific jazz composer, he is responsible for writing iconic jazz standards like “I Remember Clifford,” “Blues March,” “Stablemates,” “Whisper Not,” and “Along Came Betty.” As a player, he has evolved over a decades-long career.
In the 1960s and 70s, Golson took many gigs composing and arranging for film and TV. His career as a performer took a back seat during this period. However, in the 1980s, he began focusing on performing and recording again.
Check him out playing on his own composition, Whisper Not:
Wayne Shorter
image source: Wikipedia Commons
Wayne Shorter (1933–2023) was an incredibly gifted saxophonist, improviser, arranger, and composer whose hard-bop roots evolved and thrived through the jazz fusion and contemporary jazz eras. Though he started playing on tenor sax, he switched focus to the soprano sax relatively early in his career.
His compositions and recordings are extremely foundational and widely influential. He started his professional career as a Jazz Messenger but soon joined Miles Davis’s second great quintet.
Many of his great jazz compositions, including Footprints, Speak No Evil, Yes or No, and Infant Eyes, are now considered jazz standards. His career spanned many decades and styles. He was a founding member of the fusion band Weather Report, and he appeared on rock hits like Steely Dan’s Aja.
Check out Wayne Shorter performing an arrangement of his tune Footprints live at the Montreal Jazz Festival in 1991:
Lou Donaldson
image source: Wikipedia Commons
Lou Donaldson (1926) is an alto saxophone player whose long career saw him work alongside jazz greats like Thelonius Monk, Milt Jackson, Clifford Brown, and Blue Mitchell. Donaldson, who grew up in Chicago, was firmly rooted in bebop and hard bop. However, his style evolved.
He became known for his bluesy, soulful approach to playing the alto saxophone, which set him apart from his contemporaries.
Check out Lou Donaldson playing and singing the blues:
Avant-Garde and Free Jazz Eras (1960s-1970s):
Avant-garde jazz emerged in the early 1960s and represented an even greater departure from jazz music’s typical structures and textures. Avant-garde jazz musicians threw out preconceived notions regarding improvisation, song form, composition, and performance.
The result was highly artistic, abstract, and very unconventional musical pieces.
The free jazz movement was one step beyond the Avant-Garde. It took the concepts of freedom and experimentation even further. This style completely abandoned traditional chord progressions, fixed tempos, and formal structures, allowing for unrestricted improvisation and interaction among musicians.
Let’s learn about the famous saxophone players from this period.
Ornette Coleman
image source: Wikipedia Commons
Ornette Coleman (1930–2015) was an incredibly influential multi-instrumentalist and composer who was at the forefront of the avant-garde and free jazz movements. Coleman rejected various concepts and traditions surrounding jazz, music performance, and music composition.
Coleman challenged so many tropes of jazz and was a controversial figure for many of his contemporaries and critics.
He championed collective improvisation, rejected traditional song forms and compositional approaches, and authentically pushed for new and innovative sounds, textures, and concepts.
Check out the Ornette Coleman Sextet in 1978:
Pharoah Sanders
image source: Wikipedia Commons
Pharoah Sanders (1940–2022) was an iconic jazz saxophonist who was famous for pushing new and innovative techniques on the instrument. He often utilized harmonics and multiphonics, which were rare on the saxophone.
Famous for his work with Sun Ra, he also collaborated with John Coltrane and moved his artistic inspiration toward the newly emerging spiritual jazz movement. He became a prolific figure in the free jazz world and, despite not always receiving critical acclaim, kept true to his artistic vision.
Check out Pharoah Sanders playing in his original tune The Creator Has A Master Plan:
John Gilmore
image source: Wikipedia Commons
John Gilmore (1931–1995) was a jazz saxophonist and percussionist most famous for his work with Sun Ra and the Sun Ra Arkestra. Though he never received as much critical acclaim as his contemporaries, John Gilmore was highly respected by other jazz musicians in the scene.
John Coltrane even took lessons from him despite being a few years older than Gilmore. Though he primarily played with the Sun Ra Arkestra for the majority of his career, he also worked alongside many jazz and blues greats as a side man.
For example, he performed with Miles Davis, Dinah Washington, blues guitarist B. B. King, McCoy Tyner, Charles Mingus, and Art Blakey.
Check out John Gilmore playing with Art Blakey’s Jazz Messengers in 1965:
Eric Dolphy
image source: Wikipedia Commons
Eric Dolphy (1928–1964) was a saxophonist, flutist, and bass clarinet player who was famous for his unique sound and for utilizing advanced intervallic concepts and mimetics in his saxophone playing.
He worked with Charles Mingus and John Coltrane, pushing a kind of jazz that some might call “free” but was actually abstracted versions of traditional jazz compositional concepts and language. He had an extensive solo career that crossed into the contemporary classical world.
Check out this seemingly traditional version of Take the A Train, which features an Eric Dolphy solo that perfectly exhibits his unique intervallic concepts and playing style:
Soul Jazz and Jazz Fusion Sax Players (1970s-1980s):
Soul Jazz emerged in the late 1950s as the logical conclusion of Post-Bop. It gained popularity through the 1960s and 1970s and blended elements of jazz, blues, gospel, and R&B. This genre is characterized by its funky grooves, catchy melodies, and an emphasis on groove and feel over complex improvisation.
Jazz Fusion, which emerged in the late 1960s and flourished in the 1970s and 1980s, represented a hybrid of jazz with rock, funk, and other musical styles. This genre emerged after the digital revolution came to music. Jazz-rock bands like Steely Dan used jazz harmonies (and often utilized jazz musicians).
Fusion bands often used electric instruments, in contrast to the traditional acoustic instruments in jazz, and incorporated extended improvisations, complex time signatures, and a focus on virtuosity and technical proficiency.
So, who are the soul jazz and fusion saxophone players you need to check out?
Stanley Turrentine
image source: Wikipedia Commons
Stanley Turrentine (1934–2000) was a soul jazz and R&B saxophonist whose career saw him play alongside jazz greats like Max Roach and Tadd Dameron. He is most famous for his work with soul jazz organist Jimmy Smith.
He also branched into jazz fusion, playing alongside Freddie Hubbard, Milt Jackson, George Benson, Ron Carter, and Grant Green in the 70s before returning to his soul jazz roots in the 80s and 90s.
Here is a video of Stanley Turrentine playing alongside singer Lou Rawls in 1989:
Michael Brecker
image source: Wikipedia Commons
Michael Brecker (1949–2007) was a renowned saxophonist and composer whose improvisational concepts have inspired many of his contemporaries and successors. He was in demand as a sideman, session, musician, and soloist because of his incredible technical mastery and improvisational prowess.
His list of credits is immense. In pop music, we worked as a session sax player for Steely Dan, Joni Mitchell, Lou Reed, Dire Straits, Eric Clapton, Billy Joel, Dan Fogelberg, Frank Zappa, John Lennon, Aerosmith, Bruce Springsteen, Parliament-Funkadelic, and Chaka Khan, to name a few.
He was also highly sought after among jazz musicians, working alongside Chick Corea, Chet Baker, George Benson, Quincy Jones, Charles Mingus, Jaco Pastorius, McCoy Tyner, Pat Metheny, Horace Silver, Grant Green, Herbie Hancock, and Gary Burton. And this is a short list!
He was even in NBC’s Saturday Night Live band! There’s a good chance you’ve already heard him without even knowing it.
Check him out playing on the jazz standard Softly As In A Morning Sunrise:
Grover Washington Jr.
image source: Wikipedia Commons
Grover Washington Jr. (1943–1999) was an iconic saxophonist whose R&B sensibilities and jazz chops helped him cross over to mainstream acclaim with pop singers Bill Withers and Patti LaBelle. His compositions and smooth playing style are considered foundational to the smooth jazz sub-genre.
Grover Washington Jr. was highly proficient on the soprano saxophone, alto saxophone, and tenor sax. He played all three during his long career in soul jazz, smooth jazz and pop music. He also played with many other jazz greats, including Gerry Mulligan, Lonnie Smith, Dexter Gordon, and Kenny Burrell.
Check out Grover Washington Jr. playing in his own composition, Mister Magic:
Joe Lovano
image source: Wikipedia Commons
Joe Lovano (1952) is a jazz multi-instrumentalist who is most famous as an alto player, though he also plays drums, flute, and clarinet. He has worked with several other acclaimed fusion and contemporary jazz musicians, including John Scofield, Bill Frisell, Paul Motian, Esperanza Spalding, and Lonnie Smith.
He has had a long career as a band leader, releasing over 30 albums from the 1980s to the present day in addition to his trio work with Paul Motian.
Check him out playing on the ballad Portrait of Jenny:
Jan Garbarek
image source: Wikipedia Commons
Jan Garbarek (1947) is a Norwegian saxophonist and composer who is famous for his contributions to jazz, modern classical music, and world music. He is known for his creative use of long tones, silence, and Scandinavian folk melodies in his playing and compositions.
He first gained notoriety playing with Keith Jarret in the 1970s and soon branched off on his own, playing and composing in a style described as new-age music.
Though he had been releasing ambient jazz compositions and recordings since the 1960s, his eclectic and unique style took off with the onset of contemporary jazz in the 1980s and 90s.
Check out Jan playing on his composition Twelve Moons:
Contemporary and Modern Jazz Saxophonists (Active 1990s-Present Day):
That leaves us with the modern state of jazz music and the many saxophonists who are currently taking the jazz tradition and evolving it into the future.
The jazz genre today blends various genres, including rock, funk, hip-hop, electronic music, and world music. It is characterized by its eclectic approach, which combines traditional jazz elements with modern sensibilities.
These famous saxophone players are currently shaping the jazz world and are worth checking out!
Mark Turner
image source: Wikipedia Commons
Mark Turner (1965) is a contemporary jazz saxophonist known for his improvisations in the altissimo range and rhythmically complex lines that span several octaves. His compositions use odd meters, polyrhythms, and large intervallic leaps.
He has worked extensively with contemporary and modern jazz players, such as guitarist Kurt Rosenwinkel, trumpeter Avashai Cohen, guitarist Gilad Hekselman, and saxophone players Seamus Blake and Joshua Redman.
He also plays in a trio called Fly with bassist Larry Grenadier.
Check him out playing on the classic Benny Golson tune Along Came Betty:
Chris Potter
image source: Wikipedia Commons
Chris Potter (1971) is a contemporary saxophonist and composer known for extensive session work as well as leading his own band. He has released over 20 albums as a band leader and has appeared on numerous other recordings.
Some of the artists Chris Potter has worked with include Pat Metheny, Kenny Werner, the Mingus Big Band, Paul Motian, Jim Hall, James Moody, Joe Lovano, Steve Swallow, Steely Dan, Dave Holland, and Joanne Brackeen.
Check out Chris Potter in 1993 playing with trumpeter Red Rodney:
https://www.youtube.com/watch?v=-clrc3zWqNc
Melissa Aldana
image source: Wikipedia Commons
Melissa Aldana, born in 1988, is the youngest saxophone player on this list. She is also the youngest artist and the first female artist to win the Thelonius Monk International Jazz Saxophone Competition.
She has released several albums under her Crash Trio and under her quartet with Lage Lund or Sam Harris, Pablo Menares, and Kush Abadey.
Check out her trio playing Without a Song:
Joshua Redman
image source: Wikipedia Commons
Joshua Redman (1969) is a prolific saxophonist and session musician who has been active in the scene since the 90s.
He has recorded and performed with many jazz legends, including Pat Metheny, Brad Mehldau, Mark Turner, Peter Bernstein, Roy Hargrove, Christian McBride, Kurt Rosenwinkel, John Scofield, Toots Thielemans, McCoy Tyner, and Chick Corea to name a few.
He has also appeared on rock and pop records from artists like Stevie Wonder, Umphrey’s McGee, The Roots, and B. B. King.
Check out Joshua playing on a blues:
Donny McCaslin
image source: Wikipedia Commons
Donny McCaslin (1966) is another prolific recording artist and saxophonist who has been active in the scene since the 1990s. He has released several albums under his own name and appears as a sideman on many jazz and pop artists’ records.
His most notable pop appearances are on David Bowie’s recording Sue (Or in a Season of Crime) and the 2016 album Blackstar. However, he has worked with many pop and rock artists since the 1990s.
Check out Donny McCaslin leading a big band:
Ben Wendel
image source: Wikipedia Commons
Ben Wendel (1976) is an American saxophonist who is prominent in jazz and other genres of music. He has released seven albums under his own name and seven under his band Kneebody. In addition to jazz, he has appeared on hip-hop, rock, and pop records.
Notable artists he’s worked with include Snoop Dog, Daedalus, Prince, and Christina Aguilera.
Here is Ben Wendell playing with the Ben Wendel Group:
Seamus Blake
image source: Wikipedia Commons
Seamus Blake (1970) is a tenor saxophonist who has released sixteen albums under his own name and has worked with many other contemporary jazz musicians. Very active in the New York music scene, Blake is a prominent figure and first call for many jazz records.
Here is Blake on one of his own compositions, Gracia:
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The Learn Jazz Standards Inner Circle helps you focus on the important things and systematically helps you improve your jazz playing and music theory knowledge by studying jazz standards.
With monthly jazz standard studies and various jazz improvisation and jazz theory courses, you’ll have everything you need to evolve as a jazz saxophonist and become the player you want to be.
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Veteran Saxophonist Wayne Escoffery’s Most Valuable Lessons Learned, and Much More
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Introduction When someone says, “I was listening to Wayne on tenor”, usually they are referring to Wayne Shorter, but whether you know it or not, there is another burnin’ saxophonist named Wayne. My first major introduction to Wayne Escoffery’s playing was his solo over the tune, “Fly Little Byrd”. I am excited that Wayne was [read more...]
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Introduction
When someone says, “I was listening to Wayne on tenor”, usually they are referring to Wayne Shorter, but whether you know it or not, there is another burnin’ saxophonist named Wayne.
My first major introduction to Wayne Escoffery’s playing was his solo over the tune, “Fly Little Byrd”. I am excited that Wayne was willing to take the time to share with me his musical journey thus far, why he chose the saxophone, and what he has been working on lately as musician as well as educator. For those of you who are not already checking out Wayne Escoffery, I’ve included a short bio below to get you up to speed.
Bio
Since 2000, Wayne has recorded and performed with The Mingus Dynasty, Big Band and Orchestra.
In 2006, Wayne secured a frontline position in Tom Harrell’s working quintet. For over 10+ years, Wayne toured the globe with Tom and recorded 7 CDs with The Tom Harrell Quintet and co-produced four of those releases.
Wayne has recorded and performed internationally with such greats as: Ron Carter, Ben Riley, Abdulah Ibrahim, Eric Reed, Carl Allen, Al Foster, Billy Hart, Eddie Henderson, Rufus Reid, Monty Alexander, Wallace Roney and Herbie Hancock just to name a few.
Wayne’s current quartet features pianist David Kikoski, bassist Ugonna Okegwo and drummer Ralph Peterson (RIP). They have released three albums, the latest of which is The Humble Warrior on the Smoke Sessions Records label.
Escoffery is the founding member of a collaborative group called Black Art Jazz Collective which is comprised of fellow rising star musicians of his generation and is dedicated to celebrating the origins of jazz and African American icons through originally composed music.
While not performing, Escoffery is dedicated to music education and presents lectures and masterclasses on jazz music. He is currently the saxophone instructor for The New Jersey Performing Arts Wells Fargo Jazz for Teens program, and currently teaches private online lessons for all instruments.
In the fall of 2016, Wayne was appointed Lecturer of Jazz Improvisation and ensemble coach at the Yale School of Music as a part of Yale University’s Jazz Initiative. His current position at Yale is Lecturer of Jazz Improvisation and Director of Jazz Ensembles.
Interview
ZS: How did you become interested in playing music? And how did you decide on the saxophone?
WE: While neither one of my parents were professional musicians, my father was a amateur guitarists who played in a bunch of reggae bands in the U.K. and my mother listened to a lot of old school R&B and soul music, so I was definitely surrounded by music which is where my first love of music began.
My mother and I moved to the states when I was seven and we moved around a bit before eventually settling in New Haven, Connecticut when I was eleven. While in Connecticut, I joined a world renowned boys choir called the Trinity Choir of Men and Boys in New Haven and that is really where my formal music education began. I always wanted to be some sort of singer and was into the music my mother listened to and enjoyed like Michael Jackson and New Edition. Joining the boys choir really gave me the direction and education that I needed to pursue music.
In elementary school, I ended picking up the saxophone. I consider myself fortunate because Connecticut is one of the country’s richest states, so the public school that I went to had a relatively good amount of resources and I was able to choose almost any instrument that I wanted.
What led me to the saxophone? Well, I never knew that my grandfather on my father’s side played the saxophone as an amateur musician but my mother pointed that out to me and said that I should give it a try. I think the reason that I gravitated towards the saxophone and specifically the tenor is because the horn really mirrors the human voice and vocal range. Coming to the horn from the perspective of a vocalist made it feel very natural and I was able to pick things up relatively quickly by ear.
Growing up in New Haven and having access to Yale offered me the opportunity of exploring great art, music, and culture on a regular basis. I routinely saw performances by The New Haven Symphony Orchestra and The Yale Symphony Orchestra. In fact, my very first saxophone lessons were from a classical saxophone student at Yale by the name of Malcolm Dickinson.
In addition to classical music, New Haven at that time had a pretty vibrant jazz scene and I also studied with a few local jazz musicians. During this time I jumped around between different teachers. Like most beginning students, I didn’t like practicing, so Malcolm had the difficult job of getting me to practice my scales on a regular basis. Malcolm really helped me get my foundation down, learn my scales and introduce me to some saxophone music.
From Malcolm I went to go study with Barry Marshall, Chris Herbert, and a guy named Gary Burton (not the vibraphonist) who were all great jazz musicians in the area. Barry was really a R&B player who introduced me to a lot of blues and fusion music which is what I was into when I first started. Chris Herbert was more of a straight ahead player that doubled on flute, and Gary Burton was really into Cannonball Adderley. They all had their own viewpoints which offered me a lot.
As a person, I’ve always been very goal-oriented and I like to plan ahead. While in high school, I was one of the more talented musicians at school and in the area. While I was really into the saxophone, I was also into psychology and my dream was to go to NYU to pursue psychology and music as a double major.
After thinking further about it and knowing my personality, I knew that I wouldn’t be able to focus on both and be successful in both fields. Since my passion was really music, I ultimately decided in my junior year of high school to focus on the saxophone and be the best saxophonist that I could.
For college, I attended the Hartt School of Music and studied with Jackie McLean. Interestingly enough, I had actually started studying with Jackie my senior year of high school after Jimmy Greene introduced me to Jackie’s Artist’s Collective program. After being a part of that program, Jackie told me he thought I was talented and offered me a full scholarship to study at the Hartt School. I did apply to schools like NYU, New School, Manhattan, Rutgers, etc and I was accepted to all of them but I wanted to study with Jackie so I attended the Hartt School of Music.
I studied with JMac for all four years at Hartt but took it upon myself to take lessons and advice from other players in order to gain a different perspective. I used to drive to New York to seek out lessons every month or so, and I studied with such players as George Coleman, Don Braden, and Ralph Bowen to name a few.
Many of my friends moved to New York after graduation to start gigging and I wanted to do the same but, the opportunity came up for me to audition for the Thelonious Monk Institute. To be honest, I really didn’t want to audition. I wanted to move to New York, but Jackie McLean urged me to audition for the program. This was when the Monk Institute was at the New England Conservatory. I ended up auditioning and being accepted into the Monk Institute’s second class and that is where I got my Master’s.
Ron Carter was the musical director of our group and while at the Monk Institute I got the opportunity to tour with Herbie Hancock. After receiving my Master’s in 1999, I moved to New York City. Before moving to New York, I worked a lot in Boston. I was running the jam session at Wally’s on Sundays and played a lot of GB gigs or general business gigs (weddings, Bar Mitzvahs, etc).
When in New York, I did not work right away, and that’s exactly why I saved the money I made in Boston. I had some opportunities, one being with Wallace Roney to play some gigs but that didn’t turn into anything sustainable. One great thing about the Monk Institute is that I met a lot of musicians.
Once I arrived in New York, I called Carl Allen, Eric Reed, Don Sickler, and the other cats that I met while at the Monk Institute. Eventually, I ended up working in Eric Reed’s band and started working with Carl Allen as well as the Mingus Band. The Mingus band came about by Jonathan Blake and Jeremy Pelt both recommending to Sue Mingus that I sit in with the band. I became an “official” member in 2000.
In 2006, I ended up playing with Tom Harrell and not too long ago celebrated 10 years with the band. How I was introduced to Tom was actually word of mouth. I played with Ugonna Okegwo on and off who knew Tom was looking for a tenor player. Ugonna recommend me as well as David Weiss whom I was working with on and off. I ended up receiving a call from Tom’s wife who is also his manager to come over to play with Tom to see if we got along musically.
Touring with Tom Harrell was great gift. Tom is a genius. His writing and playing is like no one else’s. Before working with Tom, I worked with a variety of different people. I worked with people who knew exactly what they wanted and they would tell you if you weren’t playing exactly what they wanted you to play. At the same time, I worked with people who were the opposite of that and didn’t say anything at all…Tom was right in the middle.
Tom is very meticulous and writes all of his music by hand. The great thing about Tom is that he has a pretty clear idea of what he wants, but he hires musicians that he trusts to interpret his music. So, he doesn’t have to say much and doesn’t dictate what he wants you to play because of that trust. He always allowed our personal choices and individual musicianship come through in the music.
ZS: What are some key lessons you’ve learned playing the saxophone that you have passed on to you students? What do you find yourself practicing these days?
WE: There are a million lessons out there but a great lesson (and it may sound silly) is: ‘practice makes perfect.’ I know we’ve all heard this throughout our development, but for me it wasn’t until the summer between my junior and senior year of high-school that it really sunk in.
I remember I took this summer program at Yale and all my friends went away so I had nothing to do besides study for my Yale classes, and practice. For the first time, I was practicing for three hours one day to four hours the next day, to five hours straight. Then I would go to jam sessions on the weekends and would sound significantly better.
Now this seems obvious but I really saw the results of my work when I went to play and people who didn’t know me would say ‘I heard you last week and you sound a lot better this week’. It hit me like a ton of bricks that there was a direct correlation between the amount of hours that I put in, and how well I played. This was the beginning of my obsessive practice habits.
Another lesson that I’ve learned and that I tell my students all the time is to ‘isolate’. Whether it’s a concept, a piece of music, a phrase, or two notes that you are trying to get down. You really need to isolate that idea and work on it. If that means literally taking a trill from a one bar phrase and moving between D and Eb for ten minutes then just do it. If you are making a leap of a fifth and you keep cracking that note, then keep working on that leap for as long as it takes for it to sound the way you want it to sound.
The third lesson that I’ve learned which is the biggest lesson of all is, to be patient. There have been many times that I have been frustrated that I didn’t get offered a gig, or didn’t get a call back, or couldn’t play a song a certain way. The easy way out is to get angry, depressed, or give up. The thing to realize is, you will always have the opportunity to go back to that jam session, to play that song again, to prove yourself, and to rewrite your narrative. You have to be patient and work until it’s your time to shine.
I’ve dedicated a lot of practice to the goal of being able to play at a high level in a variety of situations, and knowing what is appropriate at a given time. For me, one of the things that I am focusing on now is varying my phrasing and musical choices, and having the confidence to pursue my creative goals despite the musical situation.
One great example of this was when I was a student at the Thelonious Monk Institute. There was a big gala and Wayne Shorter, Herbie Hancock, and Ron Carter and I believe Terri Lyne Carrington were rehearsing “Cottontail”.
Now, granted if you’re in that environment (that is, an environment that we all know is one of the most creative of environments we could be in), you go for it. I often think of myself in that situation as a ‘Wayne Shorter’ and if certain musicians called me, how would I approach this tune.
For example, I may think I need to go in my Dexter Gordon/Sonny Stitt bag or my late 50’s Trane bag, but if I was Wayne Shorter, I would simply go in as Wayne Shorter and play “Cottontail”. This is something that I am constantly working on. Finding the courage to be Wayne Escoffery and to play my version of “Cottontail” all the time.
Now, that might not be something that everyone wants to hear, or expects to hear, or necessarily understands, but at this point I need to focus on being that person regardless of the environment.
ZS: How have you adjusted to COVID? What have you found to be most challenging as well as beneficial?
WE: Well, we all have to deal with Zoom and I needed to work my Logic, Garage Band, and Finale chops. It hasn’t always been fun but it has been good to have the time to work with the software and music programs that I needed to stay engaged with my students and the listening audience.
Even with my students, I did a lot of teaching over Zoom at Yale, at Williams College, and NJPAC and it in some ways brought me closer to my students. I’ve found that I have been opening the floor to more social conversations around music and social issues which has been a great positive.
The challenge has been that I haven’t been playing as much and finding the motivation to practice has been difficult. I will say that when I practice now I am more focused which allows me to take a step back and work on my phrasing and other musical pursuits.
ZS: How have you seen the music business change since you started playing the saxophone and where do you see the future moving?
WE: I think a lot of players have their music business side together maybe even more than their artistic side…or maybe its equal. When I was coming up, the business side of things was really not a priority because there were people who were hired to take care of that. The priority was making sure you could play the music with integrity while honoring the masters that came before you.
When I step on the band stand I always want to be sure that I am playing tribute to players like Jackie McLean, George Coleman, Joe Henderson, John Coltrane, and the like. I think now more time is given towards the business side/technological side. This can be frustrating for someone of my generation but that’s just what it is. We are jazz musicians, we’ll adapt.
I think that it’s interesting because when jazz first became what it was, it was really entertainment, it became party music and the popular music of the time. I think our bebop revolutionaries such as Bird, Dizzy, Monk, Bud, brought something else to the music like sophistication. They desired to be respected as artists and intellects. In some ways, a shift is happening again, partly because many musicians want to make sure that jazz remains popular. Musicians want to work and stay relevant. Since many want that attention and appreciation some younger musicians are leaning more on the entertainment aspect of the music. I’m not sure if it’s a good or a bad thing but I think it does something to the integrity of the music and how the music is perceived and listened to.
ZS: If you hadn’t decided to pursue music, what would have you pursued as a career choice?
WE: I have always been a good listener and I think in many ways that has translated to my music and attributes to why I have had some success. I wanted to be a therapist or psychologist and better understand the thought process. I’m always less quick to judge and more eager to find out why someone did what they did and the thought process behind it.
ZS: What projects are you currently working on?
WE: Lately, I have had different spurts of creative energy and I have worked this past year or so on some original compositions that I want to record. I am working on the instrumentation at the moment but will share more about that in the future. I put out a record on the Smoke Session label last June. I will likely do another one with that label in the fall with this original music. We have definitely had a lot of loses during Covid and my drummer Ralph Peterson unfortunately passed away a few months ago. There is a tune of his that I might record and a tune that was supposed to be on my last album that I am thinking of re-recording or putting out as is. I am most certainly looking to be touring again in the summer of 2022.
ZS: What are your thoughts on the importance of the equipment? Do you find yourself changing much or sticking with the same gear?
WE: I generally stick with the same gear and I don’t like to change because it stresses me out. I think it’s more about the person. I can get the sound that I want with whatever gear that I have. With that said, I think it’s important to pick the right gear that gives you the freedom to easily get what you are searching for.
In 2008, I lost my saxophone and mouthpiece in a taxi so I had to change everything. That was an extremely hard lesson, but it was probably good that it happened because it forced me to play on new equipment. Though, I am basically playing on the same equipment that I had before.
Equipment
Saxophones:
Soprano: Yanagisawa Solid Silver
Tenor: Selmer Super Balanced Action
Ligatures:
Soprano: Selmer 404/Bird-Cage
Tenor: Rovner Ligature
Reeds:
Soprano: Rico Royal 3’s
Tenor: D’Addario Select Jazz 3S Filed
Mouthpieces:
Soprano: Metal Selmer Soloist E (Like Trane)
Tenor: Ted Klum FocusTone (Ted further customized it to my specs when he first started making his FocusTone – 2006)
Website
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https://www.getty.edu/visit/cal/events/ev_3788.html
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en
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David Murray Quartet
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http://www.getty.edu/360/event_images/murrayquartet.jpg
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http://www.getty.edu/360/event_images/murrayquartet.jpg
|
[
"https://www.getty.edu/360/event_images/murrayquartet.jpg"
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[] |
2023-04-04T00:00:00
|
Master saxophonist David Murray, renowned for his prolific career collaborating with the greatest names in jazz, brings his newly formed quartet to the Getty Center to celebrate the artists Dawoud Bey and Carrie Mae Weems, and their friendship that spans over 40 years. Since he arrived in New York in 1975, David Murray established himself as one of the prominent saxophone players and leaders of jazz. He has released over 200 albums under his own name, working with the likes of Max Roach, Pharoah Sanders, Amiri Baraka, Jason Moran, Vijay Iyer, Quest Love, and many more. His quartet includes the pianist Marta Sánchez, the bassist Luke Stewart, and the drummer Kassa Overall.--Doors open for seating at 6:30 pm;Please join us for a reception on the Harold M. Williams Auditorium Terrace at 6 p.m.This event follows an in-person talk with artists Dawoud Bey and Carrie Mae Weems in conversation with curator LeRonn Brooks at 4pm in the Museum Lecture Hall. Reserve free tickets for the 4pm talk.Complements the exhibition Dawoud Bey & Carrie Mae Weems: In Dialogue, on view from April 4 through July 9, 2023.--The great Cecil Taylor compared Murray to his greatest predecessors who had signature sounds: "You stick your ear in the door, you know it’s David!""The concept of freedom expressed here involves drawing freely from myriad styles, minting them into music that is both uncompromisingly rigorous and directly communicative." - Downbeat, July 2022"David Murray, the master saxophonist who has reconciled the whole history of jazz tenor, from swing to free, during a wildly prolific career." - New York Times
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/global/r/images/getty_logo_favicon.ico
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The J. Paul Getty in Los Angeles
| null |
GETTY CENTER
Harold M. Williams Auditorium
This is a past event
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https://www.insidemusicast.com/musicasts/category/Saxophonist
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en
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Saxophonist — Inside MusiCast — Inside MusiCast
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[] |
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[
""
] | null |
[] |
2024-04-22T00:00:00
|
en
|
https://images.squarespace-cdn.com/content/v1/5bd231e0b2cf79a455fdac9b/1549947302563-AVU5850YZNEIJSNL0GK4/favicon.ico?format=100w
|
Inside MusiCast
|
https://www.insidemusicast.com/musicasts/category/Saxophonist
|
Warren Ham is one of the best vocalists and woodwind players in the business. Born and raised in Texas, Warren found his way into the band Bloodrock out of Fort Worth. He and his brother, Bill, then went on to form The Ham Brothers Band, who eventually became the backing band for Bread and Cher.
Read More
You may not be familiar with his name, but Phil Kenzie’s contributions to the world of music are many and in some cases iconic.
Read More
Tom Saviano is a multi-talented musician, songwriter, arranger and producer who has enjoyed a long, distinguished career as part of the L.A. music scene.
Read More
Larry Williams has been at the top of his game for over 30 years. After honing his skills as a student at the Indiana University School Of Music, Larry transplanted himself to the tropics in Hawaii and became one of the founding members of Seawind.
Read More
To call Brandon Fields a talented sax player is a huge understatement. Ask anyone who he has collaborated with throughout his amazing career…Quincy, Babyface, Los Lobotomys, Elton John, Earth Wind & Fire, Al Jarreau…just to name a few.
Read More
For a young boy growing up in Memphis,Tennessee, exposure to Gospel, soul, jazz, and R&B music was inevitable. The difference for Kirk Whalum was that his baptismal into this music happened at the church where his father pastored.
Read More
As a two-time Grammy Award winning member of Bela Fleck & the Flecktones, saxophonist/composer Jeff Coffin has traveled the world leaving his mark as one of today’s most talented musicians.
Read More
As a talented saxophonist for Pink Floyd and Super Tramp, Scott Page has experienced the glamour of performing, touring, and recording with such superstar bands. But his connection to the music industry goes much further than performing on stage.
Read More
|
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https://www.saxophone-players-guide.com/famous-saxophone-players.html
|
en
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Famous Saxophone Players
|
[
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] |
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[
""
] | null |
[
"Matthew"
] |
2016-01-31T11:33:16+00:00
|
Dedicated to some of the most incredible musicians... EVER. Here are the stories of these many Famous Saxophone Players.
|
en
|
Saxophone Players Guide |
|
https://www.saxophone-players-guide.com/famous-saxophone-players.html
|
Here is a list of Famous Saxophone Players throughout the short history of the saxophone, who have made a name for themselves in one way or another. But, what does it mean to be famous? Everyone enjoys a bit of fame. Many people dream of being in ‘the spotlight’.
Usually it’s not just their Saxophone playing feats that have landed them in the pages of history. Often there’s a little more to it. An alcohlic, a drug addict, a blonde bombshell, they all play great Sax. The people listed range across the many genres of music that the saxophone has touched. Within are articles with their stories, the songs and albums they played on, and an overview of their lives, relationships, births, deaths, struggles, and successes. There are many Influential Saxophone Players who deserve a mention and this list will continue to grow over time. Some you may have heard of, others you may not, however, they all belong to a fantastic group of well practiced Saxophonists. The saxophone is a reasonably easy instrument to pick up, to get the basics, to play a song. Yet, to master the Saxophone is a whole different ball game. To get good at something, I mean very good, at a World Class level, takes years of practice. Anyone who ever achieved a high level of success also put some time and energy into creating their own profile.
Take a look for your favorite Sax Players!
Tell us about your encounter with a Famous Saxophone Player!
Visitors to this site want to hear your stories too..
Have you met a Famous Sax Player or play on stage with someone Famous? A real pro? Let us know the details of your Famous Sax Player Experience here
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https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/murray-david-keith
|
en
|
Murray, David (Keith)
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"1955. Murray started in the church playing gospel music alongside his brother",
"cousin",
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Murray, David (Keith)Murray, David (Keith), jazz tenor and soprano saxophonist, flutist, bass clarinetist, leader; b. Berkeley, Calif., Feb. 19, 1955. Murray started in the church playing gospel music alongside his brother, cousin, mother and father. He admired Sly Stone, whom he met in church when he was in Vallejo. Source for information on Murray, David (Keith): Baker’s Biographical Dictionary of Musicians dictionary.
|
en
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/sites/default/files/favicon.ico
|
https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/murray-david-keith
|
Murray, David (Keith), jazz tenor and soprano saxophonist, flutist, bass clarinetist, leader; b. Berkeley, Calif., Feb. 19, 1955. Murray started in the church playing gospel music alongside his brother, cousin, mother and father. He admired Sly Stone, whom he met in church when he was in Vallejo. He started playing alto sax at age nine; he saw Sonny Rollins at the Berkeley Jazz Festival when he was 11 or 12, which inspired him to switch from alto to tenor. At that time, he played guitar in addition to playing R&B saxophone
with Notations of Soul and doing steps in the horn section. In high school, he played “A Taste of Honey” and other songs with an organ player and drummer at pizza parlors all over the Bay area, and eventually began doing jazz. In college he studied with Bobby Bradford, Arthur Blythe (from whom he first learned free jazz), and Stanley Crouch, who became an important mentor and played drums in Murray’s trio when they first moved to N.Y. in 1975. He formed the World Saxophone Quartet with Oliver Lake, Julius Hemphill, and Hamiet Bluiett in the mid-1970s. He has led and recorded with his own big band and small groups, and played in Jack Dejohnette’s Special Edition. He has worked with Cecil Taylor, Don Cherry, Anthony Braxton, Sunny Murray, James “Blood” Ulmer, Ed Blackwell, McCoy Tyner, Fred Hopkins, and Andrew Cyrille. Since the mid-1990s, he has lived in Paris.
Discography
Live at the Peace Church (1976); Flowers for Albert (1976); Interboogieology (1978); Ming (1980); Murray’s Steps (1982); Morning Song (1983); Spirituals (1988); New Life (1988); Ming’s Samba (1988); Lucky Four (1988); Deep River (1988); Special Quartet (1990); Shakill’s Warrior (1991); David Murray Big Band, Conducted by Butch Morris (1991); Black on Black (1992); Jazzpar Prize (1993); Jazzosaurus Rex (1993); Shakill’s 2 (1994); Live ’93 Acoustic Octfunk (1994); Blue Monke (1995).
|
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https://www.primevideo.com/detail/David-Murray-Quartet---Live-At-The-Village-Vanguard/0R2L1IYG9W1EOFS9LANPL0J64W
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en
|
Prime Video: David Murray Quartet
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Versatile American saxophonist David Murray, known as one-fourth of the World Saxophone Quartet, combines all styles of jazz in his music. A master of circular breathing techniques, David Murray’s astonishingly long phrases will blow your mind. During this performance with his band at New York City’s legendary jazz club, The Village Vanguard, in 1982, Murray is accompanied by John Hicks (piano)...
|
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https://www.primevideo.com/detail/David-Murray-Quartet---Live-At-The-Village-Vanguard/0R2L1IYG9W1EOFS9LANPL0J64W
|
David Murray Quartet - Live At The Village Vanguard
Versatile American saxophonist David Murray, known as one-fourth of the World Saxophone Quartet, combines all styles of jazz in his music. A master of circular breathing techniques, David Murray’s astonishingly long phrases will blow your mind. During this performance with his band at New York City’s legendary jazz club, The Village Vanguard, in 1982, Murray is accompanied by John Hicks (piano)...
|
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https://www.allmusic.com/artist/david-murray-mn0000182855
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Music Search, Recommendations, Videos and Reviews
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AllMusic provides comprehensive music info including reviews and biographies. Get recommendations for new music to listen to, stream or own.
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AllMusic
|
https://www.allmusic.com/updated
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âDavid Murray
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Listen to music by David Murray on Apple Music. Find top songs and albums by David Murray, including Ruben's Theme Song, Intro To Ninno / Ninno and more.
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Apple Music - Web Player
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https://music.apple.com/ca/artist/david-murray/2610944
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https://jazzvalley.com/famous-jazz-saxophonists/
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10 of the Most Famous Saxophone Players in History
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2022-09-28T14:43:59+00:00
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A selection of iconic saxophone players whose influence on how the instrument and the jazz can be played stretches across generations.
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Jazz Valley
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https://jazzvalley.com/famous-jazz-saxophonists/
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Whilst it’s impossible to limit an article to just ten of the most famous saxophone players in jazz, we’ve attempted to do just that.
These iconic jazz musicians have influenced not just their peers but also had a major stylistic impact on how the instrument can be played on successive generations.
Sidney Bechet (soprano saxophone)
Lived: 1897 – 1959
Starting out as a clarinettist, Bechet was regarded as one of the first major jazz soloists, making his earliest important recordings a few months prior to Louis Armstrong.
Bechet had a reputation for being difficult and temperamental, he was also very sure of himself, his musical ability and his importance in the history and development of the music.
Bechet was well travelled.
Early experiences were with band leaders Freddie Keppard, Bunk Johnson and King Oliver, and in 1919 travelled to Europe with Will Marion Cook’s Syncopated Orchestra.
Finding himself in London with the Orchestra who were to perform at the Royal Philharmonic Hall, Bechet discovered the straight soprano saxophone.
Although notoriously difficult to master, the soprano would quickly become his main instrument. Employing a big sound and wide vibrato, Bechet’s soprano playing brought him wide popular acclaim.
Although now regarded as a major stylist in jazz, Bechet career ran in peaks and troughs. When popularity in early New Orleans jazz declined in the US Bechet would simply travel to wherever he felt his music was appreciated.
His ascendency would rise again in the States at the end of the 1930’s but would fall out of favour with the advent of bebop in the forties.
By the end of the decade, he had permanently relocated to France where he was a household name and where he would remain until his death his death in May 1959.
After Bechet many saxophonists would double on the soprano but there would not be another important voice on the instrument until Steve Lacy in the 1950’s.
Johnny Hodges (alto saxophone)
Lived: 1907 – 1970
Johnny Hodges will forever be remembered as having one of the most beautiful alto saxophone sounds in jazz.
He was a mainstay of the Duke Ellington Orchestra from the early days of the band at the Cotton Club in Harlem and would remain with Duke (apart from a short hiatus in the early fifties) until his death in May 1970.
Hodges was a natural musician, having very little formal study and he never learned to read music.
He started out on drums and piano, taking up the soprano saxophone in his teens and was encouraged in his endeavours by Sidney Bechet.
By the time he joined Duke Ellington in 1928 he also played clarinet, but it was the alto saxophone that was his natural voice and would be his main horn for the rest of his life.
He had a pure and mellifluous sound on the instrument, and when he would stand to solo he would be motionless showing no signs of expression as the music would cascade gently from his horn.
He rapidly became one of Ellington’s star soloists and Duke would write many compositions especially for Hodges including ‘Warm Valley’, ‘In A Sentimental Mood’, ‘The Jeep Is Jumpin’’, and ‘Passion Flower’.
In a surprise move, Hodges left Ellington in 1951 to strike out on his own. Fellow Ellingtonions followed him including drummer Sonny Greer and trombone player Lawrence Brown.
The band also featured a young John Coltrane, who always cited Hodges as an influence and went as far as describing as “the world’s greatest saxophone player.”
After just four years leading his own combos, Hodges was back in the Ellington fold where he would remain from 1955 until his death in 1970.
With his quiet virtuosity, beautiful tone and astute harmonic and melodic sense, once heard Johnny Hodges music is not easy to forget, ensuring that his musical legacy lives on.
Coleman Hawkins (tenor saxophone)
Lived: 1904 – 1967
It is perhaps to conceive of the modern language for saxophone if it had not been for the example and standards set by Coleman Hawkins.
During the 1920’s he took the tenor saxophone from being an ugly duckling into a viable and expressive voice that culminated in the instrument being a graceful swan with his recording of ‘Body And Soul’ in 1939 that is widely regarded as the first jazz improvisation based entirely on the underlying chords.
Unlike some of his contemporaries, Hawkins had a strong musical education.
He first played and studied piano and cello, taking up the tenor saxophone at the age of nine, and later studying harmony and composition.
By his mid-teens he was regularly gigging around the Kansas area.
In 1924 he joined Fletcher Hendersons Orchestra, which also boasted Louis Armstrong among its personnel, and Coleman Hawkins admitted that he learned much from Armstrong.
It was during his tenure with Henderson that Hawkins developed a tone and style on the saxophone that eschewed the rather unpleasant sounds that had been attributed to the tenor, favouring a smoother, lyrical and more harmonically aware style that would make him the pre-eminent voice on his instrument.
After the extraordinary recording of ‘Body And Soul’, jazz would never be the same again as the younger generation of players took up the challenge of playing over chord changes that would become bebop in the forties.
Typically, of Hawkins, he wanted in on the action and is credited with leading the first ever bebop recording session on February 16th, 1944.
Hawkins lasting legacy would be his full-bodied tone and harmonic ingenuity.
He also had a way of playing a ballad with deeply tender and rhapsodic lines of pure melody. His influence in the flowing generation of tenor players such as Sonny Rollins and John Coltrane has been considerable.
Lester Young (tenor saxophone)
Lived: 1909 – 1959
Young is the complete opposite to Coleman Hawkins, the other great tenor stylist of the thirties.
Whereas Hawkins was musically well educated, Lester Young learned to play various instruments in the family band before settling on the tenor saxophone and was unable to read music.
He played with a light tone, and a melodic style that displayed an economy of style.
Coming to prominence in the Count Basis Orchestra in the 1930’s Young was rapidly gaining a reputation as the new stylist on the instrument, and challenging Hawkins as the most influential tenor saxophonist.
Word quickly reached Hawkins who was touring Europe at the time and was worried enough to hot foot it back to the US to assess the competition.
As well as his work with Basie, Young would also make some historical recordings with vocalist, Billie Holiday.
It was Billie that gave the saxophonist the nick name ‘Pres’ or ‘Prez’ short for President and he would call her Lady Day.
The recordings that they made between 1937 and 1941 stand as some of the most exquisite vocal jazz, and the empathy between the two is staggering.
Young would go on to influence players such as Paul Desmond, Stan Getz and Charlie Parker and Warne Marsh.
In 1946 Young joined Norman Granz and Jazz At The Philharmonic, with whom he would tour and record for the next 12 years.
In the 1950’s his health declined due to excessive drinking. However, on a good day he could still produce some of the old magic, recalling his heyday of the thirties.
But by this time his position as a major tenor stylist was secure, and his legacy has continued to live on through his influence in successive generations of saxophone players.
Ben Webster (tenor saxophone)
Lived: 1909 – 1973
The tenor saxophone of Ben Webster is one of the instantly identifiable in jazz.
Not quite an innovator or responsible for a new way of playing the instrument like his contemporaries Coleman Hawkins or Lester Young, Webster’s importance should not be overlooked or allowed to dim over time.
Yes, the all-pervading tenor sounds of the day came from the gruff, full toned Hawkins, or the light airy sound favoured by Young; and it was widely perceived that all tenor players fell into one or other camps.
Webster though had other ideas, and while initially he may have favoured Hawkins approach to the tenor saxophone, he would go onto forge his own way of playing that would ensure his place as one of the major exponents of the instrument.
As a child he first learned to play the violin and piano, later taking up the alto saxophone.
His first engagements were to be as accompanist to silent films, and when having mastered the alto sax he joined the band led by Lester Young’s father.
Switching to tenor in 1930, Webster could be heard in the bands led by Benny Carter, Cab Calloway and Fletcher Henderson.
By far his most important and influential work with a big band would be with Duke Ellington’s Orchestra.
Joining Duke in 1940, and staying for three years, Webster was in the band at the same time as bassist Jimmy Blanton and composer/arranger Billy Strayhorn forming close friendships with both.
Tragically Jimmy Blanton’s tenure with the band would be brief as he succumbed to tuberculosis in 1941. The recordings made with Ellington during 1940-41 with Blanton are some of the most important in Ellington’s career, and were particularly important to Websters development.
While his tone on up-tempo numbers could be gruff and with a full round sound, his playing on ballads would become softer with a breathy tone.
This could be seen as the influence of Johnny Hodges’ who Webster held in high esteem.
After leaving Ellington in 1943, Webster worked freelance, and formed an important relationships baritone saxophonist Gerry Mulligan, and also pianist Oscar Peterson in the early fifties when he would tour and record as part of the Jazz At The Philharmonic package.
In the mid 1960’suntil his death Webster would choose to spend much of time in Europe where he would regularly be heard playing with visiting American musicians.
Charlie Parker (alto saxophone)
Lived: 1920 – 1955
Perhaps more than any other, Charlie ‘Bird’ Parker is the archetypal jazz musician.
A wayward genius with a self-destructive streak, whose playing left everyone else in the shadows, and tragically died young. A bit of a cliché maybe, but that is sadly exactly how it panned out.
Parker became addicted to narcotics at age just 16, and combined with heavy drinking over a long period of time spelled his downfall.
However, his musical legacy tells a different story, of a virtuoso saxophonist and an improviser of staggering invention. But again, this was not always the case.
In 1936 a young Charlie Parker attempted to sit in at a jam session in Kansas City.
During his improvisation on ‘Honeysuckle Rose’ he lost his place and was ‘gonged’ off stage by drummer Jo Jones, who threw one of his cymbals at Parker’s feet.
Vowing never to be shamed again, Parker spent time away practicing and by the time of his return on the Kansas jazz scene he was a much more assured and improved musician.
By 1939, Parker was well on the way to working out his methodology for more advanced soloing.
He was getting bored with the standard chord progressions and soling over simple melodies.
He had worked out, while improvising on the tune ‘Cherokee’ that he could use the higher intervals of the chord as a melody line, backing it with the appropriate chords.
This was the breakthrough that a few short years later would lead to the revolutinary new music of the 1940s that would be known as bebop.
The earliest bebop records featuring Parker were made for the Savoy label in 1945, and along with the recordings made for Dial Records are among the most important small group recordings in jazz.
They demonstrate a master musician with something new and vital to say, and paved the way for modern jazz as a serious artform.
Parker’s health and lifestyle would always present difficulties. He was often late or simply did not show up for gigs, and the use of narcotics would finally catch up with him.
Parker’s finest recordings were generally from the mid-forties, but his Charlie Parker With Strings from sessions in recorded in November 1949 and July 1950, and a much cherished dream of the saxophonist to work a string section, have stood the test of time.
The other important recording before his untiled death in 1955 is the famous Jazz At Massey Hall, recorded in Toronto with Dizzy Gillespie on trumpet, bassist Charles Mingus (who recorded the concert), drummer Max Roach and Bud Powell on piano in an incredible performance.
Parker’s innovation divided jazz fans and some musicians at the time, but his influence is still being felt and assimilated by musicians around the world.
Lee Konitz (alto saxophone)
Lived: 1927 – 2020
Like fellow alto saxophonist, Charlie Parker, Lee Konitz is a completely original improviser.
Unlike many, Konitz refused to fall under the spell of Parker who was the predominant saxophone stylist of the 1940’s. Instead, he chose to play with a light and vibrato less tone.
The antithesis of Parker’s daring runs and displaced accents, Konitz offered an alternative approach, citing his early influences as Johnny Hodges and Benny Carter. In 1946 he met pianist Lennie Tristano.
Tristano would have a profound effect on the young saxophonist, with the pianist’s emphasis on improvisations that were free from pre conceived patterns or licks, and an emphasis on the purity of the line over emotional content.
This cool way of playing would find much favour on the West Coast of the US with players such as Art Pepper, Bud Shank, and was also an influence on Paul Desmond.
Through Tristano he also met tenor saxophonist Warne Marsh, another disciple of the pianist’s methods, with who he would frequently collaborate.
In 1947, Konitz joined the Claude Thornhill band where he met Gerry Mulligan and Gil Evans who wrote and arranged much f the bands book.
When they collaborated with Miles Davis to form a nonet, initially as a rehearsal band to write for, it was natural that Konitz would be invited to join the band.
The subsequent recordings release as the Birth of the Cool would have a major impact on the music, and what would come to be known as Cool Jazz.
A spell with the Stan Kenton Orchestra in the early fifties witnessed a subtle change in Konitz’s playing. His tone became a little firmer and his delivery warmed up becoming more expressive.
His powers of improvisation were sharper than ever, and playing his preferred repertoire of standards he would spin line after line of pure melodic invention.
A perfect example of his skills as an improviser can be heard on the album Motion. Recorded as a trio with bassist Sonny Dallas and the seemingly unlikely pairing of drummer, Elvin Jones.
The resulting album shows the saxophonist in free flowing solos with two perfect accompanists.
Unhampered by a chordal instrument, Konitz is able to allow his fertile mind maximum freedom within his chosen songs.
Throughout his long career, Lee Konitz proved himself at home in contexts from cool jazz, bebop, and avant garde. He has recorded with free improvising guitarist Derek Bailey, and in a trio with Brad Mehldau and Charlie Haden, and in a duo with pianist Dan Tepfer that would last a decade.
Sonny Rollins (tenor saxophone)
Lived: 1930 –
Rollins has been called the greatest living improviser, and while he is no longer able to play his saxophone due to health problems, his recorded legacy certainly substantiates the claim.
He is the most critical person of his own playing, Rollins has taken two extended sabbaticals during his career, the first in the summer of 1959 that lasted until autumn 1961, and a second a decade later from 1969 to 1971.
Bursting onto the jazz scene in 1949 he made a reputation for himself playing on early hard bop recordings with Fats Navarro, J J Johnson, Bud Powell and Roy Haynes.
The early fifties were not a good time for Rollins and problems with narcotics him incarcerated for armed robbery and then for a breach of his parole. In 1954 he recorded some of his most famous compositions, ‘Oleo’, ‘Doxy’ and ‘Airegin’ (Nigeria backwards), with trumpeter Miles Davis.
Finally clean in 1955, he joined the Clifford Brown-Max Roach Quintet recording a couple of classic studio albums with them, Clifford Brown and Max Roach at Basin Street and Sonny Rollins Plus 4.
Following the trumpeter’s tragic death in a car accident in 1956, Rollins would continue to work with Roach.
Widely regarded as his breakthrough album, Rollins recorded Saxophone Colossus in June 1956, a superb quartet album with Tommy Flanagan on piano, bassist Doug Watkins and Max Roach.
The album is revered for the the first recording of Rollins’ calypso tune ‘St.Thomas’, and for the long tenor solo on ‘Blue 7’.
The solo was held in such high regard that the composer and arranger, Gunther Schuller analysed in depth in an article written in 1958.
The following year also saw the release of another classic Rollins album with Way Out West.
Recorded in California with bassist Ray Brown and Shelly Manne on drums, and featured versions of unlikely material in county and western songs ‘I’m An Old Cowhand’ and ‘Wagon Wheels’.
The album is notable for the fact that there is no guitar or piano to state the chords, and is Rollins’ first outing in a trio of this nature.
Soloing without a piano accompaniment would become known as ‘strolling’ and would be something that the saxophonist would return to frequently during his career; most notably on his A Night At The Village Vanguard album also recorded in 1957.
Despite the critical acclaim for his music, Rollins was crippled with self-doubt and unsure about his playing and took the first of his sabbaticals.
In an intense period of practice, Rollins could be heard high up on the pedestrian walkway of the Williamsburg bridge.
He announced his return with a residency at the Jazz Gallery in Greenwich Village, and in 1962 recorded The Bridge which would become one his best selling albums.
Rollins continued to record throughout the sixties for RCA Victor and Impulse! In a variety of contexts. He would explore Latin rhythms, avante garde jazz and record with his hero Coleman Hawkins along with releasing the soundtrack for the film Alfie in 1966.
In 1969 he took his second sabbatical visiting Jamaica and India, and studying yoga and meditation.
Upon his return, his music in the seventies and eighties would incorporate elements from funk, R’n’B and pop music, and he would frequently use electric guitar and bass guitar in his line ups.
His penchant for extended improvisations would often take the form of unaccompanied introductions or cadenzas, and show that his powers of invention were as sharp and coherent as ever.
Until his retirement from performing in 2012, Rollins had preferred to present his music in large concert halls around the world, as opposed to playing small clubs.
Many of these concerts have been recorded by Rollins. A few have been released commercially, and it is hoped that more may be made available in time.
Steve Lacy (soprano saxophone)
Lived: 1934 – 2004
Perhaps not as famous as some of the other saxophone players of his generation, Lacy’s contribution to the music should not be overlooked.
Unusually Lacy played only soprano saxophone, dedicating his entire career to mastering the difficult straight horn and eschewing the temptation to double on other members of the saxophone family.
Other musicians had been playing the instrument, but only ever as a second horn in an ensemble, and the only serious stylist on the soprano had been Sidney Bechet in the 1920’s.
The instrument was at this point identified with the earlier styles of jazz, and Lacy himself when he emerged on the scene in 1950’s was playing Dixieland jazz with the older generation of musicians such as Henry ‘Red’ Allen, Pee Wee Russell, Buck Clayton and Zutty Singleton.
In a surprising and unpredictable move, by passing bebop, Lacy joined pianist Cecil Taylor’s band in 1956 playing avant garde jazz.
While he has made frequent forays in to free jazz and improvised music throughout his career, Lacy’s music is far too disciplined and structured to have found a permanent home in such a setting.
In fact, Lacy has found himself absorbed in the music of Thelonious Monk with who he played and studied in 1960, and has returned to Monk’s music in many settings from solo saxophone to duo performances to big bands.
Lacy’s own compositions and improvisations are based on fragments of melodies or melodic motifs that are repeated and patiently reworked and developed into lyrical lines that spin out from their original starting point.
As well as playing in solo and duet situations, Lacy led his own sextet for many years featuring his wife, Irene Aebi and saxophonist Steve Potts.
Spending much of his career in the seventies until 2002 in Europe, only returning to the US to play and teach just a coupke of years before his death in June 2004.
Steve Lacy recorded prolifically both as leader and sideman, but his dedication to the treacherously pitched soprano saxophone and his exploration of the music of Thelonious Monk mark him as true original in jazz.
John Coltrane (tenor & soprano saxophones)
Lived: 1926 – 1967
Another saxophonist, like Charlie Parker, whose influence on the music is monumental but who sacrificed their physical health to narcotics.
Although, unlike Parker, Coltrane was clean for the last decade of his life, the damage had been done.
It appears that the saxophonist was fully aware of this, and conscious of his own mortality went to herculean attempts to push himself and his music as far as he could before his time ran out.
Coltrane’s earliest musical education was playing the clarinet in school, later switching to alto saxophone.
He continued playing the instrument throughout high school and throughout national service in the US Navy.
After he was discharged, he continued t gig around the Philadelphia are, and switched to tenor saxophone during a stint playing with Eddie Vinson.
In 1955 he received a call from Miles Davis who putting together his first quintet.
The bands success was immediate, following a successful performance at the Newport Jazz Festival, and the band comprising of Miles, Coltrane, pianist Red Garland, the teenage bass player Paul Chambers and Philly Joe Jones on drums became known as the trumpeter’s ‘First Great Quintet’.
The quintet made many successful albums, but Miles’ practice of the day of treating recording sessions like club gigs resulted in the four albums recorded in two days in May and October 1956.
The albums, Cookin’, Workin’ Relaxin’ and Steamin’ are regarded as classics and are the best representation of the bands progress at that time.
Coltrane’s drug addiction was becoming an increasing issue for Miles’ who decided to disband the quintet in 1957. During this time away from the trumpeter, Coltrane spent time studying and playing with Thelonious Monk.
He also made the effort to free himself of his dependence of narcotics, and was then ready to re-join Miles when he put together his sextet.
The new group reconvened the classic quintet with the addition of Julian ‘Cannonball’ Adderley on alto, and recorded the incredible Milestones album in 1958, featuring the track ‘Miles’ (subsequently know as ‘Mlestones’) as a first foray into modal jazz.
The following year proved to be monumental for Coltrane.
Davis’ sextet now comprised of Adderley, Wynton Kelly on piano, Paul Chambers, drummer Jimmy Cobb, and Coltrane, and with Miles brining back Bill Evans (who had left the band short while earlier) on piano they recorded Kind Of Blue.
Entirely modal in concept the album proved to be a huge success and innovative in the way the soloists would improvise, revolutionising small group jazz in the process.
At the same time the saxophonist was recording his own album, Giant Steps.
A complete contrast to the modal setting of the Miles’ sextet, Giant Steps was fast moving and packed with rapid chord changes, and the title track has become a test piece for all aspiring saxophonists.
The album was not Coltrane’s first, but was important that it was the first to feature all original compositions by the saxophonist, and such was the impact the recording has had since its release all seven pieces have entered the standard jazz repertoire.
This success would spell the end for Coltrane’s association with Miles and sure enough in 1960 the saxophonist left to form his own band and strike out on his own.
He also took up the soprano saxophone in addition to his tenor, inspired not just by Steve Lacy who was a soprano specialist playing with his former boss Thelonious Monk, but also by Sidney Bechet whose Blue Note records Coltrane had listened to while he was recording his only album for the label, Blue Train.
He made his debut recording on the straight horn on a thirteen minute version of the song ‘My Favourite Things’ on the album of the same name.
Forming his own quartet with McCoy Tyner on piano, Elvin Jones on drums and a succession of bass players that included Steve Davis and Reggie Workman, eventually he settled on Jimmy Garrison and the classic quartet was born.
Without doubt, the quartet’s finest achievement can be heard on A Love Supreme. Recorded in December 1964 and released the following year, this was Coltrane’s prayer to God in thanks for his spiritual awakening a seven years earlier.
The music is at once torrid, tender and heartfelt, and a sincere and genuine outpouring of emotion that has rarely been heard on record before or since.
With A Love Supreme, Coltrane had taken the quartet as far as he could, and his increasing quest for a new direction for his music ultimately saw the quartet gradually disintegrate.
In an increasingly spiritual quest that would lead the saxophonist into free realms of the new music of the sixties, Tyner, Garrison and Jones would grow disenchanted with the direction of the music and one by one would leave the band.
For the remainder of his life, and the three short years left to him, Coltrane’s music pushed at the boundaries of the music working with multiple bass players and drummers.
Taking his music out into free jazz, the saxophonist did not always take his followers with him.
By the time of his death in 1967, Coltrane’s truly creative musical life had spanned a dozen years. Like Charlie Parker before him, he had taken the musical style he had pioneered to its logical conclusion.
In 1955, Parker had expressed frustration by the confines of bebop, and indeed just prior to his death Coltrane had confided to a colleague that he could find nothing new to play.
Just how things may have developed had he lived longer are open to speculation, but one thing is sure that Coltrane’s legacy has provided food for thought for successive generations of musicians and listeners.
Thanks for reading!
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https://www.tshaonline.org/handbook/entries/murray-william-henry-david-alfalfa-bill
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Murray, William Henry David [Alfalfa Bill]
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The Handbook of Texas is your number one authoritative source for Texas history. Read this entry and thousands more like it on our site.
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Texas State Historical Association
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https://www.tshaonline.org/handbook/entries/murray-william-henry-david-alfalfa-bill
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William (Alfalfa Bill) Murray, a famous political figure in the Southwest, third son of Uriah Dow Thomas and Bertha Elizabeth (Jones) Murray, was born at Toadsuck, Texas, near Collinsville, on November 21, 1869, and grew up in north central Texas. Murray ran away from home at the age of twelve and during the next seven years worked on farms and attended public school intermittently. After attending College Hill Institute, a secondary school at Springtown, he became a public school teacher in Parker County and became involved in the Farmers' Alliance and the Democratic party. During this period he developed his public speaking skills to become a locally known orator and a vigorous opponent of the rising Populist or People's party. Murray embraced the teachings of the Campbellite Church but would never become a practicing member of any congregation. He soon joined the faction of the Democratic party led by James Stephen Hogg and campaigned for Hogg in northern Texas. Murray moved to Corsicana and opened a newspaper, the Corsicana Daily News. He ran twice for the state senate, but was defeated both times. Unsuccessful as a newspaper publisher and editor, Murray read law and was admitted to the bar on April 10, 1897. After briefly practicing law in Fort Worth, Murray moved to Indian Territory in March 1898. He never lived in Texas again but remained a dedicated Democrat and advocate of farmers.
After settling in Tishomingo in the Chickasaw Nation, Murray established ties to the tribal leaders and developed a lucrative law practice. He married Mary Alice Hearrell, niece of the Chickasaw governor, on July 19, 1899. Murray's legal practice made him a prominent figure in the Chickasaw Nation, and when an effort was made to obtain statehood for Indian Territory in 1905, he played a major role. He had become known as a leader of the Democratic party in the territory and as an advocate of diversified agriculture. His speeches in favor of the cultivation of alfalfa led to the sobriquet Alfalfa Bill. The effort to obtain separate statehood for Indian Territory failed, but the leaders of that statehood convention controlled a joint meeting with Oklahoma Territory delegates that drafted a constitution for the proposed state of Oklahoma in Guthrie, Oklahoma Territory, in 1906. Murray served as president of the convention and wrote long sections of the constitution. The constitution was approved, and Oklahoma was admitted to the union on November 16, 1907. Murray ran for election to the first legislature and became the first Speaker of the Oklahoma House of Representatives. He continued to press for legislation advantageous to the farmers of the state. Although he was defeated for the Democratic nomination for governor in 1910, he ran for the United States House of Representatives in 1912 and won an at-large seat. He won reelection from the new Fourth District in 1914, but two years later his strong support of President Woodrow Wilson's preparedness program led to his defeat. A second attempt to win the governorship in 1918 also failed.
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Jazz Saxophonist Brice Winston Talks Music, Inspiration and Dexter Gordon
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2018-08-10T19:17:27+00:00
|
The JAZZ ROOM presents Tucson, Arizona native, Brice Winston as he brings the sounds of Jazz “Bebop” legend, Dexter Gordon.
|
en
|
JazzArts Charlotte
|
https://www.thejazzarts.org/news/artist-stories/jazz-saxophonist-brice-winston-talks-music-inspiration-and-dexter-gordon/
|
On August 17 and 18, The JAZZ ROOM presents Tucson, Arizona native, Brice Winston as he brings the sounds of Jazz “Bebop” legend, Dexter Gordon. Brice, who attended the University of New Orleans spent sixteen years as a resident artist in the New Orleans area, working with Grammy Award winning trumpeter and composer, Terence Blanchard. Brice made time in his schedule to talk to JAI as he prepares to head to the Queen City next weekend.
If you could go back in time to any moment in jazz, what would it be and why?
Wow… that’s a really tough question. Yeah, there is a lot that I would have loved to have seen, but I think… well, how long can that period be? Haha…
Whatever you would like! As long as you tell me why!
I got you… well I think I would love to be around maybe, I’m going to pick a decade. I think I would chose around ’57-’67. Everything that was happening creatively in jazz I think had such a massive impact, even to this day, on how we’re still making music. At that time, it was some of these great artists coming to their own – Ornette Coleman, everything that Miles Davis was doing, and John Coltrane and Wayne Shorter and Herbie Hancock… just all of the creative music that was happening. I mean that was only a handful of the people that were doing such amazing creative things in the genre of jazz so I would have to take that era as the one that I would love to go back to.
Very good! So then, how did you first get into playing music?
I started playing music because my best friend – he was a clarinet player, we were in fifth grade – he told me, “Hey man, if you play an instrument you can come play in my band and get out of class.” And I was like, “Oh okay, haha cool!” So, I wanted to play the flute, but my parents were pretty much against it because we had two clarinets in the closet that they had played when they were in college. But, I had watched my sister try and play the clarinet a couple years prior to that, and it just didn’t go well, so I wasn’t really excited about what I saw her do with the clarinet. And I liked the look of the flute because it was silver and really cool looking. So, I finally convinced them to get me a flute, and they rented me one, and I started like that. I actually took off really quickly doing that. And then from there, the middle school where I was going to go there was a kind of stage band. They called themselves, “The Jazz Band.” They came over to our elementary school and they played some more exciting things, you know, probably more pop oriented or had some more jazz influences. But, that’s how when I came home and I told my dad, “Dad, I want to play jazz! I want to be in The Jazz Band!” So, he started putting on some music because he was someone who group up in Chicago in the heyday of Basie and Ellington and the Miles Davis band, and he saw all of the greats come through Chicago. So, he really knew what jazz about, so he put on some records for me. I think the put-on Miles Davis’, “Kind of Blue.” And he said, “So, you want to play music like this?” And I was like, “Uhh… no, I want to play jazz.” And he was like,” Well this is jazz.” And I was like, “Oh okay, I don’t want to do that.” So, it took a while for me to know what jazz was. And he had a decent collection. Although he had a decent collection, I was sad to learn that he had a massive collection when he was in the army, but he had to sell a lot of it to get out of Cuba. That’s what he told me. So, he had a pretty limited collection of records but it was enough to give me a taste of what jazz was all about. So that’s really how I got into loving jazz – through my dad.
So, you originally wanted to play the flute, but your family wanted you to play the clarinet. How did you land on the saxophone?
So, when I was going to go to the middle school, the director there knew who I was. I was just starting to really stand out in the band. I had some natural talent, and I liked to practice and I was taking some lessons. So, he was like, “Yeah let’s have you in the jazz band, but you would have to pick up the saxophone to do it.” And I was like, “Yeah, that’s fine, I’ll do that.” And so, I picked up the saxophone – I think he lent me one or something. And that was my intro to playing alto saxophone – and yeah it just kept going from there.
It’s interesting that you got your start in more of an educational environment because I did see that you’re very involved in music education – even co-owning the Tucson Jazz Institute. I just wanted to hear from you why you think it’s so important to provide that type of service to your community?
That’s a really good question. I think for me education has happened over a long period of time or getting involved in education. I remember when I was going to the University of New Orleans I was studying under Ellis Marsalis and an opportunity came up for me to have my own student. I was very apprehensive about it. I felt very insecure about it. And I talked to him about it, and I remember he said to me, something to the effect of, “You just have to do it. You just have to jump in with both feet. You’re going to figure out what you don’t know, but it’s also going to help you figure out what you do know and help you solidify the things that you do know much more strongly.”
Even though I was kind of apprehensive and scared to do it, I just jumped in and sort of figured it all out for myself. You know I never had any formal education training, my undergraduate degree was in performance essentially. So, when I was living in New Orleans, I just started teaching for a lot of different places. I was teaching for NOCA – New Orleans Center for Creative Arts – I was teaching for the University of New Orleans, doing some teaching there. Delgado University, Dillard University. I was doing some teaching at Tulane University, so I was doing quite a bit of teaching in more or less New Orleans.
So, by the time I got to Tucson… I came back to Tucson because of Hurricane Katrina and I quickly sort of, there was kind of a thing about that because people knew who I was here still because I had kind of left with a name here. So, when I came back, they found out I was here and quickly these opportunities came up to start teaching here. And I taught initially for something called “Tucson Jazz Works” and then, I think that was in 2008, we formed this partnership to make the Tucson Jazz Institute. But, I always felt like Tucson was a place that – it was just its framework, it was this opportunity for me to learn – that I could learn from people that were much older than I, and they were patient with me and put me in situations that I was going to learn. So, I felt the obligation in a lot of ways and I just felt compelled to give back to the place that gave me so much. And so, I just really see Tucson as really in any city, the amount of talent that is here. Talent is everywhere, it’s just about opportunity and the support to give to that talent and to feed that talent and to help it grow. So, it’s been a magical thing here in Tucson but I’ve felt like teaching was something that I was very good at from the beginning and I continued to figure out in more and more ways as time goes on to get better at it, and I feel like I’m constantly growing as a teacher at the same time that I’m growing as a player. And I feel it’s important to share information. I don’t think everybody is meant to do that. Some players are good players but they don’t necessarily know how to communicate how to do that to someone else. And I feel like I’ve found a fairly good way of communicating to young students. I teach beginners in middle school and some even in elementary school and high school. I think it’s been effective.
It’s really funny because I was talking to Lonnie Davis about you and she was saying that they were influenced to start Jazz Arts through you. And it’s funny because when I first started at Jazz Arts I interviewed Kenny Rampton my first day working. It was a very big first day. But he said that he was influenced through Jazz Arts and the work Lonnie and Ocie had done. So, I think it’s interesting that in the jazz community you really can just look at other people that are out there being role models to people and make them your own role models. I commend you on what you’re doing and that through you you’ve been able to give that to other communities.
Well, thank you. And what’s interesting about that, and I’m going to tie this back to Dexter Gordon actually because you know, I’m doing some research about Dexter Gordon for this upcoming thing that I’m doing at Jazz Arts. And one thing that keeps getting repeated about Dexter Gordon is that he was a major influence to two of the most influential saxophonists in history. Dexter Gordon influenced both John Coltrane and Sunny Rollins but what’s interesting is that Dexter Gordon ended up getting influenced on the other side by John Coltrane. He was listening to some of the things that John Coltrane was playing and it influenced his playing. So, to tie that into what you were just telling me about Jazz Arts, it’s like yeah, we formed this school and we may have influenced you or some other places, but we’re also looking to you. We’re looking at what you are doing, what other places around the United States are doing, to then again influence us and help us grow and keep pace with what’s happening in the jazz world and the education world. So, it’s sort of kind of a circular thing there.
Definitely, well I was going to ask you what your connection is to Dexter Gordon’s music, but it seems like in your research you are finding out more than you knew before you took on coming to do this tribute.
Yeah, absolutely. I mean sometimes we’re influenced by things that we don’t even know that we’re influenced by. And I mean Dexter was always someone that I learned his solos. I loved his playing. He was always one of my favorite tenor saxophone players. And I also got his influence from John Coltrane. And I was learning a lot of John Coltrane when I was coming up and learning a lot of his solos. And I was doing a lot of Sonny Rollins too. What’s also interesting is to after all these years actually examine my playing, and to look at, “Wow, what are Dexter’s influences in my playing?” And they are deep in there. They are such a part of my vocabulary in my playing now, I’ve just taken over those and sometimes it’s hard to recognize stuff and where it came from, because you think it’s yours and you look at it like, “Wait a minute, this goes directly to Dexter Gordon.” So, yeah there’s a lot of things in my playing that came directly from him.
Who would you say is your favorite musician?
Yeah, this isn’t the first time I’ve been asked this question and more often than not… if we are going to limit it to jazz, and I would probably maybe say this for all genres for myself, my favorite jazz musician I would say probably is Miles Davis. And the reason I say that is because #1, he has such a distinct original sound. You hear one note and you know its Miles Davis. He surrounded himself with creative people and he let them be creative. He let them be themselves. I firmly believe that he knew who he was, and he had a lot of integrity about how he presented himself and his art. I could go on and on about Miles Davis. I have so much respect for him as a band leader – how he led and the music he ended up creating in a multitude of genres. As he got into fusion music and funk music and his openness to influence from other genres. He was listening to Jimi Hendrix and Prince and all of this kind of stuff. So, I love that he was influenced by all of those things and he tried to stay as relevant to young people as he possibly could. And also, the pride he took in his blackness. Just being a black artist, I think was extremely important and yeah, gosh I don’t know what else to say. I mean he is just one of my biggest influences and inspirations in music for sure.
See Brice in The JAZZ ROOM Friday, August 17 at 6 & 8:15pm and Saturday, August 18 at 7 & 9:15pm.
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https://www.ctpublic.org/2018-01-02/a-david-murray-double-bill
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en
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A David Murray Double Bill
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"Patrick Jarenwattananon",
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"patrick-jarenwattananon"
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2018-01-02T00:00:00
|
The monstrously talented and astoundingly prolific tenor saxophonist returned to New York this winter to present a four-clarinet summit and a new trio with Geri Allen and Terri Lyne Carrington.
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en
|
/apple-touch-icon.png
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Connecticut Public
|
https://www.npr.org/2018/01/02/379000722/-a-david-murray-double-bill?ft=nprml&f=379000722
|
The full archive of this performance is no longer available.
For decades, David Murray was known as one of New York's most monstrously talented and astoundingly prolific artists — a tenor saxophonist who played and wrote for just about every imaginable context. He's still these things, but he lives in Europe now. So this year's Winter Jazzfest — already jam-packed with over 100 acts in two nights — saw fit to give New York audiences a proper saturation of what they'd been missing, presenting David Murray in three completely different sets.
Jazz Night In America filmed two of those sets at the Minetta Lane Theatre as part of Winter Jazzfest in early 2015. A four-man clarinet summit — featuring Murray with fellow reedmen Hamiet Bluiett, David Krakauer and Don Byron — echoes the project he played in with clarinetist John Carter in the 1980s. And a new collaboration with Geri Allen (piano) and Terri Lyne Carrington (drums) found the three improvising openly around loose themes.
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9048
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dbpedia
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0
| 68
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https://lightintheattic.net/products/lucky-four
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en
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Lucky Four – Light in the Attic
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Not many jazz saxophone players bring most of the landmark stages of the instrument’s evolution together in an on-the-fly improvisational setting without it sounding like musical tourism. Sonny Rollins and Joe Lovano are leading examples, and so is the majestic David Murray, who
|
en
|
//lightintheattic.net/cdn/shop/files/LITA-Favicon-128x128_32x32.png?v=1614787221
|
Light in the Attic
|
https://lightintheattic.net/products/lucky-four
|
Not many jazz saxophone players bring most of the landmark stages of the instrument’s evolution together in an on-the-fly improvisational setting without it sounding like musical tourism. Sonny Rollins and Joe Lovano are leading examples, and so is the majestic David Murray, who whirls up from romantic Ben Webster-like smoke-rings to vocalised free-jazz wails without dropping a stitch here. Murray is nowadays often to be found either paying creative tributes to John Coltrane, or making a ruggedly vivacious world music with non-jazz players from Morocco and elsewhere. But this reissued 1988 set represents Murray at his most accessible. From the opening Valley Talk, with its intensifying showers of tenor-sax notes over a sultry tango, through the bluesy saunter of Chazz to the novelty song for Jean Michel Basquiat that becomes a brooding blues, the music is strong, sensuous, and effortlessly masterly in the way its varied materials are juggled. It would make a fine Murray primer for newcomers.
Lucky Four is a smooth and luscious quartet date with Murray in the company of longtime associate Dave Burrell, bassist Wilber Morris, and drummer Victor Lewis. With the exception of a short piece by his manager Kunle Mwanga, all of the pieces are by either Burrell or Morris, and most of them are gems. Sinuous and bluesy, with a rich interplay of rhythms and melodies, they are the ideal platform for a soloist like Murray: grounded enough to keep him from straying too far but deep enough for him to find plenty of goodies to unearth. Morris’ “Chazz,” dedicated to Charles Mingus, recalls the master with accuracy and affection, giving Murray a shot to wield his bass clarinet in homage to Dolphy and allowing the composer his own heartfelt homage. The highlight of the session is Burrell’s wonderful composition, “Abel’s Blissed Out Blues,” a piece Murray would record often and an extremely infectious number. It begins with a moody, slow section and launches into an exuberant two-step that catapults Murray skyward with the rhythm section rocking away beneath. Two songs are given the repeat treatment, and they’re enjoyable enough to make the exercise worthwhile. The late ‘80s produced some of Murray’s strongest work in the quartet format, and Lucky Four fits in quite comfortably. Recommended.
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https://www.instagram.com/p/CvAgGiqIz2d/
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en
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Instagram
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https://www.saxgourmet.com/every-saxophone-player-is-a-small-business-owner/
|
en
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Every Saxophone Player Is A Small Business Owner
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Your 1st stop for Saxophone Resources-The Oldest and #1 Rated Online Resource for Saxophone Professionals and Enthusiasts including historical information, tips and tricks, and more.
|
en
|
https://www.saxgourmet.com/every-saxophone-player-is-a-small-business-owner/
|
Over the last couple of days there has been a rather vigorous and often quite heated discussion on one of the saxophone related groups I’m a member of on the subject of changes in the music industry and how it affects employment opportunities for musicians…..and of course, since it was a saxophone related group, how it affects employment opportunities for saxophone players.
Now before I go any further, here’s a disclosure: I have not played a gig for money or in public for over eight years. The reason for my retirement is that I have suffered two strokes which have left me with some physical disabilities which severely limit my ability to play. This is not to say that I am not involved with many different aspects of the music business all day, every day…..I’m just stating for the record that I do not play professionally or publicly, and have not done so for some time. Prior to my strokes, I typically played six nights a week, every week, and often played as many as three gigs a day.
Now back to the discussion of employment opportunities in the current music environment……I still have many friends and clients who today are working as much as I ever did, and for top dollar. Not just a couple of guys, but a significant number of them. I think this begs the question of “why are these players successful in a market where others fail?”……assuming for the purposes of this discussion that everyone on both sides of the argument has adequate musical skills, then what’s the difference?
Every saxophone player is essentially an independent contractor and business owner. Players fail in this industry because they do not treat their musical career as a business. For the purposes of our discussion here, let’s consider another type of business with which we are all familiar: a restaurant.
If you want to have a prayer of success in the highly competitive restaurant business, I think we would all probably agree that you have to offer a product that consumers actually want to buy, and that the product meets their expectations and tastes good to them. I think that if we apply these criteria, we can all easily understand why all spinach restaurants have never really caught on with the buying public: spinach may be extremely nutritious and good for you, but the simple fact of the matter is that most people just don’t like the taste, and given a variety of menu choices, very few diners will voluntarily order spinach.
This “taste test” applies equally to music. If the buying public does not like the taste of your product, or the sound of your music, then they will not buy it. You will then be forced to seek other employment.
It was alleged in the discussion that there was a vast conspiracy of lawyers, record company executives, media owners, and other un-named yet equally nefarious individuals who controlled which music was offered to the public and force fed certain formats, and prevented the distribution of music that was not approved by their conspiratorial cartel. Please don’t insult my intelligence by repeating this totally bogus argument…..in this Age of the Internet, you can easily distribute samples of what you have to offer…..if people like it, they will seek it out and buy it….if they don’t like it, they will ignore it. You don’t need a record label anymore. If your music does not have, in the opinion of the record labels, any commercial potential or demand, you can easily set up a web site offering your products for sale and attempt to prove them wrong.
I don’t want to come off as being totally negative on the subject of music being a viable occupation. It was very good to me when I was a player, and it is very good to me today. We also have many friends and business associates who are doing quite well in the current market. In every case that I know of, the musicians who are successful understand that they call it the Music Business for a reason, an d treat it as such. Here are some free tips on things I found that worked well for me……they’re not costing you anything, so don’t whine and complain…….
FIRST, PLAY WHAT THEY WANT TO HEAR……
I think this is the biggest mistake players make. When I played in Vince Vance’s band, Vince used to say that if you looked out into the audience and the crowd wasn’t singing along, you just played the wrong tune.
Musicians tend to forget why people come to clubs and concerts. They come to be entertained and to forget their troubles. If they wanted a musical education, they would enroll in a music appreciation class at the local junior college. Seriously, guys, playing Wayne Shorter tunes is a very bad idea in the vast majority of venues.
PLAY WHAT YOU ARE ASKED TO PLAY
I used to tell my employers that “if you’ve got the money, I’ve got the time”…..if you consider yourself far too cool to play a particular format, then you should learn to say “do you want fries with that?” Don’t ignore what your audience knows and likes…..they’re paying you, so they call the tunes…..if you want to create art, do so in the privacy of your living room
LOOK THE PART
The audience has visual expectations that you should not ignore. The crowd should be able to take one quick look at you and determine that you are not just another member of the audience. I think in the course of the discussion I was reading one of the jazz superstars was bad mouthing stage lighting, smoke machines, and pyro……bring ‘em on, says I……and raise the ticket prices accordingly…..it’s an important part of the overall entertainment experience…..I note with interest that the successful acts all make liberal use of it, but the posers and wannabe’s rarely do…..yes, I always used it on bar gigs……and yes, I always insisted that pachouli oil be added to the smoke machine so the stage smelled like hippie girls……hippie girls are well known friends to all saxophonists, but that’s another story for another time….
IT’S A BUSINESS……
Start on time, take reasonable breaks, do all the things you would expect a good employee to do…..
DON’T ASSOCIATE WITH OTHER MUSICIANS WHO ARE NOT WORKING…..
Seriously, don’t hang with people who play at blues jams, open mic nights, or in rehearsal bands. Don’t you DARE support any of the above! My rule is simply this: if whiskey is being sold, then I get paid. Don’t play for charity events unless EVERYBODY associated with the event is working for free. If the caterer gets paid, so do I……
DON’T EXPECT WORK TO JUST COME TO YOU…..YOU HAVE TO FIND IT…..
When I moved to New Orleans 20 years ago, I knew exactly two people in the local music business: my wife Sharon, who was a sound engineer, and Charles Neville of The Neville Brothers…..I spent weeks figuring out which venues were viable (meaning they actually paid what I was worth), targeting them, and then making myself known there. Don’t waste your time and business cards on sub-par venues…..you have to get out and solicit the work…..there are lots of guys who sit by the phone all night waiting for it to ring, or believing they are entitled to a gig because they can play Giant Steps with one hand tied behind their back ……seriously, kids, particularly if you’re new in town, expend a little shoe leather…….
DON’T BE AFRAID TO CREATE YOUR OWN EMPLOYMENT OPPORTUNITIES….
OK, just to give you some examples of things I did successfully to create gigs for myself…..here’s a couple:
#1
I went to the local funeral home office, and offered to contract bands for funerals instead of the funeral home having to seek them out and employ them when needed. Trust me, I can get any and all of the “first call” players in New Orleans to come out and play four tunes at 11:00AM for a hundred bucks…..I charged the funeral home $1500, which they passed along as part of the cost of the funeral (that’s the going rate here, before some self righteous SOB accuses me of price gouging), they were glad to have a steady source of work, and I put the rest in my pocket….we did a LOT of this……
#2
This is my favorite……I set this up with several different event planners…..if you have conventions in your area, you can modify this plan to suit local requirements and tastes:
Let’s say the American Association of Solid Waste Engineers is in town for their annual conference. Here in New Orleans, conventions often have a dinner cruise on one of our paddle wheel boats, going down the river, turning around, and coming back, all with a Dixieland band and an open bar. They get back to the dock around 10:00PM, and as they disembark on the gangway, there at the foot of the gangway is their old friend Plaunche Baptiste (one of my several registered stage names), his band The Creole Backsliders, and an extremely large breasted young woman in very scanty attire with a parasol……as the conventioneers come down to the dock, the band strikes up a lively tune and the large breasted young girl begins to shake her ass…..before you know it, we have almost all of the conventioneers in tow, and march them down the street to one of my favorite watering holes…..now if you are the owner of the aforementioned watering hole, are you glad to see your old friend Plaunche with a couple of hundred drunk conventioneers with gold Amex cards in tow? Of course you are, and you show Plaunche your gratitude by allowing Benjamin Franklin to shake hands with President Grant several times……after a while, Plaunche strikes up the band again, the girl begins to shake her ass, and the conventioneers are marched down the street to another watering hole, the owner of which is equally happy to see his old friend Plaunche……after an hour or so, you have to make a determination as to whether or not the conventioneers are beginning to speak in unknown tongues…..if not, march them to another bar….if they are, march them to their hotel, where old Plaunche puts out his top hat and the band plays a final couple of tunes……the hat usually gets filled with tens and twenties…….I charge the convention $700 and split the final evenings tips with the five piece band and pay them $100 each…..all the rest is mine
Once you get yourself established, you can do this sort of thing with disgusting regularity……unless, of course, you consider it musically beneath you…….
UNDERSTAND WHERE THE MONEY IS
One of the most amusing things flung against the wall in the recent discussion was the contention that there were only about 15 or less people actively touring with rock and country bands…..I’m sorry, boys and girls, but my tiny saxophone manufacturing company has more people than that under Endorsing Artist agreements, and the vast majority of them are doing very well financially, some of them exceptionally well. We know lots and lots of people who do this sort of playing for a living…..in fact, they are our primary market for our products. I guess if your gig experience is limited to wedding bands and Sunday Jazz Brunch gigs and CD’s you record in your living room and sell only on your website, you might not have a very good perspective as to what it means to be really successful in this business.
DON’T BE AFRAID TO PROMOTE YOURSELF AND YOUR PRODUCTS
One of the participants in the discussion complained that I had used one of the groups to promote my products. To this, I plead guilty as charged. If you don’t speak up on your behalf, don’t expect anyone else to do so……
CONTRIBUTE KNOWLEDGE FREELY TO THE MUSICAL COMMUNITY
We try to provide a continuous steam of information to the saxophone community about our research, along with plenty of historical information and other items we think would be of interest. If you know something or have some information, then you should share it. Although as a matter of disclosure I am a paid employee of The Saxophone Journal, we do consider our column in every issue about saxophone design to be a part of this outreach. We also are occasionally hired by other publications to contribute articles.
DON’T BE AFRAID TO CHANGE WITH THE TIMES……
One of the charges leveled at me was that it had been so long since I had played that my perspectives were not relevant. Well, if you don’t stay in touch with what’s going on out there, it’s very easy for that to happen. We try to make a point of adding young successful artists (Rob Ingraham, Vincent Broussard as examples) to our stable of endorsers in addition to the older established artists (such as Tom Scott, Ron Holloway, and Charles Neville) so we get the benefit of experience and fresh perspectives. You should use the same approach with your career. I think the only thing that is certain about the music industry is that it is constantly changing and evolving. With the exception of some nostalgia acts, you need to constantly evaluate the current state of the business, and adjust your approach accordingly.
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Home Page
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Pianist, conductor, teacher
David has had a long career as a musician working in the North East of England. He has combined a career in performance with a strong commitment to teaching over many years. He is well known as a solo pianist, chamber musician and accompanist, and he has also trained many accomplished pianists, now making their own way in the the professional world.
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https://www.yamaha.com/en/musical_instrument_guide/saxophone/structure/
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The origins of the Saxophone:The birth of the saxophone
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This is the Yamaha Corporation [Musical Instrument Guide] website. This article contains information about the Saxophone [The origins of the Saxophone:The birth of the saxophone]
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The saxophone is only a few instruments in wide use today known to be invented by a single individual. His name is Adolphe Sax: that is why it is called the saxophone.
History tells us that Adolphe Sax (1814 - 1894) was a musical instrument designer born in Belgium who could play many wind instruments. His idea was to create an instrument that combined the best qualities of a woodwind instrument with the best qualities of a brass instrument, and in the 1840s he conceived the saxophone. This invention was patented in Paris in 1846.
The saxophone has always been made of brass since it was first invented. Because of the principles by which it produces sound, however, it is classified as a woodwind, much like the clarinet and flute.
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http://www.saxman.co.nz/sax-players.htm
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Famous saxophone players
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A quick look at some of the more famous sax players in history
| null |
Charles Parker, Jr. (August 29, 1920 â March 12, 1955) was an American jazz saxophonist and composer.
Parker, with Louis Armstrong and Duke Ellington, is largely considered one of the most influential of jazz musicians. Parker acquired the nickname "Yardbird" early in his career,and the shortened form "Bird" remained Parker's sobriquet for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology" and "Bird of Paradise."
Parker was an icon for the hipster subculture and later the Beat generation, personifying the conception of the jazz musician as an uncompromising artist and intellectual, rather than just a popular entertainer. His style â from a rhythmic, harmonic and soloing perspective â influenced countless peers on every instrument. Source: Wikipedia
Stanley Gayetzky or Stanley Gayetsky (born February 2, 1927 â June 6, 1991), usually known by his stage name Stan Getz, was an American jazz saxophone player. Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow tone of his idol, Lester Young. Source: WIKI
Stan Getz was a tenor saxophonist of the first rank who, while exploring and pursuing a purity of musical expression, maintained a large following. He attracted it early in his career with his recording of "Early Autumn" with the Woody Herman band in 1948, more or less sustained it during the Fifties (which were not always tranquil times for him), and then, in the early Sixties, expanded it as he helped introduce Brazilian bossa nova rhythms to jazz. With "Desafinado" and other tunes, Getz established a sound and a beat that appeared and soared on the charts that rank recordings by the number sold. Source: VerveMusicGroup
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https://www.amazon.com/Ming-David-Murray/dp/B0000010WM
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Amazon.com
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https://www.berkeleyside.org/2023/06/20/david-murray-back-room
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Jazz musician David Murray returns to Berkeley, where he first played sax at church in 1965
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Murray’s concert Friday at the Back Room will come 58 years after a Missionary Church of God in Christ pastor urged him to play his new sax.
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Berkeleyside
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https://www.berkeleyside.org/2023/06/20/david-murray-back-room
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The jubilant wail of David Murray’s saxophone first resounded on Earth in Berkeley, circa 1965, at the Missionary Church of God in Christ on Allston Way, a congregation where his father was a founding deacon and his mother played organ.
Handed an alto saxophone earlier that fateful day by music teacher Phil Hardymon at Longfellow Elementary School, the proud fourth grader brought his newly acquired horn to church, where the Rev. Thirland Daniels said, “Young Murray’s got a new instrument. Let’s hear you play something,” Murray recalled.
“I probably sounded like a young inexperienced saxophonist playing multiphonics and he said ‘You sound very spiritual.’ After a few weeks, I knew all the songs already. I grew very quickly on the horn.”
Murray grew into one of the mightiest tenor saxophonists and bass clarinetists in jazz history, a player whose sound is steeped in the ecstatic Pentecostal gospel music he absorbed growing up in Berkeley. Now living in New York after a quarter-century residency in Paris, he returns to town Friday for a Back Room concert with the GoldenSea Duo featuring Chicago percussion maestro Kahil El’Zabar (they also perform Wednesday, June 21, at Bird & Beckett Books and Records in Glen Park).
He and El’Zabar have been collaborating since 1975, when Murray relocated from Southern California to New York City. He’d spent his high school years performing around the region in R&B bands and playing basketball and football. He made the Berkeley High junior varsity team as a sophomore before transferring to St. Mary’s.
A scholarship to Pomona College put him smack dab in the middle of LA’s roiling creative music scene, and Murray quickly fell in with a brilliant cadre of experimental-minded improvisers and composers such as cornetist Butch Morris, clarinetist John Carter, alto saxophonist Arthur Blythe, bassist Roberto Miranda and Art Ensemble of Chicago drummer Don Moye (during a brief Southland sojourn). El’Zabar was already connected with the Art Ensemble and he and Murray bonded as fierce athletic competitors and emerging artists eager to establish themselves.
“Kahil and I met on the basketball court, and we started hanging out,” said Murray, “Kahil was a great basketball player in Chicago. He’s a visionary who’s hooked up to the creator and the universe, and transfers that to the music. We’re not just a duo. We’re a band. We continue every year to get better and better and more explorative. I’m the silent one on stage, other than what’s coming out of my bass clarinet.”
They documented the duo on the 1989 album Golden Sea, which was released by the German label Sound Aspects. With tunes like “Song For A New South Africa” the project captured the particular optimism of the moment as the political tectonics shifted with the end of the cold war and the defeat of apartheid. When he’s not touring with Murray, El’Zabar is best known for his incantatory Ritual Trio, which has featured Murray and similarly protean tenor saxophonists Pharoah Sanders and Archie Shepp, and the Ethnic Heritage Ensemble, a group that has released a dozen albums since he founded it 50 years ago, including 2023’s Spirit Gatherer: Tribute to Don Cherry.
Among the most prolific artists in jazz history, Murray has released some 265 albums as a leader or co-leader and around another 100 with other artists and groups, most importantly the World Saxophone Quartet. His once torrential recording output has eased in recent years, though he recently documented several of his working bands for Finland’s Intakt Records, like 2022’s Seriana Promethea by his New World Trio (Questlove recently announced he’s releasing Plumb, a four-LP box set he recorded with Murray and Ray Angry in the coming months).
Despite his blizzard of activities, Murray has always maintained close ties to the East Bay. He’s a founding member of the advisory board for the EastSide Cultural Center, where he and poet/activist (and fellow advisory board member) Amiri Baraka developed the opera The Sisyphus Syndrome featuring Berkeley vocalist Faye Carol, bass great Jamaaladeen Tacuma, Boots Riley and the Deep River Gospel Choir (a production they brought to Paris and Milan).
While he’s in town, Murray is convening with Bob Weir, Taj Mahal and Cary Williams to continue working on their musical about legendary Black pitcher Satchel Paige, a Sisyphean project they’ve been toiling on intermittently for some three decades. Every once in a while Weir includes a song from the musical on his set list, through the Paige piece that’s gotten the widest exposure, “Shoulda Had Been Me” (by Weir, Bruce Cockburn, and Michael Nash), appeared on the David Murray Octet’s 1996 CD Dark Star: The Music of the Grateful Dead (a strong contender for the greatest Dead cover album ever).
He credits Berkeley with shaping the artist he became, from Hardymon’s affectionate but demanding tutelage in his formative years to his awe-inspiring experience hearing Sonny Rollins perform solo at the Greek Theatre in 1969 as part of the Berkeley Jazz Festival. Feeling a little envy at the bigger size of Rollins’ tenor sax, Murray implored his father to replace his alto.
His mother had died the year before, and his father, who worked for the Berkeley sanitation department, “took me to the credit union and he took out a loan,” Murray said. “We went to Forrests Music and bought a Selmer tenor that I played up until about 25 years ago.”
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https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/murray-david-keith
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Murray, David (Keith)
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Murray, David (Keith)Murray, David (Keith), jazz tenor and soprano saxophonist, flutist, bass clarinetist, leader; b. Berkeley, Calif., Feb. 19, 1955. Murray started in the church playing gospel music alongside his brother, cousin, mother and father. He admired Sly Stone, whom he met in church when he was in Vallejo. Source for information on Murray, David (Keith): Baker’s Biographical Dictionary of Musicians dictionary.
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https://www.encyclopedia.com/arts/dictionaries-thesauruses-pictures-and-press-releases/murray-david-keith
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Murray, David (Keith), jazz tenor and soprano saxophonist, flutist, bass clarinetist, leader; b. Berkeley, Calif., Feb. 19, 1955. Murray started in the church playing gospel music alongside his brother, cousin, mother and father. He admired Sly Stone, whom he met in church when he was in Vallejo. He started playing alto sax at age nine; he saw Sonny Rollins at the Berkeley Jazz Festival when he was 11 or 12, which inspired him to switch from alto to tenor. At that time, he played guitar in addition to playing R&B saxophone
with Notations of Soul and doing steps in the horn section. In high school, he played “A Taste of Honey” and other songs with an organ player and drummer at pizza parlors all over the Bay area, and eventually began doing jazz. In college he studied with Bobby Bradford, Arthur Blythe (from whom he first learned free jazz), and Stanley Crouch, who became an important mentor and played drums in Murray’s trio when they first moved to N.Y. in 1975. He formed the World Saxophone Quartet with Oliver Lake, Julius Hemphill, and Hamiet Bluiett in the mid-1970s. He has led and recorded with his own big band and small groups, and played in Jack Dejohnette’s Special Edition. He has worked with Cecil Taylor, Don Cherry, Anthony Braxton, Sunny Murray, James “Blood” Ulmer, Ed Blackwell, McCoy Tyner, Fred Hopkins, and Andrew Cyrille. Since the mid-1990s, he has lived in Paris.
Discography
Live at the Peace Church (1976); Flowers for Albert (1976); Interboogieology (1978); Ming (1980); Murray’s Steps (1982); Morning Song (1983); Spirituals (1988); New Life (1988); Ming’s Samba (1988); Lucky Four (1988); Deep River (1988); Special Quartet (1990); Shakill’s Warrior (1991); David Murray Big Band, Conducted by Butch Morris (1991); Black on Black (1992); Jazzpar Prize (1993); Jazzosaurus Rex (1993); Shakill’s 2 (1994); Live ’93 Acoustic Octfunk (1994); Blue Monke (1995).
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https://chicago.splashmags.com/index.php/2019/05/in-the-spirit-preview-kahil-elzabar-and-david-murray-on-tour-for-black-music-month/
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Kahil El’Zabar and David Murray on tour for Black Music Month – Splash Magazines
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[
"Debra Davy"
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Splash Magazines Worldwide is your destination for in-depth culture coverage including theatre, opera, classical music, jazz, dance and the arts; travel and leisure reviews; restaurant reviews; lifestyle subjects; celebrity interviews; fashion advice; environmentally conscious living; gift-giving recommendations; pets; charity events; select book reviews; and useful product reviews.
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en
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Splash Magazines Worldwide: Adding Style to Your Life
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https://chicago.splashmags.com/index.php/2019/05/in-the-spirit-preview-kahil-elzabar-and-david-murray-on-tour-for-black-music-month/
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The Legendary Murray/El’Zabar Duo!
These two modern music masters have been at the forefront of creative exploration and compositional diversity over the past four decades. Murray and El’Zabar are recognized by their peers to be consummate virtuosos who produce ingenious interpretations that take their place within the history and future of Great Black Music!
Sir Kahil El’Zabar, conductor, composer, percussionist, is revered globally as a cultural visionary and an innovative music conceptualist. He has recorded more than 60 acclaimed projects, most recently releasing Be Known: Ancient Future Music with his Ethnic Heritage Ensemble through Spiritmuse Records.
El’Zabar, an educator and collaborationist/impresario, who holds a PHD in Interdisciplinary Arts from Lake Forest College, has worked with such luminaries as Dizzy Gillespie, Pharoah Sanders, Nina Simone, Stevie Wonder, Cannon Ball Adderly, Archie Shepp, Paul Simon, Lester Bowie, Nona Hendryx, Kurt Elling, Billy Bang, Eddie Harris, Neneh Cherry, Henry Threadgill, Roy Ayers, and David Murray. In May 2014, El’Zabar was Knighted by the Council General of France for services to the French Government in a 14 year Artist-In-Residency.
David Murray is one of the most recorded musicians in the history of jazz, with well over 200 celebrated projects. One of the founding members of the World Saxophone Quartet, the renowned saxophonist has worked with greats like Elvin Jones, Jack DeJohnette, McCoy Tyner, Lester Bowie, Hamiet Bluiett, Jerry Garcia, Max Roach, Amiri Baraka, Randy Weston and Fred Hopkins and is currently working with Macy Gray as part of his David Murray Big Band. In 2012, David Murray received an Honorary Doctorate Of Music Degree from Pomona College. He has won numerous awards over his vastly successful career including a Guggenheim Fellowship and a Grammy Award for the Best Jazz Instrumental Group Performance, for his Tribute to John Coltrane.
Selected Tracks featuring Kahil El’zabar and David Murray:
The Ebullient Duke– https://youtu.be/Du6KklGKjHA
Meditation for the Celestial Warriors– https://youtu.be/-YDTED9ZEFI
One World Family – https://youtu.be/-YDTED9ZJune EFI
This reviewer was able to interview El’Zabar at length and to speak with David Murray about the upcoming tour and their longstanding partnership. Mused El’Zabar, “The title for our June 2019, Black Music Month Tour is In The Spirit. David Murray and I both feel strongly about the importance of metaphysical phenomena, and how it can be expressed and experienced through the performance of creative music.
Both Mr. Murray and I have dedicated decades of study and research to the development of our sound and musical vocabulary. When we come together and play this music, our intention is to inspire one another to go beyond any provincial formulas into an enlightened space of creative music-making. We call this way of being in the music In The Spirit!”
When asked about the specific music for the upcoming tour, he said, “We will both keep working on our set list over the next couple of weeks; we regularly get on the phone and talk about our compositions and the desired approach. We also talk about the aspirations of the sound we would like to achieve as an ensemble, and how we feel about which instrument to use on certain compositions; we are both multi-instrumentalists.”
Regarding their unique sound, he stated, “David and I take great pride in our ability to share with an audience an extremely diverse and engaging repertoire. We have such a big sound despite being only two musicians onstage!”
Reflecting on their much-lauded ability to deviate from traditional patterns, El’Zabar acknowledged, “We never play a song or composition exactly the same way. Improvisation is at the core of our mission; we use our own compositions as well as other composers’ works to discover new approaches and openings in the music. There is a distinct balance that we strive for in the adherence of structure within the rhythmic, harmonic, chordal, melodic, and modal sensibilities of each piece, and also in the way we deconstruct our approach to each composition to find epiphany through the journey of improvisation.”
The lauded humanitarian waxed enthusiastic about his colleague, saying, “I believe and trust in the desire and hunger that David Murray and I both have for playing music. We inspire one another tremendously. Mr. Murray is truly one the greatest tenor saxophonists ever! I am confident and thankful of my abilities upon my instruments, and the connection between us brings out the best in both of us.
We have been performing as a duo for more than 40 years! I feel strongly that the passion and courage it takes to create and perform this music is a fraternal bond that David Murray and I share. It feels so good when David Murray and Kahil El’Zabar are In The Spirit!”
It’s been written that David Murray, saxophonist, and percussionist Kahil El’Zabar “provide a crucial thread between jazz musicians who exploded the genre through bop and avant garde experiments and the current generation”. Indeed, Murray has been quoted as saying “I feel like the missing link sometimes… I knew a lot of the older cats that none of these younger cats today would ever have been able to meet.” Murray describes the musical bond with El’Zabar as “a stream of consciousness. We create spirituality-based original sounds and within each tune one can find many songs”.
About the extraordinary shaping of melodies they perform, Murray said, “Improvisation is taking care of other people’s ears and their feelings. The audience, those in front of us as we perform, want to be satisfied sonically and have a need to be soothed. Our music will do that; it’s a channel into the brain and the heart”.
In The Spirit! 2019 Tour Dates:
June 2: Chicago, Illinois, The Promontory.
June 4: Cleveland, Ohio Night Town.
June 5: Grand Rapids, Michigan Tip Top Deluxe Bar.
June 8: Cincinnati, Ohio, The Jazz Loft.
June 9: Erie, Pennsylvania, Artlore Gallery.
June 11: Pittsburgh, Pennsylvania, Gardenalia
June 12: Northhampton, Massachusetts, Golden Triangle.
June 13: Boston, Massachusetts, Outpost.
June 14: Philadelphia, Pennsylvania, Ars Nova.
June 15: Atlanta, Georgia, Gallery 992
June 16: Washington, DC, Rhzome.
June18: Baltimore, Maryland, Andie Musik.
June 19: Burlington, Vermont, Radio Bean.
June 20: Montreal, Quebec, Canada, Sal la Rosa.
June 21: Toronto, Ontario, Canada, Remix Lounge.
June 22: Detroit, Michiagan, Nnamdi Art Center
June 23: Los Angeles, California, David Kordansky Gallery
June 24: Los Angeles, California, Private Home
June 25: San Luis Obispo, California, 4 Cats Café and Gallery
June 27: San Diego, California, WorldBeat Cultural Center
June 28: Santa Monica, California, Moss Theater
June 29: Oakland, California, East Side Arts
June 30: Berkeley, California, Back Room Music
July 1: San Francisco, California: Bird and Beckett
For information and tickets, contact individual locations by website or telephone
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https://markmaxwellmusic.com/
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Mark Maxwell
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[
"Mark Maxwell",
"smooth jazz",
"saxophone",
"Jazz",
"smooth jazz saxophone",
"Backing tracks",
"relaxing music",
"relax",
"ass sax",
"sax saxophone",
"jazz ass",
"jazz sax",
"saxaphone",
"study music",
"Dr. Sax Love",
"drsaxlove",
"dr sax love",
"romantic music",
"sexual music",
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"relaxation music",
"sleep music",
"sleeping music",
"deep sleep music",
"motown music",
"study music",
"spa music",
"meditaiton music",
"saxofon",
"musica",
"saxofon musica",
"smooth jazz music",
"jazz music",
"blues music",
"harmonica",
""
] | null |
[] | null |
Mark Maxwell, aka Dr. SaxLove, is a smooth jazz saxophonist, composer, and recording artist who creates relaxing, romantic, sensual, and uplifting instrumental music.
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https://markmaxwellmusic.com/home
|
Stunning concoction of sundry themes worthy of accomplishing dreams by obliterating any worry, guilt and hostility outta its listeners by supplanting them with TRANQUILTY, HAPPINESS, CALMNESS, AND PROSPERITY INSTEAD!!! STARTLING JOB, UNDOUBTEDLY CAPABLE OF TEMPTING MUSICALLY ENTHUSIASTIC MOB ACROSS THE GLOBE!!! HATS OFF TO THE CADRE WHO COMPOSED THIS ALBUM TO ENJOY IT WITH CHUM(S). 🤞🏆🥇💎💃👏✌~Jaimin Shah
I started working third shift a few months ago and have been listening to your calming live streams while trying to adjust to sleeping during the day. I recognize many of the songs in this collection, and am so glad to know you wrote the ones I remember and have enjoyed so much! I was privileged to hear you play live a few times (Club Soda), and hope to be able to do so again someday. You are a marvelous entertainer! Thank you for sharing your gifts and talents with the world! ~Chuck Cooper
I've been too sad lately, but I just feel like finally breathing when I hear this. So calming and powerful. Thank u ❤️~Camila
Love this beautiful Jazz and Chill out music and very special relaxing 😎 peaceful beautiful afternoon and all my sweet relaxing 😌 love ❤️ always listening to this beautiful music beautiful and make me feel very relaxing 😎 Chill out was the best app for my iPhone and love ❤️ thank you for sharing this app and love ❤️ it.?! ~Yahura
Dear Mark, I started playing sax few months ago and I love it, but as soon as I heard about you I really discovered how I'd like to play ... maybe in another life but surely I' ll do my best ! Happy to have met you! Kind Regards, ~Teresa
Hi Mark well as usual really lovely I must say though that I like Blue Moon the best I have just transferred them to my I Pod so that I can listen wherever I am. With regard to the Christmas CD's can't for an excuse to play them. many thanks again for your very prompt help in getting them. ~Val Parsons, United Kingdom
Aww WOW Mark! I have just had my first play through of Saxomonica Blues from the CD, through proper speakers! What depth, weight and dynamics! It gave me goosebumps over and over, so much feel and emotion. I can't believe it was recorded in 2004 and I've just found it. I'm sure I'll make up for the missed years with repeated playthroughs. I'm going to struggle to get the next CD in for a while! It's great with a little power behind it, yet turn it down and it's beautiful ambience for guests. I'm going to be "attempting" to breathe along with it as my harp skills increase over the years. The £18 Import tax was worth it for this CD alone! I have a shelf of CDs next to my player, that are never put away, as they are my life's constants (mostly Toto, Steely Dan and Donald Fagan) that shelf contents have just been increased. I hope there are new projects on the horizon. I am spreading the word to anyone I know, with the wish that this inspires more followers, sales and Saxomonica Two. Thank you Mark, it is a TRUE PRIVILEGE. ~James Walker, London, UK
Good day, Mister Maxwell ... My name is Cristinel Ariton, forest engineer from Romania....in my house, my son has 16 years old and play to altosaxophone...and me, being amatour guitarist play to electric guitar...music is for us principal adventure and passion...we listen "If you dont know me by now" for ten thousands time...we want to buy backing track but we need full version with 5.28 min. Is possibility to have this version?...(what is guitarist name who play solo in this song?)...Congratulation for you talent!!! We expected your answer...and thank you very much... ~Cristinel Ariton, Romania
Mr. Maxwell: I have no idea how old you are, where you studied music, or what your other background is --- Yet, I must tell you that had you been alive and playing music 60 years ago, Thelonious Monk would have bowed to your rendition of "Round Midnight". You, sir, are absolutely one the Jazz Greats of our time. Thank you for the ear candy! ~Bill F.
Hi Mark. You're not only a gifted musician but also a Gentleman. I wish I could play the sax like you do and have your "arranger" skills: I appreciated your "making of" Games of Thrones video very much. I 'm also a smooth jazz fan and regret that this genre is not played a lot in France. That's only a few days ago that I discovered that you are THE saxophonist who is playing the subtle version of "Sexual Healing" that I've been listening to for a year... So I just came to know last week-end who you are and the different and brilliant aspects of your work. Keep on giving pleasure listening to your tracks. Thanks. ~Pierre
I am very grateful to have found your page, the content, didactic material and backing tracks, I would like to thank you and hope you continue doing such work. Obviously I'll show it to my friends. PS: When I have money I will buy the album Saxomonica Blues to enjoy at home. Greetings from another musician in Chile! ~Benjamin
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https://www.facebook.com/p/David-Murray-100011280845867/
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en
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Facebook
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico
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https://www.facebook.com/login/
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dbpedia
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https://cafesaxophone.com/threads/your-name-engraved-on-a-sax-or-mouthpiece.27118/
|
en
|
Your name engraved on a sax or mouthpiece?
|
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2019-07-13T16:55:27+01:00
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There've been some recent posts about saxophone engraving and custom mouthpieces. I was cleaning my mouthpiece and wondered, would I want my name on it...
|
en
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CafeSaxophone Forum
|
https://cafesaxophone.com/threads/your-name-engraved-on-a-sax-or-mouthpiece.27118/
|
There've been some recent posts about saxophone engraving and custom mouthpieces. I was cleaning my mouthpiece and wondered, would I want my name on it? Will I want to sell it some day? I doubt it, not the custom one. If my name was on it, it would be "eternalized" until someone threw it away. It that a good thing or a bad one
Anyway, would YOU want your name engraved on a custom piece? It's discreet and would not be in the part you have in your mouth.
My most recent purchase is a "Johnny Hodges" model Vito Leblanc alto, which has been overhauled and now reviewed by Steve Howard: Vito Leblanc System 35 (Johnny Hodges) alto saxophone review
The original owner had it personalised with engraving of his name ("Richard Stribling Bowers") on the bell-bow ring and also a phrase engraved on the inside of the bell lip ("A word softly spoken is like apples of gold in pictures of silver").
I believe that the original owner was a "Music-Missionary": a pastor who played mostly jazz in church and used this saxophone for community outreach.
Obviously, all of his personalisation touches were very important to him, but of limited interest for me. I guess they tell us something about the history of this one instrument, but I would rather they weren't there. Perhaps they reduce the monetary value of the horn - they certainly don't increase it for me. Now if they related to Johnny Hodges himself (or Cannonball or Rollins or Hawkins) because he had owned the instrument, then it would be a different story.
But I'm sure the owner had those engravings made for himself and not because of value considerations or what possible future owners would think of them.
Back to the original question: I wouldn't but I can understand why some would.
Rhys
I bet you will sell it. Very few players stick with a mouthpiece forever.
Additionally, I have a more defined view of what really constitutes a "Custom Mouthpiece" that meets enough of a criteria for a signature. Its more than just variations on a theme. To be really worth thinking about having a name embossed on it I think it would have to constitute a design that was made from the ground up for you...in collaboration with you and you being part of the design process from the ground up. Then I might think about it.
In general I personally wouldnt go to the trouble ...I guess I dont see the point. A mouthpiece is a tool. Not many carpenters have their name on their hammers (except to deter other contractors with sticky fingers from stealing it)
On the flip side, unless its obnoxious I doubt it would deter many buyers though most would prefer it not be there.
I would never personalize a horn in any obvious way. The value is high and it may well deter a lot of buyers. Additionally, if you have a quality instrument it will outlive you. My current horn was born the same year as me. I suspect it will outlast me, baring disaster.or my discovering the fountain of youth.
I've just remembered that I've already got my name, or at least my initials, on a mouthpiece made specially for me a few years ago by Lawrie Waldron,
Lawrie also very kindly gave me a tenor mouthpiece he had made for Snake Davis that has something like "Snake Special" engraved on the table. That's another great piece.
I don't think I will ever part with either of those and it's a real shame that Lawrie no longer seems to make or work on mouthpieces.
Rhys
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https://www.murraylawfirm.com/attorneys/david-murray/
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en
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David Murray – Eminent Domain Lawyer – Murray Law Firm, PLLC
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2022-04-11T17:33:10+00:00
|
David Murray property right and eminent domain attorney exclusively representing North Carolina landowners at Murray Law Firm, PLLC.
|
en
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https://www.murraylawfirm.com/wp-content/uploads/sites/592/2022/04/favicon.ico
|
https://www.murraylawfirm.com/attorneys/david-murray/
|
David Murray believes strongly in the rights of landowners. He attended law school with the intent to spend his career ensuring his clients receive just compensation when their property is affected by a taking. Since beginning his career in 2008, David has represented landowners exclusively (never the government) and obtained millions of dollars in increased compensation for clients over the initial offers made by condemning authorities (often called condemnors). He has also obtained a significant number of variances and rezonings for landowners so that they may maximize the use of their property. He has never wavered in his dedication to landowners like you. David is known among his peers as the go-to attorney in Charlotte for matters involving eminent domain, land condemnation, zoning and land law and has been recognized as a top lawyer in North Carolina in these practice areas.
David has experience not only in representing landowners in trial courts seeking to obtain enforcement of property rights and payment of just compensation, but also in appealing or defending landowners in cases before the North Carolina appellate courts. He also regularly appears before local zoning boards and commissions to represent landowners in seeking to maximize the use of their properties.
Education
B.A., Political Science, University of North Carolina at Chapel Hill, 2005
J.D., North Carolina Central University of Law, magna cum laude, 2008
Executive Editor, Journal of Biotechnology and Pharmaceutical Law, 2007-2008
Moot Court Board, 2007-2008
Professional Licenses
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https://www.nancythorne.com/blog/z7e3wbzdbc8nthr2ppjcy4pzdw47j3
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en
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Spotlight on bassist David Murray — Author Nancy Thorne
|
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[] |
[] |
[
""
] | null |
[
"Nancy Thorne"
] |
2020-12-05T06:54:25-05:00
|
“Music is the moonlight in the gloomy night of life.” So said John Paul Friedrich Richter over two hundred years ago. It’s indisputable that music touches us in a manner inaccessible by other forms of sound. The low tones of a bass guitar hit our bodies with sound waves that mimic our heartbeat
|
en
|
https://images.squarespace-cdn.com/content/v1/5c154b1b620b85bb8b0713e0/1546215725662-SNZJ0I7BC15BLRC1LLN4/favicon.ico
|
Author Nancy Thorne
|
https://www.nancythorne.com/blog/z7e3wbzdbc8nthr2ppjcy4pzdw47j3
|
Spotlight on bassist David Murray
“Music is the moonlight in the gloomy night of life.” So said John Paul Friedrich Richter over two hundred years ago.
It’s indisputable that music touches us in a manner inaccessible by other forms of sound. The low tones of a bass guitar hit our bodies with sound waves that mimic our heartbeat and vibrate our skin, at times able to reach the cavity of our chest. If ever we needed the healing power of music, whether it lifts our spirits, calms our souls, or rattles our bones … it’s now.
THANKS, DAVE, FOR ALLOWING ME TO INTERVIEW YOU. MAYBE I’LL START WITH THIS QUESTION:
WAS MUSIC ALWAYS A PART OF YOUR LIFE? WAS A LOVE OF MUSIC SOMETHING YOU HAD AS A CHILD?
Yes. I loved music growing up. i remember having my eyes glued to the TV watching The Ed Sullivan Show on Sunday nights at 8:00 p.m. And all the other variety shows too - Dean Martin, The Smothers Brothers, Dick Clark, etc. I loved the idea of getting in front of people and performing.
WHO DID YOU IDOLIZE AS A KID?
I idolized many, but loved Jack Bruce from Cream, and John Paul Jones who was known from Led Zeppelin.
WHO TAUGHT YOU TO PLAY?
It was a combination of friends, lessons, and listening to records. I studied with a local jazz musician for two years. He had studied with Dave Holland who played with Miles Davis.
“Don’t play what’s there; play what isn’t there.” - quote by Miles Davis
HOW MANY BANDS HAVE YOU PLAYED IN?
Over my lifetime, I’ve maybe played with approximately twenty bands. Right now I’m working in two bands, one Top 40 Rock, and the other is a Blues Rock band.
DO YOU SOMETIMES FEEL A LITTLE TOO OUT OF THE SPOTLIGHT AS THE BASS PLAYER? DO YOU EVER FEEL THAT THE GLORY GOES TO THE SINGER AND LEAD GUITARIST?
Mostly, yes.
WHAT WOULD YOU SAY HAS BEEN THE HIGHLIGHT OF YOUR MUSIC CAREER SO FAR?
When I was in my early twenties I had the opportunity of meeting and jamming with the blues legend, Hubert Sumlin three times.
“When I’m reaching an audience, I feel it.” - quote by Hubert Sumlin
HOW MANY GUITARS DO YOU CURRENTLY OWN?
I currently own five bass guitars and one acoustic guitar which i hardly play.
HAVE YOU EVER BLANKED DURING A PERFORMANCE AND FORGOT HOW TO PLAY A PARTICULAR SONG?
Maybe in the early days, but now i have a good memory for the songs. Sometimes I slip up and forget a part.
AND DO YOU EVER GET NERVOUS BEFORE A PERFORMANCE?
I used to get nervous when I started out. But now I rarely get the jitters.
WHAT HAS BEEN THE BIGGEST RIFT AMONG YOU AND YOUR BAND MATES AT ANY TIME?
Writing an original song and and arguing over which part who came up with.
IF YOU COULD OPEN A SHOW FOR ANY ARTIST, WHO WOULD IT BE?
Eric Clapton or The Allman Brothers. I would love to work with Eric Clapton.
“I’d love to knock an audience cold with one note.
But what do you do for the rest of the evening?”
- quote by Eric Clapton
WHICH RECORDS WERE YOU MOST INFLUENCED BY?
Too many to mention, but I loved Cream, and all the Motown Music.
AND DO YOU HAVE A FAVOURITE ALBUM? WHY?
Genesis Foxtrot. I love it! The music relaxes me.
HOW DO YOU ARRANGE YOUR RECORDS SO YOU CAN LOCATE THE ONES YOU WANT EASILY?
I arrange the LPs the same way that radio stations do. Name of the band (Beatles - B); (Frank Sinatra - S).
Thank you so much, Dave, for this peek into your life as a bassist! All the best to you and your music career (post covid, of course).
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https://www.sfreporter.com/arts/3questions/2022/05/18/3-questions-with-saxophonist-tim-cappello/
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3 Questions with Saxophonist Tim Cappello
|
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[
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"saxophone",
"santa fe music",
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"the lost boys"
] | null |
[] |
2022-05-18T00:00:00
|
With Saxophonist Tim Cappello
|
en
|
/pf/resources/favicon.ico?d=34
|
Santa Fe Reporter
|
https://www.sfreporter.com/arts/3questions/2022/05/18/3-questions-with-saxophonist-tim-cappello/
|
Just to get it out of the way—yes, saxophonist Tim Cappello is that sexy, oily “I Still Believe” guy from 1987 cult fave The Lost Boys, but he’s also an accomplished saxophonist who played with Tina Turner for 15 years and has appeared on albums from bands like British synthwave group Gunship. However you know him, he’s been enjoying a little bit of success on the convention and performance circuits of late, even releasing his first solo record in 2018. Next week, Cappello brings a bit of sax and stories to Santa Fe’s Palace Prime (6 pm Wednesday, May 25. $10-$12. 142 W Palace Ave., (505) 919-9935) alongside DJs Christina Swilley and Punky Brewster’s Bastard Kid dropping the hits of the ‘80s and more. (Alex De Vore)
We don’t see so many sax players anymore, and you were the only one I could conjure by name. How did you come to the instrument, and was it challenging to carve out a niche as a notable sax player?
When I started playing, there were a million sax players. Every band, right? Huey Lewis had a guy, everybody that had a band had a sax player. That was the ‘80s and the ‘70s, and we weren’t what you’d call sax players, we were utility players. Everybody had to know how to play keyboards, a bit of acoustic guitar; you had to know how to play harmonica, blues harp—in other words, they all had to fill in all those sounds, and for some reason it was the woodwind players that got that chore. When I was a kid, my father had a music school, so I would go to his music school and I would play the drums and take lessons, play the piano. All of those things were just part of my every day. Y’know, when the guys coming up didn’t know how to play those other instruments, they probably wouldn’t get the gig.
Someone told me, “Tim Cappello has the best sax tone of all time!” I’m curious about the development of that tone and whether it’s a lifelong pursuit?
You have no choice. Everybody’s voice is different. It’s like, Tina Turner couldn’t sing like somebody else! It’s the shape of your throat and your sinuses, the shape of your tongue and the way you generally speak is also going to be the way you sing. In other words, there’s no way…you could try to imitate somebody, and I do know people who try to imitate other sax players like Junior Walker or David Sanborn. It never works.
I’m a tenor player. For awhile, I owned soprano saxophone, baritone, alto, so I could work more, but then I just thought, forget about this, I’m not interested in this stuff, I can’t. I knew size-wise, [the tenor sax] fit me. I feel funny playing an alto sax, it’s too small. Baritone sax was fine, I enjoyed it, but I just didn’t feel like I could get the variety of sounds that I could get with tenor saxophone. For me, that’s really…it’s like, you could try to change your sound, change your mouthpiece, your reed, you could just try, but it’s never gonna happen. Think about your sinuses, your cheekbones, your trachea. How are you gonna change that? It has nothing to do with me. I practice every day, but that’s really to just keep what I have in shape. If you go around your lips with your index finger, that’s hundreds of tiny muscles, and if those muscles don’t say strong and stay in shape, you’re screwed. With a saxophone, if you don’t practice enough to keep yourself together, the muscles around your lips are gonna give way and you’ll be screwed.
You released your first solo record, Blood on the Reed, in 2018. Obviously you’re busy with touring, fan conventions and so on, but do you think you’ve got another album or tour in you after this one?
I honestly don’t know. I really don’t know. Because the only way that I can make this work is to do it all by myself. I don’t want to have a roadie in the next seat that I’ve got to make conversation with for these long drives. I don’t want anybody setting up anything wrong. I’m my own agent as well, because anytime I haven’t spoken personally to a club owner or booker, it has been a disaster. It took me a little while to figure that out. I have to develop a relationship.
There’s a new Gunship album coming out I’m really excited about. They’re making a new record, and this time I’m going to be on about half of the tracks rather than just one. That’s exciting for me, because it’s really good stuff that gave me a chance to sort of spread out and play a little differently.
I just turned 67, and I kind of feel like I’ve been almost all around the country, I may do it another time, but [releasing an album] is not exactly what you call...look, I’m going to be honest—if I do a meet and greet and I have...8x10 [photos], they cost about 69 cents apiece, and I sell them for $20. And I don’t want to do a show that’s not as good as the show I’m doing now. The US is a big place, so you can hit every city in the US and then go back again, and I may do it another time, and I think people could take another time, but probably after that I’d have to hang it up.
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https://www.merriam-webster.com/thesaurus/saxophonist
|
en
|
SAXOPHONIST Synonyms: 38 Similar Words
|
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[
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[] | null |
Synonyms for SAXOPHONIST: pianist, trombonist, guitarist, violinist, trumpeter, drummer, clarinetist, percussionist, flutist, clarinettist
|
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|
/favicon.svg
|
https://www.merriam-webster.com/thesaurus/saxophonist
| ||||||
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|
https://thenewjournalatyale.com/2020/12/memoirs-of-a-future-word-famous-female-jazz-saxophonist/
|
en
|
Memoirs of A Future World-Famous Female Jazz Saxophonist
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[
"Caroleine James",
"Chesed Chap",
"Lucy Ton That",
"Madeline Art",
"Caleb Dunson"
] |
2020-12-25T10:34:25-05:00
|
A personal essay by Caroleine James.
|
en
|
The New Journal |
|
https://thenewjournalatyale.com/2020/12/memoirs-of-a-future-word-famous-female-jazz-saxophonist/
|
When I was in middle school, back in Salt Lake City, my saxophone teacher used to recline in his ergonomic wheelie chair, rest his interlocked fingers on his gut, and tell me I was special. Sometimes, he would spend the entirety of our allotted hour telling me so. Caroleine, you’ve got a gift. Caroleine, you’ve got style. Caroleine, your tone is exceptional. This pedagogical approach irritated me, not because it was unhelpful, but because it was redundant. I already knew I was special. I was the most complex, interesting, talented, attractive person in my acquaintance, possibly the entire world. When Kate Moss was fourteen, she had bow-legs and crooked teeth. When Joseph Smith was fourteen, he couldn’t even spell “arithmetic.” At fourteen, I had clear skin, a 4.0 GPA, and the biggest boobs in my immediate family. I could (and often did) use “defenestrate” in a sentence. My theophany was just around the corner.
To pass the time until cosmic forces swept me into a new life, my teacher encouraged me to audition for Caleb Chapman’s Little Big Band. Caleb Chapman was Glenn Miller for Mormon kids. His twenty-two-piece youth swing band practiced forty-five minutes south of Salt Lake in a beige building wallpapered with awards, commemorative plaques, and gushy newspaper articles. On the first day of rehearsal, Caleb told the rhythm section to give him a twelve-bar blues. Twelve-bar blues is a basic chord progression that spits you out where you started. Jazzified John Jacob Jingleheimer Schmidt. Caleb pointed at the kid next to me, the first chair alto saxophone. (I was sure this was a clerical error. He was in my seat.) I didn’t know it at the time, but his name was Evan Hatch.* He was twelve years old with skinny calves, skinny ankles, skinny arms, and long, skinny fingers. Poor sacrificial lamb.
He stood up and took a deep breath.
Usually, young saxophonists sound strangled. Their facial muscles struggle to prevent their bottom teeth from gouging their lower lip. You can hear the struggle. You can hear the gurgle and buzz of excess saliva, the uncertain tongue, the lag time caused by groping fingers and a groping brain. Their teeth put pressure on the reed. The reed squeaks. Their swing is “ricky-ticky:” an onomatopoeic term for stilted spaces between notes. They’re in the dark, eyes closed, frantically stringing together one sound after another. Not all young saxophonists, however, are “usual.”
Evan’s tone was steady, full, and bright like a bell. He flung glissandos into the air and they sounded celebratory. His notes came to a point, they rose, they fell, they obeyed the dictates of comic timing. Imagine a beloved yet assertive uncle telling you a story he’s told a million times before. A good saxophone solo is like speaking without words. Evan spoke.
After Evan sat down, Caleb pointed at me. The chk chk chk of the drums was deafening. I tried to recall some shred of wisdom from my teacher, but all I could come up with was, “Caroleine, you’ve got a gift.” To me, music was a piece of paper with notes on it, handed down by a higher power and polished in advance through intensive practice. None of this off-the-cuff, stand-and-deliver nonsense. I sat out the jam session.
From that day onward, Evan Hatch ruled my mind. He didn’t know it, but the two of us were locked in mortal combat: he, the cruel musical tyrant, I, the lovable and soon-to-be-triumphant underdog. I started practicing every day. I practiced in the basement and in my grandpa’s car. I ran scales like I was supposed to, worked my long tones, did that weird little waaaaahyayayayaya vibrato exercise. I practiced with a stack of Jamey Aebersold books. After Jamey’s monotone “Ah one. Ah two. Ah one. Two. Three. Four,” I would offer up a joyless rendition of “Song For My Father.” I didn’t know if I was getting better because I couldn’t hear myself. My deafening inner monologue drowned out the sound of the chord changes: what’s the third in Eb7 wait don’t play the third that’s too obvious wait you missed it now we’re in Db7 what’s the third in Db7 wait.
The band met every week. After a couple of months, the rhythm section was “in pocket” and the horns “attacked together.” One afternoon, Caleb paused rehearsal to ask each student who their musical inspiration was. Michael Brecker, Max Roach, Dave Brubeck, Wycliffe Gordon, Freddie Hubbard. . . Sitting there, listening to the litany of unfamiliar names, I realized that I didn’t know beans about jazz. I could name one jazz song I enjoyed (“Minnie the Moocher”), and that was only because it included the word “hoochie-coocher.” Evan liked Kenny Garrett. Evan Hatch, seventh-grader from American Fork, UT, actually listened to experimental 90’s post-bop with titles like “Sing a Song of A Song.” On purpose.
Saxophone was my fourth favorite hobby. The coveted first place spot was reserved for standing naked in front of the bathroom mirror and pretending I was on Jimmy Fallon.
JIMMY: Caroleine, I absolutely adore your latest album, Special Girl. I hear the critics adore it too. Can you tell us a bit about your musical journey?
ME: Well, Mr. Fallon—
JIMMY: Call me Jimmy.
ME: Well, Jimmy, I may be a famous female saxophonist, but my road has not been an easy one. When I was fourteen, this kid named Evan Hatch punched me in the face and called me a bitch and said I’d never amount to a thing. I wanted to defenestrate him, but of course, my higher self prevailed. Evan, if you’re watching this—
Evan Hatch was unaware of my underdog narrative and selfishly refused to conform to it. First of all, he was two years younger than me—a big difference when you’re in middle school. Second of all, he was a nice person, the kind of nice you have to be when you have ten siblings. His laughter was high-pitched and frequent. He wore a uniform, cartoon-character style: thick-rim glasses, Brigham Young University t-shirt, tan cargo shorts, white tube socks pulled all the way up. He was sweet. And I hated him anyway.
The Little Big Band experience culminated in the Peaks Jazz Festival, an annual event that drew musicians from all over the country. Peaks was my last shot to turn my jazz career into an inspirational drama à la Chariots of Fire. Initially, I planned to play the most exquisite alto-sax solo ever to grace human ears, the kind of solo that would make Charlie Parker rise from his grave, hand me a Selmer Mark VI, and tell me, “You’ve got it, kid.” As Peaks approached, my standards dropped. A month away, I was willing to settle for making Caleb cry — still a difficult feat since big band solos are only twelve bars. A week away, I had pared down my goal to “I will play a solo that doesn’t make the audience walk out en masse.” The night before the concert, I decided it would be better for everyone if I didn’t play a solo at all. I found myself back where I started: sitting meekly in second chair, listening as Evan caressed my cheek and tucked a stray piece of hair behind my ear. Musically, of course. Music was the only sexy thing about him.
He was too squirrelly to oppress me, too comical to bully me, too talented to lose my imaginary competition.
Evan, if you’re reading this, no hard feelings, okay? You can have jazz. It’s a dying art form anyway. Plus, I’m going to write the next great American novel.
So suck it.
Bitch.
— Caroleine James is a junior in Branford College.
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9048
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dbpedia
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https://www.selmer.fr/en/blogs/artistes/david-murray
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en
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David Murray
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http://www.selmer.fr/cdn/shop/articles/410px-DavidMurraycredit--5df799c506b11.jpg?v=1678131365
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[
""
] | null |
[
"AXOME"
] |
2023-03-06T20:26:15+00:00
|
Born in 1955 in California, David Murray first studied piano before taking up the alto saxophone. In the early 1970s, he switched to the tenor saxophone and co-leads a 15-piece ensemble. He then moved to New York and formed a trio with Phillip Wilson and Olu Dara. At the end of the 1970s, he founded the World Saxophone
|
en
|
//www.selmer.fr/cdn/shop/files/favicon.webp?crop=center&height=32&v=1670497750&width=32
|
Henri SELMER Paris
|
https://www.selmer.fr/en/blogs/artistes/david-murray
|
Born in 1955 in California, David Murray first studied piano before taking up the alto saxophone.
In the early 1970s, he switched to the tenor saxophone and co-leads a 15-piece ensemble. He then moved to New York and formed a trio with Phillip Wilson and Olu Dara. At the end of the 1970s, he founded the World Saxophone Quartet with Lake, Hemphill and Bluiett.
The 1980s and 1990s were marked by intense activity in various formations, from quartet to octet.
David Murray plays on a Mark VI tenor saxophone.
Photo credit: Dietmar Liste
Find the artist
On social networks
Facebook
Instagram
YouTube
Web site
|
||
9048
|
dbpedia
|
3
| 27
|
https://jazzfuel.com/tim-cappello/
|
en
|
Tim Cappello: The Story Behind The Bodybuilding Sax Icon
|
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[
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] | null |
[
"Harry Sprinks",
"Joyce Parker",
"Ann Gilbert",
"Gaye Sevene",
"Aaron J Cumbie",
"www.facebook.com"
] |
2022-01-21T16:57:45+01:00
|
Tim Cappello is an American sax player known for his work as saxophonist for Tina Turner as well as his hilariously sexualised stage presence
|
en
|
Jazzfuel
|
https://jazzfuel.com/tim-cappello/
|
Tim Cappello (born May 3, 1955) is an American musician, composer, vocalist, and multi-instrumentalist.
Cappello is mainly known for his work as the Tina Turner sax player in the 1980s and 90s, as well as turning heads with his iconic performance in the 1987 vampire film, ‘The Lost Boys’.
After struggling with heroin addiction during his early days of performing tenor saxophone with Peter Gabriel, Tim Cappello decided to quit cold turkey in 1979 and began to body-build in 1980.
Since then, he has become most known for his muscular physique, sexually provocative performances, and a tendency to perform shirtless. It shouldn’t come as a surprise by this point that he also oiled his skin and tied his hair in a ponytail.
It may come as a surprise to jazz fans that the cheesy saxman studied under the jazz legend Lennie Tristano before he made it big.
The Learning Years
Tim Cappello, sometimes credited as Timmy Cappello, grew up in Silver Lake of Harrison, New York. It is no wonder that Cappello went on to pursue music, given that his father was a local conductor and music teacher. Cappello began studying music at age 4.
At just age 15, Cappello dropped out of high school to pursue further education in music at the New England Conservatory of Music, where he was accepted. He played both drums and keyboard for his audition.
Upon leaving the New England Conservatory, Cappello sought out his idol, the jazz legend, Lennie Tristano, for guidance. He intermittently studied under Tristano for four years and managed to land several gigs during this time.
Cappello’s first gig was as a pianist behind comedian Billy Crystal, who was an early stand-up act at the time. This gig lasted five years, before landing a gig on the road with Eric Carmen of The Raspberries, which he got from jamming at as many clubs as he could in and around town.
This was a real jumping-off point for Tim Cappello’s career, and his first big, ‘professional’ gig.
The Formative Years
From this jumping-off point, Cappello’s old schoolmate, Jerry Moratta, got Cappello a gig with singer-songwriter Garland Jeffreys, who Cappello toured with through 1978.
Shortly afterwards, Moratta started playing with Peter Gabriel and managed to bring Cappello with him into that band as well.
Cappello toured with Peter Gabriel, as well as playing on both of his albums ‘Peter Gabriel 1: Car’ and ‘Peter Gabriel 2: Scratch’
Unfortunately, Cappello suffered from extreme drug use, primarily heroin, during his time on the road with Peter Gabriel, and has since said that he regrets not being able to get the most out of it.
It was after his time with Peter Gabriel, on his 25th birthday, that Cappello had a dramatic incident whilst visiting his parents. After his niece saw him in such poor condition from his heavy drug use, Cappello quit cold turkey. Cappello said of the event:
“It made me realize what I was doing not only to myself but to them. It cut me so deeply that it was hard not to quit.“
It was amidst pulling himself out of addiction that Cappello stumbled across bodybuilding, an obsession to replace his crippling drug addiction. This dedication to his body ended up not just being great for his health, but his career, too.
Tim Cappello Post-Addiction
Cappello’s dramatic change in health and looks made him a valuable asset as a stage performer. This greatly attracted famed singer-songwriter Carly Simon, who hired Cappello for his stage persona in 1980.
Motivated by her crippling stage fright, Simon wanted a band full of confident and eccentric performers to offset her lack of showmanship.
After the tour was cut short due to a frightened Simon offering members of the audience to come on-stage – which went about as well as you’d expect -, Cappello formed his own band, The Ken Dolls, who played through 1981-1982.
The Ken Dolls played mainly at the CBGB, a notorious music club that opened in 1973. Many acts played at the venue during their grass-roots period, such as the Ramones, Blondie, and the Talking Heads. It was mainly a punk venue.
Unfortunately for Cappello, the band was banned from CBGB, likely due to their overtly sexual performances.
After his attempt as a bandleader, Cappello found himself playing for Tina Turner, who was up-and-coming at the time.
Cappello met Turner through a mutual friend of both their managers and was forced to audition off-stage at a small gig with a saxophone solo for Turner’s song ‘Help!’
Lucky for him, Cappello impressed Turner and was hired in 1984. Cappello went on to play with Turner for fifteen years.
Despite his long-running career alongside Tina Turner, Cappello is perhaps more famed for his brief appearance and performance in the 1987 vampire film ‘The Lost Boys’, which has since been parodied by Jon Hamm on Saturday Night Live.
In the movie, Timmy Cappello performs the song ‘I Still Believe’, as he discusses here:
Cappello can be heard on some of Turner’s biggest tunes, like ‘We Don’t Need Another Hero’ and ‘One of the Living’ which is featured on the Mad Max Beyond Thunderdome soundtrack. Cappello also appeared in the music videos for both songs.
He may not be one of the greatest saxophone players to have lived if you ask the average jazz fan, but you can’t question his showmanship. With his slicked-back hair, bulging muscles and provocative stage presence, Tim Cappello is the original Sexy Sax Man.
If you haven’t seen ‘The Lost Boys’, it’s well worth checking out for his iconic musical performance alone.
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David Murray’s “Francesca”
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FRANCESCA / Francesca. Ninno. Shenzhen. Come and Go. Am Gone Get Some. Free Mingus. Cycles and Seasons (David Murray). Richard’s Tune (Don Pullen) / David Murray, t-sax/bs-cl; Marta Sanchez, pno; Luke Stewart, bs; Russell Carter, dm / Intakt CD 422 David Murray is, in my estimation, the most diversely talented of the members of the…
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THE ART MUSIC LOUNGE
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FRANCESCA / Francesca. Ninno. Shenzhen. Come and Go. Am Gone Get Some. Free Mingus. Cycles and Seasons (David Murray). Richard’s Tune (Don Pullen) / David Murray, t-sax/bs-cl; Marta Sanchez, pno; Luke Stewart, bs; Russell Carter, dm / Intakt CD 422
David Murray is, in my estimation, the most diversely talented of the members of the former World Saxophone Quartet; at least, I can tell you that I have more recordings by Murray in my collection that me made after he left that group than any of the others, good as they were. And the reason is that he is, quite simply, a much more creative and interesting jazz composer than the others. I was first hooked on his music many years ago, in another century, when I heard his album 3D Family, and I’ve been a Murray fan ever since.
On this, his latest recording, he is joined by an exceptionally talented quartet of musicians who understand his aesthetics and are thus sympathetic to his approach. Evaluating Murray strictly as a saxophonist, I would also say that he had, and still has, the most interesting timbre of the WSQ members: it is simultaneously dark, rich, and biting, sort of a cross between Coltrane, Coleman Hawkins and Illinois Jacquet; and interestingly, his style of improvisation combines elements of these three tenor players as well. As a result, you never know where a Murray solo is going to go, but the journey is always interesting and rewarding. He is, I’d also add, a constructionist, by which I mean that all of his solos have direction and form; even when he goes off the deep end with “sheets of sound” or high-register squeals, the notes are always part of a larger pattern that, when you analyze it, makes logical musical sense. And that is another reason why I value him so highly as an artist, and always will as long as both of us are still around and active.
Nor am I exaggerating when I call this group exceptionally talented. Although I admit to not having heard bassist Luke Stewart before, I was utterly bowled over by his playing. He has a big, rich sound, similar to Charles Mingus, much of Mingus’ imagination but an even wilder sense of imagination when he solos…sort of a hybrid of Mingus and Eddie Gomez with a touch of Thomas Fonnabæk, the great European modern jazz bassist whose work I have also praised on this blog. Nor is pianist Martha Sanchez far behind Murray in her wildly creative solos, which skirt tonality while still retaining a sense of structure. And on top of it all, this quartet really swings, even when, as in the final chorus of the opener, bass and drums are fracturing the beat behind Murray, at least until his coda which is played a cappella and is every bit as good as the classic series of cadenzas that Bunny Berigan played on I Can’t Get Started nearly a century ago. That’s just how good Murray still is. He never seems to run out of ideas and seldom, if ever, repeats himself.
The third reason I value Murray so highly is that, even in his wildest outbursts, he always swings, thus he never loses touch with one of the basic elements of jazz. This is especially evident in Ninno, which swings hard from start to finish. If I have any caveat about this band, it is that drummer Russell Carter sometimes overpowers the others with his sound, fracturing the beat in a way that is sometimes interesting but also sometimes distracting, but that is a common style among modern jazz drummers.
Another small caveat that I have is that Murray is simply such an overpowering presence that no matter how good his bandmates are, he always seems to dominate the proceedings. You might say that I feel that way because he is a horn player with an exceptionally powerful tone, which is certainly true, but I would counter that it’s also because he dominates the solo space. Sanchez’ second and third choruses on Ninno are nearly as wildly creative as Murray’s, but her range of dynamics simply isn’t as wide or as arresting as his. Carter takes an excellent drum solo on this one, showing off his multifaceted technique, but to be honest his solo goes on a bit too long and repeats certain licks.
Yet another thing I liked about this recording is the way it was recorded, with the whole band being close-miked in such a way that they are always well-balanced without resorting to too much reverb. This gives the quartet a strong audio presence; they sound as if they are right in your living room. On Shenzen Murray switches to bass clarinet and proves once again what an absolute master of reed instruments he is. In addition to playing in the hard, loud style pioneered by Eric Dolphy on this instrument, he also pulls back on the volume by reducing his breath pressure to just a little above a whisper, which produces the loveliest sound in the middle range I have ever heard on that instrument. His extended solo uses a great many 16th notes in what is basically a medium tempo, yet his control of the instrument is always impeccable. (In addition to all of his other talents, I get the impression that Murray would make a phenomenal teacher to young reed players. I personally feel that he is one of the greatest technicians on his instruments I’ve ever heard, and in his career of nearly a half-century he hasn’t lost an iota of control.)
Come and Go is one of the wildest, most outré pieces on the entire album, written in a cut 5/4 tempo with Murray flying all over his instrument in a solo of almost indescribable brilliance yet also with a few (not many) chaotic moments. And this is clearly one of those tracks where Sanchez, for all her brilliance, simply cannot match the leader because of his wider range of both dynamics and color—but she’s in there pitching. Following her solo, for instance, Murray returns with intense high-register screams before coming back down to his Coleman Hawkins-like finale.
Am Gone Get Some is one of the most complex pieces on this album, harking back to Murray’s creative days of the 1980s and ‘90s. It has a quirky sort of rhythm in the opening theme statement, and for once Murray gives way to Sanchez to play the first solo, which is brilliant as usual for this excellent pianist. She uses a full two-hands style with perfect interaction between the two, playing not just chords but alternate themes, slower in tempo but extremely varied in where she puts the stress beats. This set us Murray to try to equal her. Of course, since his tenor sax can just play one line he cannot play accompanying lines, but he doesn’t really try to top her. He just plays his own way for three choruses, each one building on what the previous chorus had created, using a slightly different style for each of them. He really is an amazing musician!
Then, finally, a ballad—just one!!! What a refreshing idea! This is Richard’s Tune, written by Don Pullen, the former pianist with Charles Mingus’ Changes group of the 1970s. After a lovely out-of-tempo intro by Murray on bass clarinet, he plays the theme, which alternates between 4/4 and 3/4. Neither he nor Sanchez has any trouble with the shifting meter; a piece of cake! Stewart, who hadn’t been given solo space over the previous few tracks, makes up for lost time with another brilliant statement. And, naturally, Stewart plays the opening few bars of Free Mingus, another sort-of ballad but not a very slow one with a memorable melodic line, showing once again the breadth of Murray’s talent, although the tune really didn’t put me in mind of Mingus. It’s more lyrical and doesn’t have the odd tempo shifts that Mingus created so often and easily.
We end this set with Cycles and Seasons, a Murray piece that alternates between a sort of quasi-Latin beat and a straight four. It’s taken at a medium tempo but still swings; I don’t think Murray is capable of not swinging. But the whole quartet sounds loose and relaxed on this one, everyone gives their best, and a good time is had by all.
This is quite an album, but then again, when I see David Murray’s name on anything I expect the very best—and he usually delivers.
—© 2024 Lynn René Bayley
Follow me on Facebook (as Monique Musique)
Check out the books on my blog…they’re worth reading, trust me!
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Listen to music by David Murray on Apple Music. Find top songs and albums by David Murray including Plumb, 3-D Family and more.
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https://music.apple.com/us/artist/david-murray/2610944
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https://www.iheart.com/podcast/1119-questlove-supreme-53194211/episode/david-murray-203300239/
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David Murray - Questlove Supreme
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<p>In the last year, The Roots' Questlove and Ray Angry made an album with today's guest — Jazz legend David Murray. David is a veteran saxophonist and a longtime leader within the Free Jazz movement. In this episode, taped in-studio, David explains why freedom in music reflects freedom in life. He recalls highlights of a 55-plus-year journey with intersections with a who's who of Jazz, as well as Sly Stone and The Grateful Dead. David discusses the moods, attitudes, tours, and figures that have colored his career. He also discusses working with The Roots and collaborating with Quest and Ray for their Plumb material.</p><p>See <a href='https://omnystudio.com/listener'>omnystudio.com/listener</a> for privacy information.</p>
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In the last year, The Roots' Questlove and Ray Angry made an album with today's guest — Jazz legend David Murray. David is a veteran saxophonist and a longtime leader within the Free Jazz movement. In this episode, taped in-studio, David explains why freedom in music reflects freedom in life. He recalls highlights of a 55-plus-year journey with intersections with a who's who of Jazz, as well as Sly Stone and The Grateful Dead. David discusses the moods, attitudes, tours, and figures that have colored his career. He also discusses working with The Roots and collaborating with Quest and Ray for their Plumb material.
See omnystudio.com/listener for privacy information.
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David Murray
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American jazz musician (tenor saxophone and bass clarinet)
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American jazz musician (tenor saxophone and bass clarinet)
David Keith Murray
edit
Language Label Description Also known as English
David Murray
American jazz musician (tenor saxophone and bass clarinet)
David Keith Murray
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David Murray. Actor: Ich, Daniel Blake. David Murray is known for Ich, Daniel Blake (2016), An Unfortunate Woman (2015) and The Dating Game (2017).
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https://www.ft.com/content/d153dfae-36ec-11e6-a780-b48ed7b6126f
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en
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David Murray, FT music critic and academic, 1937-2016
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https://www.ft.com/__origami/service/image/v2/images/raw/https%3A%2F%2Fwww.ft.com%2F__origami%2Fservice%2Fimage%2Fv2%2Fimages%2Fraw%2Fhttp%253A%252F%252Fcom.ft.imagepublish.upp-prod-eu.s3.amazonaws.com%252F36269a28-3708-11e6-a780-b48ed7b6126f%3Fsource%3Dnext-article%26fit%3Dscale-down%26quality%3Dhighest%26width%3D700%26dpr%3D1?source=next-opengraph&fit=scale-down&width=900
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https://www.ft.com/__origami/service/image/v2/images/raw/https%3A%2F%2Fwww.ft.com%2F__origami%2Fservice%2Fimage%2Fv2%2Fimages%2Fraw%2Fhttp%253A%252F%252Fcom.ft.imagepublish.upp-prod-eu.s3.amazonaws.com%252F36269a28-3708-11e6-a780-b48ed7b6126f%3Fsource%3Dnext-article%26fit%3Dscale-down%26quality%3Dhighest%26width%3D700%26dpr%3D1?source=next-opengraph&fit=scale-down&width=900
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[
"Richard Fairman"
] |
2016-06-20T17:09:36+00:00
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Wide-ranging writer and philosopher who sought to be constructive in his criticism
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en
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https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&format=svg
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https://www.ft.com/content/d153dfae-36ec-11e6-a780-b48ed7b6126f
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Contrary to common perception, some critics never lose their enthusiasm or desire for discovery. David Murray, who has died aged 79, was a music critic for the Financial Times for 27 years and the epitome of the ever-questing intellect. No boundaries seemed to exist in his embrace of music past and present. No work was too obscure or too small to rouse his interest.
Born in Halifax, Nova Scotia, Murray spent his Canadian childhood with an omnivorous appetite for the arts. By his teens he was already excelling in multiple fields. As a pianist, he performed with success in piano competitions, his technique enabling him to master Ravel’s Piano Concerto In G, among others. As a composer, he wrote incidental music for radio plays. As a director, he worked in the theatre. As an actor, he performed in a Canadian radio series that was seen as a forerunner of the popular British radio series The Archers. In a lighter vein he was also an expert conjuror in his youth.
It cannot have come as a surprise when, at 19, he arrived as a Rhodes Scholar at Magdalen College, Oxford. A postgraduate year in Paris followed, and he was never to forget hearing Messiaen practise as organist at the Église de la Sainte-Trinité. Although he returned briefly to Canada to work in Edmonton, Alberta, it was a move to London that was to decide the future path of his career. This would be divided between two areas of expertise: philosophy and music.
Murray worked as a lecturer in philosophy at Birkbeck, University of London, into his 60s. In philosophy, as in music, he would easily become immersed in his subject. One student later recalled how they had met at his house and continued to talk even when the fire brigade arrived to put out a blaze in the apartment downstairs. His life as a pianist was cut short when he broke his little finger hauling his bag off a luggage carousel at an airport on an overseas reviewing assignment. In parallel to philosophy, though, his long and distinguished career as a music critic for the FT continued until his retirement at the age of 70 in 2007.
Perhaps because he started out as a performing musician, Murray always sought not be destructive in anything he wrote. He saw the critic’s job as being to suggest ways in which a performer might improve and, above all, to inspire his readership to discover the immensely wide and eclectic range of music that he himself knew and loved. He might enthuse about Xenakis one day, Fauré the next (the Nocturne No. 6 was a special favourite). Film, theatre and everything else in the arts continued to absorb him in his spare time.
Murray passed away at the Marie Curie Hospice in Hampstead, north London, on Saturday. He leaves Dinah, his wife of nearly 46 years, three sons, a foster son and four grandchildren.
Letter in response to this obituary:
Your critic’s contribution to a dictionary of opera / From Andrew D Roberts
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https://tenaciousd.fandom.com/wiki/Sax-a-Boom
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Sax-a-Boom
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https://static.wikia.nocookie.net/tenaciousd/images/7/76/Tenacious_D_-_Kawasaki_Saxaboom.jpg/revision/latest?cb=20170220190322
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https://static.wikia.nocookie.net/tenaciousd/images/7/76/Tenacious_D_-_Kawasaki_Saxaboom.jpg/revision/latest?cb=20170220190322
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""
] | null |
[
"Contributors to Tenacious D Wiki"
] |
2024-07-29T22:27:06+00:00
|
Sax-a-Boom is a children's toy instrument that is frequently adopted by Jack Black at live Tenacious D concerts. It resembles a saxophone, and has a musical loop on each of its eight buttons. It is now discontinued, but it was designed in or around 1998 by Shoot the Moon II LLC and manufactured...
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en
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https://static.wikia.nocookie.net/tenaciousd/images/4/4a/Site-favicon.ico/revision/latest?cb=20210719105750
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Tenacious D Wiki
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https://tenaciousd.fandom.com/wiki/Sax-a-Boom
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Sax-a-Boom is a children's toy instrument that is frequently adopted by Jack Black at live Tenacious D concerts. It resembles a saxophone, and has a musical loop on each of its eight buttons.
It is now discontinued, but it was designed in or around 1998 by Shoot the Moon II LLC and manufactured by DSI Toys Inc. Despite being branded as "Kawasaki," the toy has nothing to do with the Kawasaki Motors Corp. DSI Toys held the official license to produce toy vehicles with 'Kawasaki' on them, and used 'Kawasaki' branding on other toys they produced. DSI Toys would cease operations in 2003, whilst Shoot the Moon still owns the 'Sax-a-boom' license. Meaning the Sax-a-Boom could be brought back into production if a manufacturer were interested.
The Sax-a-Boom was released as part of the Kawasaki Rockers Band.
Trivia[]
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https://londonjazzcollector.wordpress.com/2014/09/19/david-murray-flowers-for-albert-1976-india-navigation/
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en
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David Murray: Flowers for Albert (1976) India Navigation
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2014-09-19T00:00:00
|
Selection: Joanne's Green Satin Dress Artists David Murray (tenor saxophone) Olu Dara (trumpet) Fred Hopkins (bass) Phillip Wilson (drums). Recorded in concert at Ladies' Fort, NYC, June 26, 1976. Music I confess I am not big on the '70's New York Loft scene. That's not a criticism of it, that is a criticism of…
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en
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https://secure.gravatar.com/blavatar/9a26151a09d74cf317a93f0f4516d01313d99bf4c1d10b317a001cc310792efa?s=32
|
LondonJazzCollector
|
https://londonjazzcollector.wordpress.com/2014/09/19/david-murray-flowers-for-albert-1976-india-navigation/
|
Selection: Joanne’s Green Satin Dress
https://londonjazzcollector.wordpress.com/wp-content/uploads/2014/09/david-murray-flowers-for-albert-joannes-green-satin-dress.mp3
Artists
David Murray (tenor saxophone) Olu Dara (trumpet) Fred Hopkins (bass) Phillip Wilson (drums). Recorded in concert at Ladies’ Fort, NYC, June 26, 1976.
Music
I confess I am not big on the ’70’s New York Loft scene. That’s not a criticism of it, that is a criticism of me. Here in the UK a “loft” is somewhere you store boxes of stuff you really ought to have thrown away but can’t bring yourself to, for sentimental reasons. My loft contains a couple of boxes of Californian New Age vinyl and a pair of snakeskin platform shoes. The shoes still fit, but sadly, New Age no longer does.
New York Loft jazz exemplified by Murray and Dara is a pungent continuation of the free and avant-garde jazz traditions let loose by Coltrane, Coleman and Ayler, among others. Its the sort of music I feel I ought to like, but my heart belongs to something more tuneful and rhythmic. However, I am always willing to give anything a go – push the envelope, see if I warm to it. When this Murray tribute to Albert Ayler popped up in a shop, I thought, give it a try, pourquoi pas?
The selection Joanne’s Green Satin Dress has a catchy two horn theme and some nice playing from both Dara and Murray. It’s loose and spacious like the industrial space of its’ setting (Ladies Fort? Eh?) but with a certain backbone to the structure of the piece, making it the more accessible of the tracks. Others veer over the edge to my taste, I think I understand what they are trying to do, but I just don’t like it. However it’s not all about me, there are more than a few people who dig this stuff, Ayler, Loft Scene, and I think it deserves a posting, you can give your own viewpoint.
Vinyl: India Navigation IN-1026
An original pressing I assume, but we are past the era where these things are considered important. Still within the golden age of vinyl, it sounds good.
The more astute observer (pixel-peepers) may notice changes in label/runout photography, differentiating the run-out from the groove area, and better definition of the etchings. All part of the march of self-improvement – evidence-based forensics.
Collectors Corner
This search of the NY loft scene yielded not a lot of enjoyment for me. I might consign the record to my own loft along side the New Age albums, next to the platform shoes. See if it improves with age. If you are passionate about the NY Loft Scene, you can always put me straight.
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http://www.jazzlists.com/SJ_David_Murray.htm
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en
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David Murray discography
|
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This is a discography of David Murray albums and albums by other musicians that feature David Murray
David Murray was a founder member of the World Saxophone Quartet and plays on all their recordings. These recordings are listed on the World Saxophone Quartet page.
3D Family, David Murray, 1978, hat Hut HAT U/V
Tracks : In Memory Of Jo Mo Kenyatta, Patricia, 3D Family (For Walter P. Murray), P-O In Cairo (For James Newton In N.Y.), Shout Song (For Cecil Taylor)
Musicians : David Murray, Johnny Dyani, Andrew Cyrille
A double LP of music recorded live at Willisau Jazz Festival in September 1978. Subsequently reissued on hatARt and hatOLOGY.
Conceptual Saxophone, David Murray, 1978, Cadillac
Tracks : Feeling Stupid, Come Sunday, The Parade Never Stops, Home, Flowers For Albert
Musicians : David Murray
Recorded live in Paris in February 1978.
Organic Saxophone, David Murray, 1978, Palm
Tracks : Body And Soul, Chant Pour Une Nouvelle Afrique Du Sud, Ballad For Matthew And Maia Garrison, Hope / Scope, All The Things You Are, The Promenade Never Stops, Monica In Monk's Window
Musicians : David Murray
Recorded live in Paris in February 1978.
The London Concert, David Murray, 1979, Cadillac
Tracks : Jas Van (For James VanDerzee), Home (Part 1), Secret Of The Circle, Home (Part 2), Murray's Steps, Concion De Amor En Espanol (Spanish Love Song)
Musicians : David Murray, Lawrence "Butch" Morris, Curtis Clark, Brian Smith, Clifford Jarvis
Recorded live in London in August 1978.
3D Family, Vol. 1, David Murray, 1983, hat MUSICS 3516
Tracks : In Memory Of Jo Mo Kenyatta, Patricia Part 1, Patricia Part 2, P-O In Cairo (For James Newton In N.Y.)
Musicians : David Murray, Johnny Dyani, Andrew Cyrille
A single LP of music recorded live at Willisau Jazz Festival in September 1978. Originally released as part of a double LP (hat HUT U/V) in 1978. Subsequently reissued on hatARt and hatOLOGY.
A Sanctuary Within, David Murray Quartet, 1992?, Black Saint 0145
Tracks : Short And Sweet, Mountain Song, Return Of The Lost Tribe, Waltz To Heaven (Dedicated To My Aunt Helen Murray), A Sanctuary Within: Part I (Duo), A Sanctuary Within: Part II (Quartet), Most Of All, Song For New South Africa, Ballad For THe Blackman
Musicians : David Murray, Tony Overwater, Sunny Murray, Kahil El'Zabar
Love and Sorrow, David Murray Quartet, 1995, DIW
Tracks : You'd Be So Nice to Come Home To, Old Folks, Forever I Love You, Sorrow Song (For W.E.B. Dubois), A Flower Is a Lovesome Thing, You Don't Know What Love Is
Musicians : David Murray, John Hicks, Fred Hopkins, Idris Mohammad
Seasons, David Murray Quartet, 1998, Pow Wow
Tracks : Seasons, Spring Will Be A Little Late This Year, Spring Is Here, The Summer Knows, Indian Summer, September Song, Autumn In New York, September In The Rain, Snowfall, Let It Snow! Let It Snow! Let It Snow!
Musicians : David Murray, Roland Hanna, Richard Davis, Victor Lewis
Speaking in Tongues, David Murray, 1999, Justin Time
Tracks : How I Got Over, Nobody Knows the Trouble I've Seen, Jimane's Creation, Missionary, Don't Know What I Would Do, Amazing Grace, Blessed Assurance, A Closer Walk With Thee
Musicians : David Murray, Fontella Bass, Hugh Ragin, Jimane Nelson, Stanley Franks, Clarence 'Pookie' Jenkins, Ranzell Merritt, Leopoldo F. Fleming
Rendezvous Suite, David Murray & Jamaaladeen Tacuma, 2011, Jazzwerkstatt
Tracks : Rendezvous - The Opening, Hotel Le Prince - Movement 1, Theme On A Dream - Movement 1, Bring It On, How Sensitive, Theme On A Dream - 80's Downtown - Movement 2, Theme On A Dream - Who's That Ringing? - Movement 3, Hotel Le Prince - Movement 2, Yes We Can, Rendezvous - The Ending
Musicians : David Murray, Jamaaladeen Tacuma
The London Concert, David Murray, 2012?, Cadillac SGCCCCD 1008/9
Tracks : JasVan, Home, Secret Of The Circle, Nairobia, Flowers For Albert, Murray's Steps, Conciõn De Amor En Español
Musicians : David Murray, Lawrence "Butch" Morris, Curtis Clark, Brian Smith, Clifford Jarvis
Recorded live in London in August 1978. Some of this music was originally released by Cadillac on a double LP in 1979.
Live At The Lower Manhattan Ocean Club Volumes 1 & 2, David Murray, 1989, India Navigation
Tracks : Nevada's Theme, Bechet's Bounce, Obe, Let The Music Take You, For Walter Norris, Santa Barbara And Crenshaw Follies
Musicians : David Murray, Lester Bowie, Fred Hopkins, Phillip Wilson
Recorded live in New York City in December 1977. Originally released on two separate LPs in 1978 and 1979.
Solo Live, David Murray, 1997, CECMA 1001
Tracks : Both Feet On The Ground, B. C., Rag Tag, Sweet Lovely, Flowers For Albert, Body And Soul, We See, Untitled, Solo #1, Solo #2
Musicians : David Murray
Recorded live in Nyon in May 1980. Originally released on two separate LPs in 1980.
Cherry Sakura, Aki Takase / David Murray, 2017, Intakt 278
Tracks : Cherry-Sakura, A Very Long Letter, Let's Cool One, To A.P. Kern, Stressology, Nobuko, Blues For David, A Long March To Freedom
Musicians : Aki Takase, David Murray
Recorded at Studio SRF in Zürich on April 30, 2016.
Sentiments, Synthesis, 1979, Reality Unit Concepts
Tracks : Back From Where You Came, Flowers For Albert, Sentiments For The New World Patriots, A Woman Is Such A Lovely Being, Sentiments For The African Patriots
Musicians : Olu Dara, Arthur Blythe, David Murray, Ken Hutson, Rahsaan
Music For The Texts Of Ishmael Reed, Conjure, 1984, American Clave
Tracks : Jes' Grew, The Wardrobe Master Of Paradise, Dualism, Oakland Blues, Skydiving, Judas, Betty Ball's Blues, Untitled II, Fool-Ology (The Song), From The Files Of Agent 22, Dualism, Rhythm In Philosophy
Musicians : David Murray plays on most of the tracks of this album.
Vertical's Currency, Kip Hanrahan, 1985, American Clave
Tracks : A Small Map Of Heaven, Shadow Song (Mario's In), Smiles And Grins, Two Heartedly, To The Other Side, Chances Are Good (Baden's Distance), Make Love 2, One Casual Song (After Another), Intimate Distances (Jack's Margrit's Natasha), Describing It To Yourself As Convex, What Do You Think? That This Mountain Was Once Fire?, Dark (Kip's Tune)
Musicians : Kip Hanrahan, Lew Soloff, Richie Vitale, David Murray, Mario Rivera, Andrieau Jeremie, Ned Rothenberg, Peter Scherer, Arto Lindsay, Elysee Pyronneau, Steve Swallow, Jack Bruce, Ignacio Berroa, Anton Fier, Milton Cardona, Puntilla Orlando Rios, Frisner Augustin, Olufemi Claudette Mitchell
Days And Nights Of Blue Luck Inverted, Kip Hanrahan, 1987, American Clave
Tracks : Love Is Like A Cigarette, A Poker Game; Luck Inverts Itself; Four Swimmers, Gender, Marriage, American Clave, A Model Bronx Childhood, Ah, Intruder (Female), Lisbon; Blue Request, My Life Outside Of Power, Road Song, The First And Last To Love Me (2 December), Unobtainable Days; Unobtainable Nights
Musicians : Kip Hanrahan, Jerry Gonzalez, Lew Soloff, David Murray, George Adams, John Stubblefield, Charles Neville, Rolando Napolean Briceno, Mario Rivera, Pablo Ziegler, Peter Scherer, Leo Nocentelli, Alfredo Triff, Andy Gonzalez, Jack Bruce, Steve Swallow, Fernando Saunders, Ignacio Berroa, Robbie Ameen, Willie Green, Giovanni Hidalgo, Anton Fier, Milton Cardona, Puntilla, Carmen Lundy
Blues for Coltrane: A Tribute to John Coltrane, McCoy Tyner, 1988, Impulse!
Tracks : A Small Map Of Heaven, Shadow Song (Mario's In), Smiles And Grins, Two Heartedly, To The Other Side, Chances Are Good (Baden's Distance), Make Love 2, One Casual Song (After Another), Intimate Distances (Jack's Margrit's Natasha), Describing It To Yourself As Convex, What Do You Think? That This Mountain Was Once Fire?, Dark (Kip's Tune)
Musicians : McCoy Tyner, David Murray, Pharoah Sanders, Cecil McBee, Roy Haynes
Cab Calloway Stands In For The Moon, Conjure, 1988, American Clave
Tracks : The Author Reflects On His 35th Birthday, Loup Garou Means Change Into, 'Sputin, Nobody Was There, Medley: General Science / Ish / Papa La Bas, Running For The Office Of Love (Prelude), My Brothers, Running For The Office Of Love, Petit Kid Everett, St. Louis Women (Excerpts), Bitter Choclate, Beware: Don't Listen To This Song
Musicians : Kip Hanrahan, Olu Dara, Hamiet Bluiett, Lenny Pickett, David Murray, Eddie Harris, Don Pullen, Allen Toussaint, Elysee Pyronneau, Johnny Watkins, Leo Nocentelli, Steve Swallow, Fernando Saunders, Ignacio Berroa, Robbie Ameen, Frisner Augustin, Manenquito Giovanni Hidalgo, Milton Cardona, Bobby Womack, Clare Bathé, Diahnne Abbott, Grayson Hugh, Ishmael Reed, Robert Jason, Shaunice Harris, Tennessee Reed
Plays J.B., Cold Sweat, 1989, JMT
Tracks : Brown's Prance, Give It Up Or Turnit A Loose, It's A Man's World, I Got The Feelin', Brown's Dance, Showtime Medley : Funky Good Time/I Got The Feelin'/I Can't Stand It/Licking Stick/There Was A Time, Please, Please, Please, Try Me, Cold Sweat
Musicians : Craig Harris, Eddie Allen, Olu Dara (tracks 2 & 7), Kenny Rogers, Booker T. Williams, Arthur Blythe (tracks 2 & 3), David Murray (tracks 5 & 9), Brandon Ross, Fred Wells, Clyde Criner, Alonzo Gardner, Damon Mendez, Kweyao Agyapon, Kenyatte Abdur-Rahman (track 6), Sekou Sundiata (tracks 2 & 6)
Released on CD by Winter & Winter in 2002 with a different cover design.
Where You Lay Your Head, Bill Cosby And Friends, 1990, Verve Polygram
Tracks : Ursalina, Where You Lay Your Head, Mouth Of The Blowfish, Four Queens And A King, Why Is It I Can Never Find Anything in the Closet (It's Long But it's Alright)
Musicians : Bill Cosby, David Murray, Don Pullen, Harold Vick, Odean Pope, Harold Mabern, Sonny Bravo, Stu Gardner, John Scofield, Sonny Sharrock, Mark Egan, Al Foster, Jack DeJohnette
Silvershine, Andy Hamilton and the Blue Notes, 1991, World Circuit
Tracks : Andy's Blues, I Guess I'll Have to Change My Plan, You Are Too Beautiful, Old Folks, I Can't Get Started, Silvershine, Autumn Groove, Uncle Joe, Silvershine (Reprise)
Musicians : Andy Hamilton, Graeme Hamilton, Sam Brown, Ralf De Cambre, Ray 'Pablo' Brown, Johnny Hoo, Mark Mondesir, Andy Sheppard (track 1), Steve Williamson (track 1), Jean Toussant (tracks 1 & 8), David Murray (tracks 4 & 6), Orphy Robinson (tracks 1 & 5), Jason Rebello (track 7), Nana Tsiboe (track 6), Mamdi Kamara (track 8), Mick Hucknall (track 3)
Softly I Sing, Teresa Brewer, 1991, Red Baron
Tracks : In The Wee Small Hours Of The Morning, If I Had You, Teach Me Tonight, It's The Talk Of The Town, But Not For Me, Skylark, Blue Moon, Misty, Time After Time, Don't Blame Me
Musicians : Teresa Brewer, David Murray, Kenny Barron, Ron Carter, Grady Tate
Curves of Life, Steve Coleman and Five Elements, 1995, BMG
Tracks : Multiplicity Of Approaches (The African Way Of Knowing), Country Bama, The Streets, Round Midnight, Drop Kick Live, The Gypsy, I'm Burnin Up (Fire Theme)
Musicians : Steve Coleman, Andy Milne, Reggie Washington, Gene Lake, David Murray (tracks 2 & 7), Sub Zero (tracks 2 & 7), Black Indian (track 7), Koyaki (track 7)
Recorded live at the Hot Brass Club in Paris in March 1995.
The Colossal Saxophone Sessions, Various Artists, 1995, Evidence
Tracks : Devil's Island (Lee Konitz / John Zorn), Bamboo (Archie Shepp / David Murray), My Little Brown Book (Archie Shepp), Spoonin' (David Murray), In a Sentimental Mood (Lee Konitz / Frank Morgan / Donald Harrison), Footprints (Frank Morgan), Four (Donald Harrison), Tu-Way-Pack-E-Way (Lee Konitz / Frank Morgan / Dave Liebman / David Murray / Donald Harrison), Why Try to Change Me Now (Dave Liebman), Blues for JC (Phil Woods / Houston Person / Dave Liebman / Bennie Wallace / Steve Coleman / Craig Bailey), Blues for 52nd Street (Lee Konitz / Frank Morgan / Archie Shepp / David Murray / Donald Harrison / John Zorn), Like Someone in Love (Lee Konitz), Promptus (John Zorn), King Tut (Dave Liebman / Bennie Wallace / Steve Coleman), Bemsha Swing (Dave Liebman), Quasi Enni (Steve Coleman), Flamingo (Bennie Wallace), There Is No Greater Love (Houston Person), Goodbye Mr. Evans (Phil Woods), Blues for JC (Phil Woods / Houston Person / Dave Liebman / Bennie Wallace / Steve Coleman / Craig Bailey)
Antiquated Love, Özay, 1996, Basic
Tracks : Antiquated Love, Ancient Dancer, Intuitively, En Güzel Deniz, Without Rhyme Or Reason, I See Your Face Before Me, I Thought About You, Peaceful Heart/Gentle Spirit, Istanblue
Musicians : Özay, David Murray, Chico Freeman, D.D. Jackson, Kirk Lightsey, Billy Bang, Calvin Jones, Pheeroan AkLaff
Probably subsequently released in 2011 as David Murray & Chico Freeman with Özay.
Illadelph Halflife, The Roots, 1996, DGC / Geffen
Tracks : Intro, Respond/React, Section, Panic!!!!!!!, It Just Don't Stop, Episodes, Push Up Ya Lighter, What They Do, ? Vs. Scratch (The Token DJ Cut), Concerto Of The Desperado, Clones, Universe At War, No Alibi, Dave Vs. Us, No Great Pretender, The Hypnotic, Ital (The Universal Side), One Shine, The Adventures In Wonderland, Outro
Musicians : David Murray plays on one track of this album
Ode to the Living Tree, Andrew Cyrille Quintet, 1997, Evidence
Tracks : Coast To Coast, A Love Supreme: Acknowledgement And Resolution, Mr. P.C., Ode To The Living Tree, Dakar Darkness, So That Life Can Endure..., P.S. With Love, Midnight Samba, Water, Water, Water
Musicians : Andrew Cyrille, David Murray, Oliver Lake, Adegoke Steve Colson, Fred Hopkins, Mor Thiam (tracks 1 & 8)
Recorded in Senegal in December 1994. Possibly also released with the title African Love Supreme.
Paired Down Volume Two: Duo Collaborations, D.D. Jackson, 1997, Justin Time
Tracks : Catch It, One Of The Sweetest, Flute-Song, Pleasure And Pain, Peace Of Mind, Love-Song, Time, Interlude, Closing Melody
Musicians : D.D. Jackson, Ray Anderson (tracks 1, 8 & 9), Jane Burnett (track 3), Don Byron (track 7), Santi Debriano (track 2), Billy Bang (track 4), David Murray (tracks 5 & 6)
An Afternoon in Harlem, Hugh Ragin, 1999, Justin Time
Tracks : An Afternoon In Harlem, Not A Moment Too Soon, Braxton's Dues, The Moors Of Spain, Wisdom And Overstanding, In The Light At The End Of The Underground Railroad, When Sun Ra Gets Blue
Musicians : Hugh Ragin, David Murray (track 6 & 7), Craig Taborn, Jaribu Shahid, Bruce Cox, Andrew Cyrille (track 6 & 7), Amiri Baraka
Standards And Other Stories..., Sarah Morrow, 2002, RDC Records
Tracks : Intro, Leaving Home, Thoughts Of You, Anthropology (Bebop Medley), A Night In Tunisia, It's Getting Late Now (Lullaby For Dad), Do Nothin' Till You Hear From Me, Tisha's Dance (With Spideyman), Well You Needn't, You Stepped Out Of A Dream, Whims Of Chambers, Moanin'
Musicians : Sarah Morrow, Steve Lefebvre, David Murray, Jesse Davis, Victor Atkins, Clarence Seay, Donald Edwards, Anne Ducros
Bearcat, Ya Ya Fornier, 2003, Random Chance Records
Tracks : Bearcat, Voice Of The Saxophone, Dont Get Around Much Anymore, Live The Life, When The Monarchs Come To Town, Chant De La Montange, Armando, New York Nights
Musicians : Ya Ya Fornier, David Murray, Sweet Sue Terry (tracks 2 & 3), Rod Williams (tracks 1, 2, 3, 4 & 6), Craig Taborn (tracks 5, 7 & 8), Jaribu Shahid, Tani Tabbal (tracks 1, 2, 3, 4 & 6), Gerald Cleaver (tracks 5, 7 & 8), Asson, percussion (tracks 5, 7 & 8)
Rhapsodies, Anthony Brown's Orchestra, 2005, Water Baby
Tracks : Prelude To The Legacy Codes, Bread & Bowie (For Lester), Self Portrait In Three Colors, Rhapsody In Blue / American Rhapsodies: Exposition / Rumba / Recap / Gagaku / Scherzando / Andantino / Adagio / Taiko Trane / Finale, Take Me Out To The Ball Game, Tang, Comes Sunday, Anthem / Baile De La Orisha, Rhymes (For Children)
Musicians : David Murray plays on Bread & Bowie
Possible Universe (Conduction 192), Lawrence D. "Butch" Morris, 2014, Nu Bop NBR/SA Jazz 014
Tracks : Possible Universe...: Part One / Part Two / Part Three / Part Four / Part Five / Part Six / Part Seven / Part Eight
Musicians : Lawrence D. "Butch" Morris, Riccardo Pittau, Meg Montgomery, Joe Bowie, Tony Cattano, Evan Parker, David Murray, Greg Ward, Pasquale Innarella, Alan Silva, Jean-Paul Bourelly, On Ka'a Davis, Harrison Bankhead, Silvia Bolognesi, Chad Taylor, Hamid Drake
See You Out There, Dave Gisler Trio With Jaimie Branch And David Murray, 2022, Intakt 378
Tracks : Bastards On The Run, Can You Hear Me?, See You Out There, The Vision, Get It Done, Medical Emergency, What Goes Up..., High As A Kite, Get A Döner, Better Don't Fuck With The Drunken Sailor
Musicians : Dave Gisler, Raffaele Bossard, Lionel Friedli, Jaimie Branch, David Murray
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Top 10 Classic Jazz Alto Saxophone Players of All Time – bettersax.com
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en
|
https://bettersax.com/top-10-classic-jazz-alto-saxophone-players-of-all-time/
|
Who are the Greatest Alto Saxophone Players of All Time?
Today we are going to take look at my top 10 of the greatest alto saxophone players.
This list, in no particular order, are 10 of the greatest and most influential classic jazz alto saxophone players of all time. If you play the saxophone you should know these musicians and be familiar with their sound, style, and recordings.
Of course, some of you may feel that I have missed someone who really should be on this list. If so please let me know in the comments so I can include them in a best alto saxophonists part 2 down the road.
One of the most important yet overlooked components to getting better on the saxophone is listening and studying the history and recordings of the masters that laid the groundwork for everything that came after.
I hope this video can serve as a starting point for anyone beginning their exploration.
Charlie Parker A.K.A “The Bird”
Let’s get the obvious out of the way first since this list could not be possible without him. I’m talking about Charlie Parker, of course.
As far as the saxophone goes and lots of other instruments for that matter, the Bird is the father of bebop. The innovator, the creator, the instigator.
He is without a doubt one of the great musical geniuses of the 20th century so far ahead of his time if he were alive today his playing would still sound contemporary. It’s ironic that many musicians that came after him were accused of being Charlie Parker clones, when in reality, Bird’s playing is still unmatched.
As far as I know, this is the only existing live performance video of Bird playing.
They are playing the Tad Dameron composition “Hot House” which is a contrafact, a bebop melody over the chord changes to the Cole Porter tune “What is this Thing Called Love.”
The technique is ridiculous. Check out the efficiency of finger movement and how rounded his fingers are. When he plays the palm keys none of the other fingers move. He’s playing on his King Super 20 alto which is now on display at that the Smithsonian Museum of Black American Culture.
Notice he plays the middle D with the Eb palm key there to get a particular sound. This might make certain passages easier for those of you playing Charlie Parker transcriptions from the omnibook.
So for me that is a short yet perfect solo. I just wish we had more video of him playing live since there is so much to be learned from watching the masters.
Sonny Stitt
From 1956-1966, I count 68 albums released by Stitt mostly as a leader. There are dozens of others outside that 10 year period. It’s just a phenomenal amount of recordings and they are all killer. For me if I put on a Sonny Stitt track, it leads down a rabbit hole of binge listening that can last for weeks
So while Sonny Stitt had been criticized for mimicking bird I think that is unwarranted. First of all he clearly developed his own unique sound and style albeit inspired by Bird. But as the great Bob Mover once said to me, “if you don’t have a little bit of Bird in your playing you’re doing it wrong.”
Check out this live recording of Loverman from I think 1965. Again notice the impeccable finger technique, and how much mouthpiece he takes in. That’s one of his classic diminished scale licks.
Looks like he’s playing on a Selmer Mark VI with an Otto Link Super Tone Master mouthpiece.
Julian Cannonball Adderley
Cannonball is off in a different direction. There is still the link to Charlie Parker’s bebop language but he’s got a very distinctive sound with a lot of edge in it. He played on a NY Meyer and a King Super 20 alto saxophone.
Notice the heavy swing feel with his eighth notes and the very soulful style, which would eventually develop into what would be called soul jazz. Still very firmly rooted in bebop.
Check out his embouchure. That’s why of love these videos. you can see he’s got his bottom lip rolled in quite a bit. Also he doesn’t take as much mouthpiece in his mouth.
One of the all time great saxophone players in any style. I could listen to Cannonball all day long. You should check out his work with Miles Davis and his solo albums
Johnny Hodges
Known for his singing expressive tone, large bends, and wide vibrato – Johnny Hodges played lead alto with the Duke Ellington orchestra for almost his entire career from 1928 until 1970 (Except for a few years when he went solo).
Ellington wrote many compositions and arrangements that featured Hodges unique alto sound as a soloist. Like this version of “I’ve Got it Bad.”
He get’s that long bend, by slowly opening the E palm key. He’s playing on his Buescher Top Hat and Cane model alto in the video and what looks like a Berg Larson mouthpiece to me.
I love watching these videos.
Benny Carter
Benny Carter was a contemporary of Johnny Hodges and while there were some similarities in their playing style, I can broadly generalize by saying Carter was more of a technical improvisor, where Hodges was more of an emotional one.
Benny Carter was a prolific composer and arranger who also played the trumpet.
In the video he’s playing over the standard Indiana which are key changes for Charlie Parker’s Contrafact “Donna Lee.”
Jackie McLean
Jackie McLean is one of the most important alto saxophone players in the history of jazz. His career spanned 5 decades of prolific recording and performing as not only a leader, but also as a sideman on some of the most iconic jazz records with many of the giants of the art form.
He is considered an early pioneer of what is called hard-bop. Bebop evolved into 2 distinct directions in the mid 50’s – hard bop and cool jazz. While cool jazz had more of a western classical music influence, hard-bop was very much black American music.
Unfortunately I couldn’t find an older video of Jackie performing live, but the one I included is from 1988 with is son on tenor. While Jackie McLean was very firmly rooted in the bebop tradition, he later developed his playing into a more avant garde style.
In this solo he is playing a lot of tensions like whole tone scale patterns and then masterfully resolving them to typical blues language.
Lee Konitz
Lee Konitz is another highly influential and prolific saxophonist who’s career spanned seven decades. He’s one of the few to have developed a truly unique improvisational style. Here he is playing another contrafact called “Half Nelson” which is based on the chord changes to “Lady Bird.”
Konitz was best known for his cool jazz recordings, he was on the iconic Birth of the Cool album that featured Miles Davis in 1949. While many jazz improvisors have their own vocabulary that gets reused a lot, when you listen to Konitz it always sounds like something new and truly improvised.
Paul Desmond
Best known for his composition “Take 5,” recorded with the Dave Brubek quartet, Paul Desmond’s alto sound is characteristic of the Cool school of west coast jazz in the 60’s.
His sound is on the darker end of the spectrum and his articulation is very light and breathy. His playing is very thoughtful and melodic. The word delicate comes to mind for me. Clearly influenced by Lee Konitz, Desmond’s solos are studies in thematic development.
Listen to how he takes an idea and plays it several ways before moving onto another melodic idea and repeating the process.
Phil Woods
Night in Tunisia. This comes from a recording in Paris from 1960. Phil Woods carried on the bebop tradition of Charlie Parker. You can hear a lot of that influence in the sound and phrasing. Again you can see impeccable finger technique and hear the swing feel. He’s always a very creative improvisor.
He actually married Charlie Parker’s widow and outside of the jazz world he is best known for his solo on Billy Joel’s Just the way You Are where he blows some killer bebop lines on a pop tune with a samba groove. That’s the 1970s for ya.
Listen to him sneak a flat 5 in on that solo so smoothly. Love it.
Ornette Coleman
Ornette Coleman is the champion of individuality and doing your own thing regardless of what other people think or say. So whether or not avant garde music speaks to you, his commitment to innovation should serve as inspiration to anyone who’s ever had an original idea.
His music has been deeply controversial from the beginning, but by removing the elements of form and strict harmony from his compositions, he managed to create a more truly improvised music than traditional jazz is. So there’s that.
He was known for playing a white plastic Grafton saxophone but in this clip he’s playing a white lacquer Selmer Mark Vi with a low A key.
I recommend listening to Ornette Coleman with an open mind and without any expectations. You just may find it very liberating. In any case, he has had an enormous influence on music and saxophone players.
Interested in more content with great alto saxophone players? Check out my “Sax Study with Jaleel Shaw.”
Also be sure to follow BetterSax on Facebook, Instagram, LinkedIn, and YouTube to stay up to date with us for news, giveaways, and other saxophone tips and tricks.
And don’t forget to check out the BetterSax Podcast! Listen below.
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https://www.freshsoundrecords.com/georges-arvanitas-david-murray-albums/54930-georges-arvanitas-presents-the-ballad-artistry-of-david-murray-tea-for-two.html
|
en
|
Georges Arvanitas Presents... The Ballad Artistry of... David Murray · Tea For Two
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Buy Georges Arvanitas Presents... The Ballad Artistry of... David Murray · Tea For Two by Georges Arvanitas & David Murray on Blue Sounds Store. Released by Fresh Sound 5000 Series.
|
en
|
/img/favicon.ico?1718181534
|
Blue Sounds
|
https://www.freshsoundrecords.com/georges-arvanitas-david-murray-albums/54930-georges-arvanitas-presents-the-ballad-artistry-of-david-murray-tea-for-two.html
|
This relaxed duo performance presents a delightful challenge for the listener and features genuine musical sensitivity and an honest jazz approach to playing ballads. David Murray projects the more affectionate and sensitive side of his style with his distinctive full tenor soundwhich throbs deeply and slowly tears when playing this classic material. Georges Arvanitas displays the skill and feeling he had for playing behind a soloist as well as his emphasis on the melodic treatment of the tunes while never being superficial or merely tricky. His improvisations are tasteful, relaxed, subtle, essentially swinging, and genuinely bluesy on “Blues for Two.” It is this mature approach to jazz that sets Georges Arvanitas apart, and also one of the reasons why his piano is so enjoyable to listen to. The title “Tea for Two” couldn't be more descriptive of this excellent and unique session.
Press reviews
"Tenor-saxophonist David Murray has been a giant of the avant-garde since the late 70s, whether playing unaccompanied solos, working with the World Saxophone Quartet, McCoy Tyner, and some of his most adventurous contemporaries. Rather than take John Coltrane as his musical role model, Murray's big tone has always been more influenced by Ben Webster and Paul Gonsalves.
This particular project from the Fresh Sound label is quite a bit different than most of Murray's many recordings. Originally designed in 1990 to be a set of duets with pianist Tete Montoliu (who became unexpectedly ill shortly before the recording), it instead teams Murray with the versatile French pianist Georges Arvanitas. Arvanitas, who passed away in 2005, was a bop-based player who along the way recorded with such Americans as Pepper Adams, Cat Anderson, Jimmy Archey, Chet Baker, Don Byas, Bill Coleman, Buck Clayton, Sonny Criss, Ted Curson, Eddie “Lockjaw” Davis, Bud Freeman, Dexter Gordon, Coleman Hawkins, Barney Kessel, Yusef Lateef, Anita O’ Day, Stuff Smith, and Ben Webster; quite a discography!
For this outing, Murray and Arvanitas perform seven ballads and Arvanitas' 'Blues For
Two.' The tenor plays quite melodically, always keeping the theme in mind and only
occasionally hinting at going outside. He shows a great deal of self-restraint on such
songs as 'Polka Dots And Moonbeams,' 'Body And Soul,' 'I'm In The Mood For Love,'
and the only medium-tempo song, 'Star Eyes.' The pianist is very much at home in
this setting, playing with taste and swing while being in a mostly supportive role.
The Ballad Artistry Of David Murray is a delight. Who would have thought that Murray
would be caressing the melody of 'La Vie En Rose?'"
—Scott Yanow (March, 2022)
Los Angeles Jazz Scene
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https://www.britannica.com/dictionary/saxophonist
|
en
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Saxophonist Definition & Meaning
|
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[
""
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SAXOPHONIST meaning: someone who plays the saxophone
|
en
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/favicon.ico
|
https://www.britannica.com/dictionary/saxophonist
|
: someone who plays the saxophone
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https://artmusiclounge.wordpress.com/2024/07/12/david-murrays-francesca/
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David Murray’s “Francesca”
|
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[
"The Art Music Lounge"
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2024-07-12T00:00:00
|
FRANCESCA / Francesca. Ninno. Shenzhen. Come and Go. Am Gone Get Some. Free Mingus. Cycles and Seasons (David Murray). Richard’s Tune (Don Pullen) / David Murray, t-sax/bs-cl; Marta Sanchez, pno; Luke Stewart, bs; Russell Carter, dm / Intakt CD 422 David Murray is, in my estimation, the most diversely talented of the members of the…
|
en
|
https://s1.wp.com/i/favicon.ico
|
THE ART MUSIC LOUNGE
|
https://artmusiclounge.wordpress.com/2024/07/12/david-murrays-francesca/
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FRANCESCA / Francesca. Ninno. Shenzhen. Come and Go. Am Gone Get Some. Free Mingus. Cycles and Seasons (David Murray). Richard’s Tune (Don Pullen) / David Murray, t-sax/bs-cl; Marta Sanchez, pno; Luke Stewart, bs; Russell Carter, dm / Intakt CD 422
David Murray is, in my estimation, the most diversely talented of the members of the former World Saxophone Quartet; at least, I can tell you that I have more recordings by Murray in my collection that me made after he left that group than any of the others, good as they were. And the reason is that he is, quite simply, a much more creative and interesting jazz composer than the others. I was first hooked on his music many years ago, in another century, when I heard his album 3D Family, and I’ve been a Murray fan ever since.
On this, his latest recording, he is joined by an exceptionally talented quartet of musicians who understand his aesthetics and are thus sympathetic to his approach. Evaluating Murray strictly as a saxophonist, I would also say that he had, and still has, the most interesting timbre of the WSQ members: it is simultaneously dark, rich, and biting, sort of a cross between Coltrane, Coleman Hawkins and Illinois Jacquet; and interestingly, his style of improvisation combines elements of these three tenor players as well. As a result, you never know where a Murray solo is going to go, but the journey is always interesting and rewarding. He is, I’d also add, a constructionist, by which I mean that all of his solos have direction and form; even when he goes off the deep end with “sheets of sound” or high-register squeals, the notes are always part of a larger pattern that, when you analyze it, makes logical musical sense. And that is another reason why I value him so highly as an artist, and always will as long as both of us are still around and active.
Nor am I exaggerating when I call this group exceptionally talented. Although I admit to not having heard bassist Luke Stewart before, I was utterly bowled over by his playing. He has a big, rich sound, similar to Charles Mingus, much of Mingus’ imagination but an even wilder sense of imagination when he solos…sort of a hybrid of Mingus and Eddie Gomez with a touch of Thomas Fonnabæk, the great European modern jazz bassist whose work I have also praised on this blog. Nor is pianist Martha Sanchez far behind Murray in her wildly creative solos, which skirt tonality while still retaining a sense of structure. And on top of it all, this quartet really swings, even when, as in the final chorus of the opener, bass and drums are fracturing the beat behind Murray, at least until his coda which is played a cappella and is every bit as good as the classic series of cadenzas that Bunny Berigan played on I Can’t Get Started nearly a century ago. That’s just how good Murray still is. He never seems to run out of ideas and seldom, if ever, repeats himself.
The third reason I value Murray so highly is that, even in his wildest outbursts, he always swings, thus he never loses touch with one of the basic elements of jazz. This is especially evident in Ninno, which swings hard from start to finish. If I have any caveat about this band, it is that drummer Russell Carter sometimes overpowers the others with his sound, fracturing the beat in a way that is sometimes interesting but also sometimes distracting, but that is a common style among modern jazz drummers.
Another small caveat that I have is that Murray is simply such an overpowering presence that no matter how good his bandmates are, he always seems to dominate the proceedings. You might say that I feel that way because he is a horn player with an exceptionally powerful tone, which is certainly true, but I would counter that it’s also because he dominates the solo space. Sanchez’ second and third choruses on Ninno are nearly as wildly creative as Murray’s, but her range of dynamics simply isn’t as wide or as arresting as his. Carter takes an excellent drum solo on this one, showing off his multifaceted technique, but to be honest his solo goes on a bit too long and repeats certain licks.
Yet another thing I liked about this recording is the way it was recorded, with the whole band being close-miked in such a way that they are always well-balanced without resorting to too much reverb. This gives the quartet a strong audio presence; they sound as if they are right in your living room. On Shenzen Murray switches to bass clarinet and proves once again what an absolute master of reed instruments he is. In addition to playing in the hard, loud style pioneered by Eric Dolphy on this instrument, he also pulls back on the volume by reducing his breath pressure to just a little above a whisper, which produces the loveliest sound in the middle range I have ever heard on that instrument. His extended solo uses a great many 16th notes in what is basically a medium tempo, yet his control of the instrument is always impeccable. (In addition to all of his other talents, I get the impression that Murray would make a phenomenal teacher to young reed players. I personally feel that he is one of the greatest technicians on his instruments I’ve ever heard, and in his career of nearly a half-century he hasn’t lost an iota of control.)
Come and Go is one of the wildest, most outré pieces on the entire album, written in a cut 5/4 tempo with Murray flying all over his instrument in a solo of almost indescribable brilliance yet also with a few (not many) chaotic moments. And this is clearly one of those tracks where Sanchez, for all her brilliance, simply cannot match the leader because of his wider range of both dynamics and color—but she’s in there pitching. Following her solo, for instance, Murray returns with intense high-register screams before coming back down to his Coleman Hawkins-like finale.
Am Gone Get Some is one of the most complex pieces on this album, harking back to Murray’s creative days of the 1980s and ‘90s. It has a quirky sort of rhythm in the opening theme statement, and for once Murray gives way to Sanchez to play the first solo, which is brilliant as usual for this excellent pianist. She uses a full two-hands style with perfect interaction between the two, playing not just chords but alternate themes, slower in tempo but extremely varied in where she puts the stress beats. This set us Murray to try to equal her. Of course, since his tenor sax can just play one line he cannot play accompanying lines, but he doesn’t really try to top her. He just plays his own way for three choruses, each one building on what the previous chorus had created, using a slightly different style for each of them. He really is an amazing musician!
Then, finally, a ballad—just one!!! What a refreshing idea! This is Richard’s Tune, written by Don Pullen, the former pianist with Charles Mingus’ Changes group of the 1970s. After a lovely out-of-tempo intro by Murray on bass clarinet, he plays the theme, which alternates between 4/4 and 3/4. Neither he nor Sanchez has any trouble with the shifting meter; a piece of cake! Stewart, who hadn’t been given solo space over the previous few tracks, makes up for lost time with another brilliant statement. And, naturally, Stewart plays the opening few bars of Free Mingus, another sort-of ballad but not a very slow one with a memorable melodic line, showing once again the breadth of Murray’s talent, although the tune really didn’t put me in mind of Mingus. It’s more lyrical and doesn’t have the odd tempo shifts that Mingus created so often and easily.
We end this set with Cycles and Seasons, a Murray piece that alternates between a sort of quasi-Latin beat and a straight four. It’s taken at a medium tempo but still swings; I don’t think Murray is capable of not swinging. But the whole quartet sounds loose and relaxed on this one, everyone gives their best, and a good time is had by all.
This is quite an album, but then again, when I see David Murray’s name on anything I expect the very best—and he usually delivers.
—© 2024 Lynn René Bayley
Follow me on Facebook (as Monique Musique)
Check out the books on my blog…they’re worth reading, trust me!
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https://secondhandsongs.com/artist/39071/works
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Songs written by David Murray
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David Murray covered China Doll, Samson and Delilah, Estimated Prophet, Giant Steps and other songs. David Murray originally did China Doll, Samson and Delilah, Estimated Prophet, Giant Steps and other songs. David Murray wrote The Hill, Flowers for Albert, Ballad for the Black Man and M'Bizo.
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https://secondhandsongs.com/artist/39071/all
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Discover The Original
SecondHandSongs is building the most comprehensive source of cover song information.
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https://www.askart.com/artist/David_Murray/11143208/David_Murray.aspx
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David Murray
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254 askART artist summary of David Murray. David Murray (1849 - 1933) was active/lived in United Kingdom. David Murray is known for Painting.
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https://www.askart.com/artist/David_Murray/11143208/David_Murray.aspx
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Please note: Artists not classified as American in our database may have limited biographical data compared to the extensive information about American artists.
Creating biographies or improving upon them is a work in progress, and we welcome information from our knowledgeable viewers.
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"The artist John Doe is the quintessential master of light, color, and scene. His brilliant canvases are full of feeling, where love can be felt through all the senses. Through his skillful brushwork, and drawing from his life experiences, he creates images where the viewer feels he has truly become one with the subject. Doe's paintings are sure to be sought by the discriminating collector. I/we have numerous spectacular works by Doe available for sale."
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https://schoolofmusic.ucla.edu/event/david-murray-in-concert/
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David Murray in Concert
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2024-01-08T23:58:11+00:00
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Jazz saxophone great David Murray will be featured in a solo concert.
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The UCLA Herb Alpert School of Music
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https://schoolofmusic.ucla.edu/event/david-murray-in-concert/
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Jazz saxophone great David Murray will be featured in a solo concert. He will also hold an audience Q&A at 3 p.m.
Since he arrived in NY in 1975, David Murray established himself as one of the prominent saxophone players and leaders of jazz. He has released over 200 albums under his own name, working with the likes of Max Roach, Randy Weston, Pharoah Sanders, McCoy Tyner, Taj Mahal, Mal Waldron, Amiri Baraka, Jerry Garcia, Doudou N’daye Rose, Cassandra Wilson, Jason Moran, Macy Gray, Omara Portuando, Saul Williams, Vijay Iyer, Quest Love, Black Thought, and Gregory Porter to name a few. He is also a founding member of the groundbreaking World Saxophone Quartet which toured and recorded for 40 years.
As well as being a well-known bandleader, he is a noteworthy composer and arranger providing memorable melodies and harmonies. His approach to improvisation is instantly recognizable. Even in its freest flights, he acknowledges the gravity of a tradition he honors more than most, combining all the influences he grew out of: gospel, jazz, free/avant-garde jazz, rhythm’n blues, R&B and, in his associations with writers, poetry. The great Cecil Taylor compared him to his greatest predecessors who had signature sounds: “You stick your ear in the door, you know it’s David!”
David Murray goes down as a worthy successor for some of the biggest names in jazz, and he is now contributing to the rise of many young talents acclaimed by the critics. His new quartet album will be released in May 2024: Luke Stewart on bass, Marta Sanchez on the piano, and Russell Carter on drums!
“David Murray, the master saxophonist who has reconciled the whole history of jazz tenor, from swing to free, during a wildly prolific career.” NYTimes
“Several of his recordings are among the benchmark achievements in the postmodern era and others attest to a consistency that is rare in any era […] No musician personifies better than David Murray the dilemma of reconciling jazz’s family values and the claims of autonomy.” Gary Giddins
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https://www.whatisbiotechnology.org/index.php/people/summary/Murray
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Biographical summary
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Profile: David Murray - founded Sera-Lab, the 1st company to commercialise monoclonal antibody reagents that paved the way to their widescale uptake for research and clinical applications.
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WhatisBiotechnology.org
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https://www.whatisbiotechnology.org/
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David Murray
Born 21st October, 1922 (Poole, Dorset, United Kingdom) - Died 11th October, 2004 (La Garde-Freinet, France)
Founder of Sera-Lab, the first biotechnology company to commercialise monoclonal antibodies, Murray's entrepreneurial efforts paved the way to the wide-scale adoption of the technology in research and its clinical application.
Family
Murray was the son of English-born parents who preferred to work on the stage than rear children. The middle of three children, Murray and his sisters were cared for by their paternal French grandmother from an early age. When Murray was five his parents moved to Belgium where his father took over the management of a successful theatre restaurant. Shortly after Murray's grandmother took him and his sisters to Belgium where they were housed separately from their parents in a cafe/bar and received only a pittance to live on. The family's finances improved when Murray's father moved the family back to London in the early 1930s to start his own night club. The nightclub, established in 1933, was known as Murray's Cabaret Club. In 1963 the club became infamous for its entanglement in the Profumo affair. Murray worked with his father at Murray's until 1968. Murray married four times. Two of his wives, Lynette and Jenny, were major partners in the business he later established supplying scientific reagents that would prove crucial to the rise of biotchnology.
Click here for more pictures from the life of David Murray
Education
Murray was first educated by nuns in Belgium. When Murray was 10 years old his family returned to England and he attended a local co-education school. A year later Murray went to St. Augustine's College in Walton-on-Thames, but the school fell into disrepute so he was then sent to Seabrook Lodge, a preparatory school in Folkestone. At 13 Murray began boarding at Dover College, where he continued till the age of 16 when the Second World War broke out. After the War Murray started a DSc degree in biology at the University of Eastern California in Orlando, Florida. Six months into his degree, however, he was recalled to London to help rescue his father's nightclub from financial disaster and Murray was forced to continue his degree by correspondence.
Career
Murray's first employment was at Ardente Acoustic Laboratories, a company designing and installing hearing aids and intercommunication sets. He was granted this work at the age of 16 as a result of family connections. Murray worked his way from the position of apprentice through to service engineer at Ardente. Among the tasks he was expected to take on was installing equipment for the Air Ministry and Admiralty, then of national importance to the war effort. When 18 Murray joined the RAF, serving first in the Special Investigations Branch and then the Special Operations Executive for which he acted as a saboteur in occupied Europe. After the War Murray worked as the general manager for his father's nightclub, steering the club through the upheaval of the Profumo affair. In 1968 Murray left the club penniless after a rift with his father and set up Ranch Rabbits, a small-scale business supplying the first purpose-bred herd of animals for laboratory research. In 1971 he founded Sera-Lab to provide sterile filtered cell culture serum, custom antibodies, plasma and blood products to the scientific community and pharmaceutical companies. Murray continued running Sera-Lab and Ranch Rabbits until his retirement in 1989, when the two companies were bought by Porton International.
Achievements
Murray was at the forefront of advancing the commercial development of scientific reagents essential to advancing biotechnological research. This included the provision of high quality foetal bovine serum, a vital additive for tissue culture. Long before other scientists had fully understood the significance and application of monoclonal antibodies, Murray also took the first steps to establish a supply of monoclonal antibodies for the research community. This was based on a collaboration with Milstein, established in early 1977. By 1980 his company Sera-Lab had one of the most comprehensive collections of monoclonal antibodies in the world and was a lynchpin in both sourcing and maintaining monoclonal antibodies for researchers at a time when most laboratories had little access to the technology.
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Rock & Roll saxophonist, interview and article
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2020-04-15T10:10:27+00:00
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In 1981 Nick pentelow interviewed Lee Allen while he was in the UK recording with Pete Thomas at the 100 Club London.
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Taming The Saxophone
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https://tamingthesaxophone.com/saxophone/players/saxophone-lee-allen
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Lee gave me my biggest break when he asked me to guest with the great Fats Domino band. I was in the support band on tour in Europe and I used to sit by the side of the stage watching Lee and Herb Hardesty. One day he asked me up on stage to do a duet solo with him, then a few years later Fats asked me to join the band on a European tour. 6 piece horn section – no rehearsal.
The first night on stage Fred Kemp, who was standing next to me in the section, played my part towards me. The next night I was on my own and he yelled at me if I got it wrong! The biggest thrill was taking the extended”duet” solo on Jambalaya, in which Lee and I “traded” 8 bar phrases. This was an incredible saxophone leson, Lee would repeat what I played and embellish it, I had to try to do the same with his phrases.
I remember Lee was always very friendly and encouraging to any young sax players, always finding time to talk to them. It was fascinating listening to stories about recording with Little Richard, or his early gigs in the south when he played for strip shows – he spoke about a gauze curtain between the band and the strippers so that the white customers could not see that there was black band on stage with white naked women.
In the studio he was terrific, always blew a great solo every take. One time the engineer lost a beautiful first take solo. Everyone was yelling at him except Lee who calmly said, “no problem I’ll just blow another one…”
During the time I knew him he used a Selmer D mouthpiece (the stock one that Selmer used to provide with the horn, not the more expensive Soloist model) – however he sounded the same on whatever he used. The guys in the band used to say he had an amplifier inside him, his sound was so big. And entirely unique.
Listen to those solos on the early Little Richard hits, but if possible try to find some of his earlier recordings with Paul Gayten – shades of Ben Webster! Later stuff with Dr John (Gumbo).
You will hear how it’s possible to say an awful lot with very few notes. He had a knack of making simple melodic phrases right on the beat with no syncopation sound as funky as anything. His solo on “Walking With Mr Lee” is a perfect example of how to make a solo just keep on building in intensity.
The name “Walking with Mr Lee” comes from Lee’s habit of walking (more of a stomp as excitement builds) on the spot while playing. Perhaps this has some connection to his amazing ability to state the beat, his phrasing was so in the pocket he was almost part of the drum kit. When he did some gigs and recording with my band in London he insisted on standing with the drummer.
I was with Lee in LA a week before he died of lung cancer, and met his wife “Tiny” who was bringing him home cooked meals into the hospital every day. I was in the process of getting legal help for him to get royalties for his music which he never received, however I’m sad to say I was too late.
by Nick Pentelow
First published by Saxophone Journal. Unedited original interview with Lee Allen and later additions published here with the kind permission of the author, Nick Pentelow.
How do you get to speak to your hero and assail him for three hours with the kind of trivial questions that heroes surely get asked every day?
The answer is: you become a music journalist.
This was the career swerve I took when I was introduced to Lee Allen by saxophonist Pete Thomas at a recording session in London, in 1981. It meant that I had a legitimate reason for interrogating someone who was a major influence on my own tenor playing. I would be able to ask mundane questions about his time in New Orleans, his music and his saxophone. Maybe, if his eyes didn’t become too glazed, I would be able to ask him what mouthpiece he used!
For recording this golden information I used Sony’s new invention, the ’Stowaway’ Walkman. After buying a bottle of whisky, myself and another Lee Allen fan, Den Hegarty, called round to his hotel room where we were made welcome by an affable, smiling and as it turned out, very willing interviewee.
As I switched on my new gadget, he sipped a glass of whisky and spoke in his own sagely way about the music scene in 1950’s New Orleans, his tenor saxophone and the pitfalls of being a sideman.
Born in Pittsburgh, Kansas in 1926, he grew up in Denver, Colorado, and came to New Orleans on an Athletics scholarship at the age of 17. By the late forties, he knew most of the local musicians and says that he ’worked with just about everybody at this time’.
Around 1949-50, with the help of people like Al Young (a boxing promoter / talent scout who gave a lot of black musicians their first opportunity to record) the recording scene in New Orleans was gaining momentum.
Lee Allen and fellow saxophonist Alvin Tyler co-led the Cosimo Matassa studio band, which was responsible for so many hit records and the subsequent boom in the recording industry in New Orleans. ’After it started’ Lee Allen explains, ’other recording companies from New York, Los Angeles-all over-liked the New Orleans sound they were hearing on the records. So they would bring their artists down to Cosimo’s studio. People like Little Richard, Bobby Charles and Frankie Ford’.
Mac Rebennack, alias Dr. John, actually attributes the success of Little Richard to sidemen Lee Allen and Alvin Tyler (Baritone) saying that it was they who ’put that sound on him’. And Fats Domino’s repertoire would sound very different without the weight of the saxophone section and the solos of Lee Allen or Heb Hardesty.
Allen himself said: ’80% of the records that came out in the fifties were head arrangements done in the studio. All that Little Richard stuff? That’s Alvin Tyler and I…and Earl Palmer (drums). Same on Fats’ stuff too’.
With the recording, touring with Fats, and his own gigging band, work during this time was plentiful, but according to Lee, didn’t pay much, so in 1956 he accepted an offer to work as an A&R man for the New York record labels Herald and Ember. It was while he was working for these companies (he was responsible for the recording of Tommy Ridgley and Lee Dorsey) that somebody suggested to Allen that he make his own record. And no-one was more surprised when ’Walking with Mr. Lee’ reached No. 54 in the billboard charts than Mr. Lee himself: ’ I never had it in my mind I was going to be a front star. Six weeks later I got a call to go on ’Dick Clarks Bandstand’- where it stayed No.1 for six weeks’.
So the following three years were taken up by touring with his own band. A sideman-turned-bandleader! An experience on which he reflects with a furrowed brow and a little reticence: ’much responsibility, a travelling band. I just got fed up with it and went back with Fats from 1960-’65’.
And five years with Fats meant steady work and some security at a time when the New Orleans music scene, with the help of the Beatles earthquake, was declining. Independent record companies were moving out of town. Musicians too, moved to the studios of New York, Los Angeles or the home of budding Tamla Motown, Detroit.
Eventually, after tiring of the road, Lee left Fats again and followed his friends to Los Angeles, where he lived and worked up until his death in 1994.
At first Lee found the studio network in Los Angeles difficult to break into. Musicians he’d known in New Orleans seemed to be too busy to help or were looking for work themselves. But saxophone player Clifford Scott put some jobs Lee’s way and so did Dr. John. Lee had known Dr. John since he and fellow piano players Alan Toussaint and James Booker were schoolboys hanging around Matassa’s studio, and now he invited Lee to play on his legendary ’Gumbo’ album.
In 1972 I did the debut gig with ’70’s pop band ’Wizzard’ at the Wembley Rock and Roll Festival. From what I remember, some of the headliners were Jerry Lee Lewis, Bill Haley, Little Richard and Chuck Berry.
I enjoyed standing a few feet away watching all these people. But two things in particular stick in my mind from that day: firstly, getting hit on the head by a flying coke bottle, and secondly the sax player with Little Richard. His effortless rhythm and blues made a deep impression on me.
I hadn’t been able to put a name to this sax player, until halfway through this interview. Surprisingly, I had been witnessing one of Lee’s first live gigs with Little Richard, having previously only ever worked with him in the studio.
At the time of this interview Lee Allen was back with Fats Domino again. When he wasn’t touring with Fats, then he was back home hustling gigs for either one of his two small combos. With one he played Rock and Roll, the other Jazz.
“Every side musician has this to go through. Small gigs- big gigs. It’s either that or get a 9-5 job. We all understand that when it comes to eating!”
Stark words from my sideman hero. I realise, that in spite of playing and contributing ideas to classic, seminal R&B records, he has exactly the same worries as the rest of us sidemen,
Influences and equipment
For a first generation Rock & Roll saxophone player such as Lee Allen, the Jazz inherent in his playing is obvious.
So whom did he draw on as a young saxophone player?
He mentions the familiar triumvirate of Coleman Hawkins, Ben Webster and Lester Young. Then he talks about the Texans; Illinois Jacquet, Arnett Cobb and especially Joe Thomas of the steaming ’Jimmie Lunceford Big Band’. “That’s where I got the growl from”, he says.
The interview was now hurtling towards the inevitable question: the question you always want to ask certain players but avoid because you don’t want to start a yawning epidemic. And so it was, that in a brown, London hotel room, sipping whisky and under the guise of interviewer, I broached the immortal question:
“So. What mouthpiece are you using?”
“I used to use a Berg Larson 120/0 (wide tip opening, brightest tone chamber), but then I had my saxophone stolen-so I went to Mannys music store and said I needed a mouthpiece quick. And I fished around this box of old mouthpieces and guess what I’m on now? A Selmer (D). That’s hard rubber-I don’t like that cold metal in my mouth.”
And the saxophone itself? “On all those recordings I used a Beuscher 400. But I had it stolen and now I’m a Selmer man (Mk V1)”,
On the subject of tone, Lee adamantly states:” Your tone depends upon yourself! When I was starting out I used to practice 3 hours a day. I’d spend an hour just holding one note and getting as much as I could out of it, keeping the same level on that note. When my note started to bend or I gave out of air, I’d stop and go back to the beginning.”
“So many guys were anxious to get to playing fast. They forgot about what that horn was supposed to sound like”.
I believe the last paragraph contains the essence to Lee Allen’s R&B tenor style, which is sparing, has air between the phrases and has the quality of timbre, which tells the listener: ’trust me’. It confidently states its intention. The right note in the right place. It is a style, which because of its deceptive simplicity could easily baffle a student of be-bop.
©1981 Nick Pentelow
Lucille
Tough Lover (Etta James)
Plus many many more
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https://theinfidelsjazz.ca/event/kahil-elzabar-david-murray-at-pyatt-hall/
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Kahil El'Zabar & David Murray at Pyatt Hall
|
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2024-05-07T22:17:43+00:00
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This is the very first Vancouver duo performance of Kahil El'Zabar & David Murray. These Jazz legends have been collaborating together for over 40 years, and have performed together all over the world to sold out audiences.
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en
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The Infidels Jazz
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https://theinfidelsjazz.ca/event/kahil-elzabar-david-murray-at-pyatt-hall/
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This is the very first Vancouver duo performance of Kahil El’Zabar & David Murray. These Jazz legends have been collaborating together for over 40 years, and have performed together all over the world to sold out audiences.
Sir Kahil El’Zabar, was Knighted by the Council General of France for his Global contributions to the Arts. He has performed with luminaries like Dizzy Gillespie, Cannonball Adderley, Pharoah Sanders, Nina Simone, Stevie Wonder, Archie Shepp, Eddie Harris, Donny Hathaway, Paul Simon, Ntozake Shange, Nona Hendryx, Neneh Cherry, Lester Bowie, Hamiet Bluiett, Malachi Favors, Billy Bang, Gene Ammons, to name a few. He is also the former chairman of the Association for the Advancement of Creative Musicians (AACM), and has recorded on over 100 acclaimed projects, and founded and leads the legendary Ethnic Heritage Ensemble and Ritual Trio.
David Murray is considered to be the most influential tenor saxophonist of his generation. He has recorded more than 300 acclaimed projects. He has worked with many of the giants, such as Max Roach, Charles Mingus, Cecil Taylor, Jack DeJohnette, Chico Hamilton, Elvin Jones, Archie Shepp, Pharoah Sanders, and Randy Weston, He is co-founder of the World Saxophone Quartet, and leads the famed David Murray Quartet, David Murray
Octet, and the David Murray Big Band. Dr. Murray was awarded a PHD in the Arts from Claremont College, and is also a Guggenheim Fellow and a Fulbright Scholar. Mr. Murray has won 2 Grammys and is the prestigious recipient of the Jazz Par Award from the country of Denmark.
In addition, there will be an opening set by Juno-winning Vancouver guitarist Gordon Grdina.
This performance is presented by Infidels Jazz, with the support of the VSO School of Music.
BUY TICKETS TODAY
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https://listen.sdpb.org/2018-01-02/a-david-murray-double-bill
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A David Murray Double Bill
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2018-01-02T00:00:00
|
The monstrously talented and astoundingly prolific tenor saxophonist returned to New York this winter to present a four-clarinet summit and a new trio with Geri Allen and Terri Lyne Carrington.
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sodakpb
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https://www.npr.org/2018/01/02/379000722/-a-david-murray-double-bill?ft=nprml&f=379000722
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The full archive of this performance is no longer available.
For decades, David Murray was known as one of New York's most monstrously talented and astoundingly prolific artists — a tenor saxophonist who played and wrote for just about every imaginable context. He's still these things, but he lives in Europe now. So this year's Winter Jazzfest — already jam-packed with over 100 acts in two nights — saw fit to give New York audiences a proper saturation of what they'd been missing, presenting David Murray in three completely different sets.
Jazz Night In America filmed two of those sets at the Minetta Lane Theatre as part of Winter Jazzfest in early 2015. A four-man clarinet summit — featuring Murray with fellow reedmen Hamiet Bluiett, David Krakauer and Don Byron — echoes the project he played in with clarinetist John Carter in the 1980s. And a new collaboration with Geri Allen (piano) and Terri Lyne Carrington (drums) found the three improvising openly around loose themes.
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https://www.fusion-bags.com/blogs/news/artist-spotlight-mindi-abair-saxophonist-extraordinaire
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en
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Artist Spotlight: Mindi Abair - Saxophonist Extraordinaire
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"Nicole Szekeres"
] |
2019-06-16T22:32:00+00:00
|
Mindi Abair has certainly paid her dues in the studio and on the road as an unforgettable live performance artist. Described as the most recognised and sought after saxophonist, Mindi has played all styles from jazz to r&b to rock, touring and recording with some of the biggest names in the music industry, includin
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https://www.fusion-bags.com/blogs/news/artist-spotlight-mindi-abair-saxophonist-extraordinaire
|
Mindi Abair has certainly paid her dues in the studio and on the road as an unforgettable live performance artist. Described as the most recognised and sought after saxophonist, Mindi has played all styles from jazz to r&b to rock, touring and recording with some of the biggest names in the music industry, including, Aerosmith, Duran Duran, Gregg Allman, the Backstreet Boys, Keb Mo, Smokey Robinson and Joe Bonamassa. Her list of awards and ‘best of’ titles are endless and she was the only one surprised when she walked away with 8 awards at the 2018 Independent Blues Awards, which included the well-deserved Artist Of The Year.
I catch up with Mindi on a chilly and wet evening in the UK. I’m cosied up with a hot tea, Mindi also has tea…iced tea, on a hot, sunny morning on the West coast of the United States... the wonders of Skype!
“Look, it just came in the mail”, says Mindi excitedly, as she holds up the sleeve of her new album Mindi and The Boneshakers, ‘No Good Deed’. “It’s our 4th now, but our 3rd studio album. It’s a snapshot of where we are right now and how we continue to gel as a band.
I’m already getting asked how it compares to our last album The EastWest Sessions, released in 2017 which we also recorded at the EastWest Studio on Sunset Boulevard, Los Angeles, which was pretty much rock and blues all the way down the middle.
I never want to make the same record twice, so for ‘No Good Deed’ which is released in June this year, we expanded a little with a few covers. We even went punk man”, she laughs, “With our own version of a track by The Rascals and then back to my jazz routes with ‘Bad News,’ which is a Melody Gardot cover and ‘Seven Day Fool’ by Etta James, which is a big party. And I adore Etta James. We aren’t just blues rock, we have all these other facets that if we choose to, they can be out there in the record.
In the studio, it was all about getting the energy as it’s going down in the first couple of takes, and we recorded the band as one unit without adding drums or guitar later. We succeeded in capturing the energy The Boneshakers have on stage, we are a bit of a chained animal, unlock the chain on stage and we go nuts.”
To save time in the studio, do you have a set list of songs, complete and ready to record?
“We had about 40 songs we’d written to choose from which I thought were finished, “she continues. “There are always changes, maybe we’ll add a solo section or someone might just make a mistake and we go ‘hey, that’s cool’ let’s keep that in. I might be in the vocal booth and suddenly think ‘that’s not what I want to say’ and I’ll be in there scribbling down new lyrics.
Our producer, Kevin Shirley is amazing, he’s produced for so many bands including Aerosmith, The Black Crowes, Led Zeppelin and Joe Bonamassa. He’ll listen to a song and see clearly what’s working and what needs changing. He might say, hey Mindi you need another verse for that song, and I’m thinking, are you kidding me, I gotta write another verse for this song today?”
You have an amazing track record and are regarded as one of the finest jazz saxophone players in the business. Looking back, how and when did you start to get a little more bluesy with a rocky vibe?
“It kinda started after I made my Wild Heart album which was released in 2014, I wanted to change my band to reflect a deeper feel of blues and rock, so I hired my long-time friend Randy Jacobs to play the guitar and give my band a different feel and energy.
There was a transition earlier though when I got a call to be the saxophonist in the live band for the American Idol TV series during 2011 and 2012. I was playing for a diverse range of artists that wanted us to play so many different genres of music, including pop, blues, r&band rock, so it was fun to get out of my jazz-influenced bubble and help create their own world.
Steven Tyler from Aerosmith was one of the judges, he could see I was having a blast and on the last day of the show, he called me to his trailer, put on the new Aerosmith album and said play sax along to that. Then he said that he’s heard I can sing, so he sang some crazy lyrics and says ‘sing it back, sing to me, sing to me’.
He said ‘We gotta do this, time is running out’, and I thought what are you talking about? He looked at me and said I’m hiring you to tour with Aerosmith, I mean….how can you say no to Steven Tyler?
For some people, their Zen includes bells, fresh fruit, heated spas all that kind of thing, for me, it’s loud guitars. Loud music is my Zen. So my time with Aerosmith was my happy place. I’d been that way since I was a kid and there I was, playing rock and roll with friends. I thought to myself how do I bring this to my career, how do I fuse the worlds of rock and jazz together?
I invited rock musicians who I knew including Booker T, Greg Allman, Joe Perry from Aerosmith, Max Weinberg, Trombone Shorty and Keb Mo to come in and play and write with me and help me find my way with this new direction.
At the time Randy Jacobs was in The Boneshakers and we were on the same bill at a jazz festival in Newport Beach, and I sat in with both bands. It went so well and we were so inspired about what was going on, that we said we really need to do this every night. So we decided to join forces and that was the start of Mindi Abair and The Boneshakers of today when we veered more towards blues and rock. You could say that the Wild Heart album was the gateway drug.”
You grew up with rock and blues, your Dad was a saxophonist playing with some of the great USA bands during the ’70s? How much of an inspiration was that for you?
“I was on the road with my father’s band from birth until the age of 5. His band was a blue-eyed soul band called The Entertainers. After that band broke up, we moved to Florida and he put together rock bands to tour the US for the next 14 years. He also toured with Mark Farner from Grand Funk Railroad as his saxophonist.
I loved all those high energy bands and started playing myself when I was 8. When MTV came along I was just glued, I wanted to sing like Tina Turner and Anne Wilson from Heart, and play sax like Clarence Clemons in Bruce Springsteen’s band, it was that sheer rock and roll abandonment.
Some of the brass players I went to school with the thought you had to stand in the corner of a smokey jazz lounge and play sax to the wall…er no, you’re supposed to be dripping wet by the second song. I was looking towards Tina Turner for career advice, they were looking at the likes of Miles Davis, so there were certainly two different worlds.
I was lucky enough to go to a college later that covered rock, blues and jazz, which I really enjoyed. It did open my world and I bought jazz records by the likes of Wayne Shorter, Cannonball Adderley, Miles Davies and John Coltrane.
My teacher said, that’s great, learn all the songs, but I don’t want you to just be another one of those guys, they’re already out there. I want you to form your own band and do your own thing because you're coming at it from a different viewpoint and that’s what’s going to make you special. So I started my own band, and I’ve never looked back.”
You seem to have been on the road forever, you toured for two and a half years across the USA promoting the album Mindi Abair and the Boneshakers, Live In Seattle, released in 2015. Do you think in this world of social media that playing in front of an audience is still the best way to promote yourself?
“Again, it’s my happy place. Being in front of an audience changes the way we play, there’s just no drug like it. Sure there are all the social media contacts which we have fun with, putting up crazy stuff we get up to on the road, but there’s just something about being in front of thousands of people clapping and giving you love. We’ll be out there for as long as they’ll book us and we’ll be burning it up during 2019 with the new record.”
Do you look back at the albums and awards as milestones in your career?
“It’s always nice when someone else says they like your records, you sit in the studio and think, yeah we’re making a kickass record here, but when I go home, the only one who's heard it is me, the rest of the world might think it sucks.
As long as I like it, I’m really cool, but to be nominated and win the 2018 Independent Blues Award, was crazy. I knew we had been nominated and of course, I was hoping we’d win one, but never expected to walk away with eight which included Artist Of The Year, that was just amazing.”
You play a variety of saxophones, is there one that’s special?
“All my saxophones are made by Yamaha. I recently bought a big baritone which is great and have it heard three blocks away! I also have my own signature mouthpiece which I’m really proud about. I worked with Theo Wanne who is the guru of all mouthpiece designs, to create the ultimate mouthpiece that not only makes the instrument easier to play but has a resonates, balanced, solid, sound and above all affordable as a mouthpiece for the people. We launched at Winter NAMM a few years ago and it’s remained one of his best sellers.”
I have to ask, are there any gigs that you have lost because you are a woman in the music business, if so, what are your feelings about this?
“I think it can work for you and against you. I remember Tina Turner’s sax player was sick once and I was brought up as a replacement and swiftly turned down because she wanted a big muscle guy by her side. Then there was Adam Sandler who wanted someone who could play like Clarence Clemons in Bruce Springsteen’s band but had to be a girl, he had to tell everyone that I was really playing.
I don’t have a chip on my shoulder saying ‘I’m a girl, I get paid less,’ none of that. I go out every night thinking, ok folks, maybe you think you know how a girl plays sax, well, tonight you’re gonna find out that the way I play….is the way a girl plays.”
There’s a track on the EastWest Session album called ‘Pretty Good For A Girl, what’s the theme behind this song?
“During my career, I’ve sung my heart out, played sax and other instruments, toured and recorded albums and had numerous awards, and I’ve heard it said, ‘yeah, pretty good for a girl.’
You hope that as a woman, you can kind of open up people’s minds and change the idea that we are a little timider or quiet. There’s a bunch of really smart powerful women out there doing amazing things, so I think the world is changing. It’s equal footing, it doesn’t matter if you are black, white, gay, straight, a woman, a man, young or old, if you can play….go out and play.
So I was inspired to write ‘Pretty Good For A girl’ which was produced again by Kevin Shirley and features Joe Bonamassa guesting on guitar. During the recording, Kevin said we should get Joe in as he’d be perfect for this track. Two days later Joe came in and rather than just laying down a solo, he hung out talking dorky guitar stuff with Randy and became a part of the band for the day. He had so much energy and I’m thinking ah, I’d better play something cool now, he certainly made me play up a few notches.”
You are also an accomplished author having written several extremely informative books, what’s the story behind “How To Play Madison Square Garden – A Guide to Stage Performance?”
“I’ve spent my life on the road, I’ve made all the mistakes on stage and I’ve watched the best performers in the world make the same mistakes and how they’ve handled them in front of an audience.
There are books on how to play your instrument, how to get a record deal or win in the music business, but very few if any, about playing live. I just saw this gaping hole in the music education system as there weren’t any books that covered live performance. I have this mind that wants to pick it all apart and thought I was the person to write a real book in which I could talk about all the aspects of playing live. It explains how to walk on stage, deal with stage fright, make eye contact with the audience and make them buy tickets to your next show and not someone else’s. I had a blast writing this one and it’s a fun read.”
It’s important to you then that we keep the faith for youngsters who are considering a career in the music business.
“Back in the early days when I auditioned to get into college to play the saxophone, the sax professor said ‘I won’t let you into the jazz department as girls don’t really make it at this school, but you can go to the education department’.
Needless to say, I didn’t go to that school, but it lit a fire inside me and I’ve been back since to say you made a mistake, you should be letting girls into your jazz programme. He coyly agreed.
So yes, It’s so important to have instruments in kid’s hands, and while we are talking sax, the fact of the matter is, sax didn’t actually start out as a jazz instrument but more as a classical instrument, finding its roots in America in vaudeville, early rock and roll and soul, jazz came later. There’s a lot of grit and grief at the heart of the early sax with a lot of those guys screeching and playing the hell out of it and having fun.
So it’s great to honour that history and honk a little bit, so get out there and make some noise and be a little raucous.”
Interview by Lars Mullen
Website: www.mindiabair.com
__________________________________________________________________________
|
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dbpedia
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1
| 66
|
https://www.wikiwand.com/en/David_Murray%252C_1st_Viscount_of_Stormont
|
en
|
David Murray, 1st Viscount of Stormont
|
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David Murray, 1st Viscount of Stormont was a Scottish courtier, comptroller of Scotland and captain of the king's guard, known as Sir David Murray of Gospertie, then Lord Scone, and afterwards Viscount Stormont. He is known for his zeal in carrying out the ecclesiastical policy of James VI and I, in which he was effective if crude.
|
en
|
Wikiwand
|
https://www.wikiwand.com/en/David_Murray%2C_1st_Viscount_of_Stormont
|
Scottish courtier, comptroller of Scotland and captain of the king's guard / From Wikipedia, the free encyclopedia
Dear Wikiwand AI, let's keep it short by simply answering these key questions:
Can you list the top facts and stats about David Murray%2C 1st Viscount of Stormont?
Summarize this article for a 10 year old
SHOW ALL QUESTIONS
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9048
|
dbpedia
|
1
| 8
|
https://www.historyofjapaneseinny.org/blog/exhibition_topics/david-murray-professor-of-mathematics-and-the-superintendent-of-education-of-the-ministry-of-education-1873-79/
|
en
|
David Murray, Professor of Mathematics and the Superintendent of Education of the Ministry of Education (1873
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2023-01-11T21:31:19+00:00
|
David Murray (1830-1905) was a professor of mathematics at Rutgers from 1863-1873. He was instrumental in creating the science curriculum at Rutgers College and successfully lobbied for Rutgers to become New Jersey’s land grant college in 1864. He was a teacher and friend to many Japanese students who came to Rutgers, including the Iwakura brothers […]
|
en
|
Digital Museum of the History of Japanese in NY
|
https://www.historyofjapaneseinny.org/blog/exhibition_topics/david-murray-professor-of-mathematics-and-the-superintendent-of-education-of-the-ministry-of-education-1873-79/
|
David Murray (1830-1905) was a professor of mathematics at Rutgers from 1863-1873. He was instrumental in creating the science curriculum at Rutgers College and successfully lobbied for Rutgers to become New Jersey’s land grant college in 1864. He was a teacher and friend to many Japanese students who came to Rutgers, including the Iwakura brothers and Hatakeyama Yoshinari. His home became a social center for the Japanese students in New Brunswick. “These young men referred to Dr. Murray’s residence as their “American Home” and spent much of their leisure time there.”1
One of the objectives of the Iwakura Mission was to search for a Western adviser for the newly formed Ministry of Education. In February 1872, prior to the Mission’s arrival to Washington D.C., Mori Arinori sent out letters to American educators seeking advice on developing a modern educational system in Japan. William H. Campbell, president of Rutgers College, passed the letter on to Murray. Murray’s response, which spans over more than twenty pages, offers the most comprehensive and detailed analysis of education and its impacts on modern society. His advice, addressed specifically to the needs of Japan and its people, includes establishment of universal education and education for women.2 Owing, perhaps, to the knowledge of Japan and the Japanese people he had acquired through his acquaintances with the Japanese students, he expresses confidence in the prospects of education in Japan and suggests a reform that retains its traditions and spirit.
Murray met with Kido Takayoshi and the members of the Iwakura Mission at least twice—once in Washington, D.C. (by then, Hatakeyama had joined the Mission), and again in Boston in August 1872, just before they sailed for England. In November, Kido and Tanaka Fumimaro met in London and agreed to offer Murray the position of the Superintendent of Education in the Ministry of Education. On January 10, 1873, Mori Arinori drew up a formal employment agreement, and David Murray left for Japan with his wife Martha in June 1873. Throughout his tenure in Japan until 1879, Murray worked closely with Tanaka and his former students, notably Hatakeyama. Murray is remembered today as one of the most influential figures in the history of modern Japanese education.
Footnotes:
1. “Japan to Honor a Brunswick Grave” in New Brunswick Home News, 2.18.1910. (Historical New Brunswick Newspapers & Board of Health Records,
http://newbrunswick.archivalweb.com/imageViewer.php?i=692218&q=David%20Murray&s=q%3DDavid%2BMurray%26p%3D2%26r%3D0), last accessed on February 1, 2022.
2. The responses were compiled by Mori as Education in Japan: A Series of Letters Addressed by Prominent Americans to Arinori Mori (New York: D. Appleton and Company, 1873), pp. 87-109.
Prologue: The Japanese Students at Rutgers
William Elliot Griffis, The Rutgers Graduates in Japan. Albany: Weed, Parsons and Company, 1886.
Charles Lanman, The Japanese in America. London: Longmans, Green, Reader, and Dyer, 1872.
Fernanda Perrone, “Invisble Network: Japanese Students at Rutgers during the Early Meiji Period” in Kindai Nihon kenkyu 34 (2017): 3-20.
John E. Van Sant, Pacific Pioneers: Japanese Journeys to America and Hawaii, 1850-80. University of Illionois Press, 2000.
Guido F. Verbeck
Albert Altman, “Guido Verbeck and the Iwakura Embassy” in Japan Quarterly 13:1 (January 1966), 54-62.
James A. Hommes, “Guido F. Verbeck: ”A Living Epistle in Bakumatsu-Meiji Japan,” in Japanese Religions, Vol. 36 (1 & 2): 31-66.
Hamish Ion, American Missionaries, Christian Oyatoi and Japan 1859-73. UBC Press, 2009.
Hatakeyama Yoshinari
“Hatakeyama Yoshinari”, an obituary in “Japan Scrapbook: Clippings by WEG and others, c. 1869-1880” in William E. Griffis Collection, Rutgers University Library.
John E. Van Sant, Pacific Pioneers: Japanese Journeys to America and Hawaii, 1850-80. University of Illinois Press, 2000.
David Murray
Benjamin Duke, Dr. David Murray: Superintendent of Education in the Empire of Japan, 1873-1879. Rutgers University Press, 2018.
Benjamin Duke, The History of Modern Japanese Education: Constructing the National School System, 1872-1890. Rutgers University Press, 2008.
“Japan to Honor a Brunswick Grave” in New Brunswick Home News, 2.18.1910.
Mori Arinori, Education in Japan: A Series of Letters Addressed by Prominent Americans to Arinori Mori. New York: D. Appleton and Company, 1873.
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https://www.jmirecordings.com/the-jmi-record-store/david-murray-sunmoon-double-12-vinyl-lp-45-rpm
|
en
|
Sun/Moon (Double 12" vinyl LP 45 RPM) — J.M.I. RECORDINGS
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JMI-10. This LP was a turning point for our label. After nine records, we had our process, confidence and profile high enough to swing for the fences: the tenor titan David Murray. Murray represented a major step up for JMI as regards his history in this music. With over 200 LPs as a leader and hund
|
en
|
https://images.squarespace-cdn.com/content/v1/586154006b8f5b1c08dec896/6a169bea-dbf4-4d3b-a0a5-3c7439daf46d/favicon.ico?format=100w
|
J.M.I. RECORDINGS
|
https://www.jmirecordings.com/the-jmi-record-store/david-murray-sunmoon-double-12-vinyl-lp-45-rpm
|
JMI-10. This LP was a turning point for our label. After nine records, we had our process, confidence and profile high enough to swing for the fences: the tenor titan David Murray. Murray represented a major step up for JMI as regards his history in this music. With over 200 LPs as a leader and hundreds more as a sideman, not to mention decades of critically lauded performances, Mr. Murray is simply one of our musical heroes. Indeed, during a period of months in 2020, Mr. Mandel did a series of Instagram live shows each Monday, playing only LPs from Mr. Murray’s prolific output. He called the show Murray Mondays. That’s why it was such a happy coincidence that after years of living abroad, Mr. Murray was moving back to New York City and amenable to recording this solo tenor saxophone and bass clarinet session for us. From the moment he ambled into Reservoir Studio on December 4, 2021, unassumingly unpacking his horns, until he regaled us with stories about other heroes Jerry Garcia and Bob Thiele, Mr. Murray was a dream fulfilled. The recordings were pristine, with nary a dud among the original compositions and improvisations. We had to release everything in the highest audiophile pressing we could: our first double LP mastered at 45 r.p.m. This was also the first cover to feature photography by Mr. Mandel, who by this release was fully in control of the design of our jackets.
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9048
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dbpedia
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3
| 12
|
https://syos.co/en/blogs/our-artists/jimmy-sax
|
en
|
Jimmy Sax
|
http://syos.co/cdn/shop/articles/jimmy-sax-431641.jpg?v=1675445461
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2022-06-30T10:53:00
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Syos has designed the alto saxophone mouthpiece I always wanted for comfort, attack, warmth and fullness of sound!
|
en
|
//syos.co/cdn/shop/files/favicon_96x96.png?v=1655294718
|
Syos
|
https://syos.co/en/blogs/our-artists/jimmy-sax
|
Biography
Jim Rolland a.k.a. "Jimmy Sax" is an incredible saxophonist, multi-instrumentist, composer and entertainer more oriented towards electronic music.
A true performer, he has played worldwide from New York to Saint Tropez, in Miami, Cannes, Dubai, Paris, Monaco, Toronto, Capri, New Delhi, Cancun, Rome, Berlin, Saint Barth (where he lives) and many other locations...
His track record of 1,500 shows, 1 million followers, 250 million views and 2 golden records has turned him into a unique figure in the world of saxophone and electronic music.
2021 will be another great year with the release of his up-and-coming album Killing Jimmy Sax(scheduled for April), his participaton in the Italian TV show IBAND as member of the jury, and his concert at the Naples Palapartneope with a symphonic orchestra!
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|
dbpedia
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| 10
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https://www.getty.edu/visit/cal/events/ev_3788.html
|
en
|
David Murray Quartet
|
http://www.getty.edu/360/event_images/murrayquartet.jpg
|
http://www.getty.edu/360/event_images/murrayquartet.jpg
|
[
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"Getty Center",
"Getty Villa",
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"courses",
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"Los Angeles museum calendars"
] | null |
[] |
2023-04-04T00:00:00
|
Master saxophonist David Murray, renowned for his prolific career collaborating with the greatest names in jazz, brings his newly formed quartet to the Getty Center to celebrate the artists Dawoud Bey and Carrie Mae Weems, and their friendship that spans over 40 years. Since he arrived in New York in 1975, David Murray established himself as one of the prominent saxophone players and leaders of jazz. He has released over 200 albums under his own name, working with the likes of Max Roach, Pharoah Sanders, Amiri Baraka, Jason Moran, Vijay Iyer, Quest Love, and many more. His quartet includes the pianist Marta Sánchez, the bassist Luke Stewart, and the drummer Kassa Overall.--Doors open for seating at 6:30 pm;Please join us for a reception on the Harold M. Williams Auditorium Terrace at 6 p.m.This event follows an in-person talk with artists Dawoud Bey and Carrie Mae Weems in conversation with curator LeRonn Brooks at 4pm in the Museum Lecture Hall. Reserve free tickets for the 4pm talk.Complements the exhibition Dawoud Bey & Carrie Mae Weems: In Dialogue, on view from April 4 through July 9, 2023.--The great Cecil Taylor compared Murray to his greatest predecessors who had signature sounds: "You stick your ear in the door, you know it’s David!""The concept of freedom expressed here involves drawing freely from myriad styles, minting them into music that is both uncompromisingly rigorous and directly communicative." - Downbeat, July 2022"David Murray, the master saxophonist who has reconciled the whole history of jazz tenor, from swing to free, during a wildly prolific career." - New York Times
|
en
|
/global/r/images/getty_logo_favicon.ico
|
The J. Paul Getty in Los Angeles
| null |
GETTY CENTER
Harold M. Williams Auditorium
This is a past event
|
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9048
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dbpedia
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https://www.artandnetwork.com/en/portfolio_page/david-murray/
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en
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David Murray
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After settling in New York in 1975, Murray followed in the footsteps of Albert Ayler and Archie Shepp, the harbingers of free jazz. He had a penchant for distorted timbres, extremes of volume, and forays into the horn’s uppermost reaches and untamed improvisations. He experimented in Studio Infinity, which he established together with Crouch.
New York served as a setting for new encounters: Sunny Murray, Oliver Lake, Anthony Braxton, Don Cherry, Lester Bowie and Frank Lowe among other jazz greats. Here he met and played with Cecil Taylor, who along with Dewey Redman, gave the young musician the encouragement he needed.
In 1976, Murray set up the “World Saxophone Quartet” with Oliver Lake, Hamiet Bluiett and Julius Hemphill. This marked the beginning of an intensely creative time with an endless permutation of formations – quartet, then octet, and finally quintet. From this time on he focused more on his own ensembles, although he also has worked with other musicians from Guadeloupean drums to South African dancers and musicians.
At the end of the ‘90s, Murray was frequently associated with fusion, world music and even pan-Africanism. At the time he also composed film soundtracks, worked with “Urban Bust Women” dance company and other theatre people, arranged compositions by Duke Ellington, Paul Gonsalves and Nat King Cole among other jazz icons.
Moreover, Murray composed two operas: The Blackamoor of Peter the Great for strings and voices (2004), based on selection of Pushkin poems, and The Sysiphus Revue, a bop opera for gospel choir (2008).
In 2006, the saxophonist revived “Black Saint Quartet” as a tribute to the legendary Italian label Black Saint, which released 17 of his albums recorded together with “World Saxophone Quartet”, Randy Weston, Dave Burell, Lawrence “Butch” Morris, Olu Dara, Anthony Davis, Craig Harris, John Hicks, James “Blood” Ulmer, Don Pullen, Steve Coleman to name but a few. It was one his most successful creative periods.
In recent years, Murray has been focusing on projects with vocalists. The soul music star Macy Gray, one of his Muses, has enhanced a number of Murray’s albums. Together with his big band she has conquered audiences in festivals such as Jazz A La Villette (Paris), London Jazz Festival, North Sea Jazz Festival (the Netherlands), and more.
David Murray Octet Revival
Saxophonist David Murray is one of the most prolific and adventuresome figures in modern jazz. His innovative Octet, perhaps the best vehicle for his formidable composing and arranging skills, released eight recordings on a steady basis between 1980 and 2000. Now he is re-introducing a reinvigorated version of this iconic group in a series of performances.
“Growing up in a religious, musical family in Berkeley, CA, I would at times find myself in the middle of an old-fashioned ‘Revival” tent, not far from my home. All denominations were welcome to this spectacular event held in this tent, which featured traveling preachers, healers, and speakers and lots of worshippers seeking spiritual rejuvenation. This phenomenon originated in the American South and made it all the way to my neighborhood. The purpose was to unearth or bring back people’s belief in God, to be reinvigorated with the holy spirit of The Lord. My Octet of the ‘70s, ‘80s and ‘90s were quite popular then. My wish for a “Revival” of this Octet with a new and fresh line-up seems to the direction in which the music is taking me, as a way to inspire others and motivate a new crew of creative musicians.” – David Murray
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What's your sax's name?
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by toocold4
(6 posts)
16 years ago
Re: What's your sax's name?
never really named her (my very first Evette & SchafferTenor that was handed down to me many moons ago), but I've thought about it in the past and considered Lady as a good choice. Usually just refer to her as My Baby, but my wife gets a little jealous sometimes and I finally picked up an Alto a few years ago, so I just call them my Alto and my Tenor right now. As for the Alto, it's just a Bundy I took off a friends hands, so I never thought about naming he, I guess ALice would be fitting. ;)
Reply To Post Yahoo!
by basssaxman88
(68 posts)
16 years ago
Re: What's your sax's name?
(bare brass) my bass sax's name is Casandra (gold lacquer) my alto's is Susie That's an interesting question saxophonist104. Or, if you don't have a name for your sax, what would you call it?
Reply To Post
by Snorlaxaphone
(3 posts)
12 years ago
Re: What's your sax's name?
Forgot to add I call my buddie's Mc slapaphone cause i slap him all ta time lol jk i dont hit him lolz
Reply To Post
by Kattamaki
(15 posts)
12 years ago
Re: What's your sax's name?
When I started playing sax at the age of four, I called it my funaphone, later simply my ax.
Reply To Post
by ReedTheSax
(1 post)
12 years ago
Re: What's your sax's name?
My sax's name is Reed Alto, a.k.a. Mrs. Alto. My best friend's sax is named Pluto.
Reply To Post
by Saxwitty
(1 post)
12 years ago
Re: What's your sax's name?
My beat-up sax (class sax) that's currently in shop is named Paris because she's always been a wonder to me. I got her handed down to me from my brother.
My marching sax that was handed down to me from my Dad is named Sampson. Sampson just seemed to be a fitting name for him. It just worked.
I'm currently looking into getting a new Sax and I haven't decided whether or not it's going to be a boy or girl. I'll have to play on her/him for a while and decide.
Reply To Post
by Joe Bananas
(71 posts)
16 years ago
Re: What's your sax's name?
Great Question!. I've got a Tenor Conn Transitional and his name is Capitan (In English; Captain).
Reply To Post
by cuber
(653 posts)
16 years ago
Re: What's your sax's name?
my martin alto is called: the martin i call my yamaha alto: the yamaha i call my bari: the bari arent i creative?
Reply To Post
by saxophonist_104
(148 posts)
16 years ago
Re: What's your sax's name?
really creative, cuber! i recently brought home a selmer signet clarinet; Lynn. I still have to finish sanding the cork on the tenens and check the placement of the keys (i took them off and polished them and i don't know where the keys are supposed to go! (but it's a fun challenge!))
Reply To Post
by saxophonist_104
(148 posts)
16 years ago
Re: What's your sax's name?
...bit of an update...i have finished re-doing everything on the clarinet, i'm just trying to learn to play the darn thing...it's still fun!
Reply To Post
by trent125
(2 posts)
11 years ago
Re: What's your sax's name?
after seeing this post I decided to name mine "Baby"
Reply To Post
by Laura...
(1 post)
11 years ago
Re: What's your sax's name?
I borrowed a saxophone for a while which I hated and called squeaky (for obvious reasons).
Then when I got my new one I named it staight away- Smartie because i thought it looked really new and smart. Kind of a wierd name but I was only 8 :/
Reply To Post
by AltoAnarchy
(2 posts)
11 years ago
Re: What's your sax's name?
I named my Alto Unison Charlie. The first time I saw the brand on my alto I thought it said unicorn, so He is Charlie the Unicorn, but I aways call him Charlie :)
Original Quote:
"call me
Reply To Post
by saxygurl98
(1 post)
11 years ago
Re: What's your sax's name?
I currently have 5 saxophones. My gold alto is named Jupiter, my black alto is named Apollo, my curved soprano is named Mars, my straight soprano is named Venus, and my tenor is named Zeus.
Reply To Post
by pumpkinhead33333
(1 post)
5 years ago
Re: What's your sax's name?
My bari saxs name is Bari Bee Benson
Reply To Post
by historicsaxwhisperer
(644 posts)
5 years ago
Re: What's your sax's name?
Well Sombody has to post the most ignorant worthless posting.
Congratulations.
Mine is named Axe
Reply To Post
by Candyboy
(77 posts)
5 years ago
Re: What's your sax's name?
My favorite horn is a 1922 Conn new wonder series 1 C-mel It has always been bare brass plain, no engraving save the Conn LTD logo. I call it (Crusty)
Doug Coffman
Reply To Post AIM
by historicsaxwhisperer
(644 posts)
5 years ago
Re: What's your sax's name?
And isn't Crusty one of you best playing horns?
The raw brass, also known as the poor mans finish, vibrate like nothing else.
You haven't played a Conn C mel till you play a raw brass version.
Reply To Post
by myalto
(3 posts)
5 years ago
Re: What's your sax's name?
i have a few alto's, but my favorite Buescher Top Hat and Cane is called Grace. She graces me with her tone and killer action everytime.
Reply To Post
by Gibralter
(1 post)
5 years ago
Re: What's your sax's name?
I rented a sax from my school for a long time and named it Ricardo, but eventually had to move on the a differnt school and give that sax back (RIP Ricardo). I now have two saxs (one for marching one for concert band). The first one is a beat up one I named Eduardo and a nicer one that i recently named Fernando.
Reply To Post
by azurealto
(79 posts)
16 years ago
Re: What's your sax's name?
I have a Simba AS-100 alto saxophone.
Reply To Post
by azurealto
(79 posts)
16 years ago
Re: What's your sax's name?
his name is James, but i don't use it much.
Reply To Post
by saxophonist_104
(148 posts)
16 years ago
Re: What's your sax's name?
use what? his name? i keep a low profile on my sax's name. stupid stuck-up trumpet players.
Reply To Post
by saxophonist_104
(148 posts)
16 years ago
Re: What's your sax's name?
i came up with the name for my sax based on the way it looks. the name "Janie" had sort of a silvery connotation to me, so it seemed the perfect name for a nickel-plated sax.
Reply To Post
by YATSAX
(7 posts)
16 years ago
Re: What's your sax's name?
My sax is a Yamaha which I call "yamama". I guess that it may sound a little sarcastic. Some who ask don't seem to care for it.
Reply To Post
by connsaxman_jim
(2336 posts)
16 years ago
Re: What's your sax's name?
I named a couple of my guitars. My first Fender Strat was named Sarah after my first love. My acoustic Martin 000-D-28 I named Layla after the Eric Clapton song. My old Gretsch 6120 I call Gretchen, A few years ago, I was playing with an older gentleman who played a vintage Martin sax that his mother had bought him brand new in 1949. He named the sax Margaret after his mother. I then decided to name my 1926 Conn New Wonder Series II Lois after my grandmother who was born in 1926. I named my 1948 Conn 10M naked lady Betty. There was an elderly lady named Betty whom I met in a nursing home a few years ago. Betty was known to walk out of her room often wearing very little if any clothing! Interesting question though! Jim
Reply To Post Yahoo!
by STEVE GOODSON
(291 posts)
16 years ago
Re: What's your sax's name?
I've got lots of horns, but when I was gigging (I'm now retired) I always named my working horns after the heroes of Japanese monster movies of the 50's: Godzilla, Gamera, Rodan, Mothra, etc....I used to call my bass sax "Monster X".....the horns varied, of course, but I found that by giving them names I could train the roadies to hand me the right horn for the right tune. For some reason, "give me Mothra" was easier for them to understand than "hand me my alto"...I never liked to keep a bunch of horns on stage since they tend to get knocked over by people running around, so having a system for the crew to follow worked out pretty well.
Reply To Post
by chalazon
(547 posts)
16 years ago
Re: What's your sax's name?
my tenor's name is Bob. Good to hear from you, Steve.
Reply To Post
by Alreed66
(8 posts)
16 years ago
Re: What's your sax's name?
Names for my saxes: No-Name Soprano(Was suppose to arrive with a particular brand on it but didn't, but I paid $99 for it) I named it Obie because it sounds like an Oboe. My Selmer USA AS-100 Alto is named Betsy. Old Betsy just keeps trudging along no matter how long I play it and no matter how noisy the action gets at times, or how resistant she can be at times, she still keeps on going. I got her used ten years ago and she will hold me until I have enough saved for my dream alto.
Reply To Post
by kelsey
(930 posts)
16 years ago
Re: What's your sax's name?
I call my horns my alto or my tenor. I make the music and they are nothing but tools. It makes a difference what you play but I sound good on about any saxophone I pick up, as long as it's in good working order. Nameing ones horn seems a little hairy high school sounding..............Kelsey
Barry Kelsey
Reply To Post AIM
by saxjunkie89
(393 posts)
16 years ago
Re: What's your sax's name?
Agreed :)
Reply To Post
by Mobile Band
(27 posts)
12 years ago
Re: What's your sax's name?
. . . when my alto plays good, I call it sometimes good girl . . .
http://swing-jazz-berlin.de
Reply To Post
by fossil
(5 posts)
12 years ago
Re: What's your sax's name?
Newcomer just reading different threads.
I have a brand new C soprano and I've named her Lena (as in Lena Horne - saxophone - horn).
I thought it was pretty unimaginative and there'd be plenty of others using the same name. It seems not.
cheers
Reply To Post
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David Murray is an American jazz musician. He plays mainly tenor saxophone and bass clarinet. He has recorded prolifically for many record labels since the mid-1970s. Among the most recorded jazz musicians in history and arguably one of the genre’s greatest tenor saxophonists, Dave Murray dominated jazz in the 1980s as thoroughly as Charlie Parker […]
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Biography
David Murray is an American jazz musician. He plays mainly tenor saxophone and bass clarinet. He has recorded prolifically for many record labels since the mid-1970s.
Among the most recorded jazz musicians in history and arguably one of the genre’s greatest tenor saxophonists, Dave Murray dominated jazz in the 1980s as thoroughly as Charlie Parker dominated the genre in the 1940s. Murray, considered a giant of the avant-garde style, nonetheless played all forms of jazz, from straight-ahead to free improvisational to post-bop. He was devoted to saxophonists as conservative as Paul Gonsalves and as radical as Albert Ayler. His name, however, has not become as legendary as Parker’s during his earlier years, primarily because few people paid close attention to the progressive, free-jazz movement of the 1980s, an era distracted by other forms such as commercial fusion and hard-bop nostalgia. Meanwhile, Murray refused to let the times discourage his ambitions, and from behind the scenes, he developed a distinct and powerful personal voice on both the tenor saxophone and clarinet. By the 1990s, many regarded Murray as the most proficient synthesizer since Charles Mingus (another of Murray’s influences). Regardless of his well-deserved recognition, Murray never broke from the downtown scene and refused to let the jazz culture assign him to a single category. Composing enchanting melodies that flowed with ease into far-reaching abstraction before returning back to the music’s roots in blues and gospel, Murray is also known for his trademark playing technique of sudden leaps into the upper register of his instrument, and his ability to draw a rich, expansive sound from his horn on both ballads and upbeat numbers.
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David Murray, the master saxophonist who has reconciled the whole history of jazz tenor, from swing to free, during a wildly prolific career.
- NYTimes
Several of his recordings are among the benchmark achievements in the postmodern era and others attest to a consistency that is rare in any era […] No musician personifies better than David Murray the dilemma of reconciling jazz’s family values and the claims of autonomy.
- Gary Giddins
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"The Denver Post"
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2023-01-08T00:05:00-07:00
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Murray, David 01/25/1943 - 12/08/2022 David T. Murray, known to many as Slicks, Diamond Dave, Mr. D and his favorite, Poppi, passed away Thursday, December
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en
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The Denver Post
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https://www.denverpost.com/obituaries/david-murray-kansas-city-mo/
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Murray, David 01/25/1943 – 12/08/2022 David T. Murray, known to many as Slicks, Diamond Dave, Mr. D and his favorite, Poppi, passed away Thursday, December 8th, 2022 at his home in Kansas City, Missouri, from colon cancer. He was 79 years old.
David was the fifth child born to Helena and Paul Murray in Denver, Colorado. A lifelong learner and notable class clown, Dave graduated from Regis High School in 1961. He then headed west to attend the University of Portland, for his undergrad followed by The University of Colorado for his Master’s Degree. Foregoing law school, Dave took the road less traveled and enlisted in the Army. Two years later, he married the love of his life, and high school sweetheart, Pam.
Dave’s pride and joy was his family. He is survived by his wife, Pam, two daughters, Erin Murphy (son-in-law Stephen Murphy) and Maury Ankrum (son-in-law Matt Ankrum) and his five grandchildren, Rylan, Madigan, Peyton, Morgan and Pierce, sister Adele Deline (husband Bill), and many nieces, nephews and dear friends.
Dave was a man of many talents. With his charisma and knack for business, it was natural that he would become a gemologist and enter his wife’s family jewelry business that he carried on for 32 years.
Dave’s retirement was far busier than his working years. He kept active as an avid golfer, volunteer with St. Vincent de Paul, and flower delivery boy for his daughter’s gift shop. For all those who knew him, it will surprise no one that he found great fun teaching other guests how to do the Macarena on a Mexican beach, surviving a deer sighting and related accident on a golf course, spelunking underwater in the Virgin Islands, zip-lining for the first time in his seventies and engaging in deep conversations with complete strangers.
David Murray will forever be one of the most inquisitive, charitable and funniest men who graced this earth. He will be missed dearly.
A funeral will be held at Good Shepherd Church, 2626 E. 7th Ave Pkwy, Denver, CO 80206 on January 25, 2023 at 1:00 pm.
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Tom Hull: David Murray
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The David Murray Guide (2020)
This is a supplement to my David Murray Guide, published by The Village Voice on May 20, 2006. It is mostly collected from my Jazz Guide draft files. Note that I revised my grade scale there: A as well as A+ became [10], A- [9], B+ stars range [6-8] or [+] where I didn't use stars; B is [5], B- [4], C+ [3], C [2], lower is [1] (or maybe [0], I forget). Also note that the two Guides have different ordering conventions: pre-2000 I order by recording data, post-2000 by release date. In both, I list groups after individuals, but sometimes place group credits under individuals, but I've tried to move them back here (also treating World Saxophone Quartet as a special case).
David Murray
B. 1955; tenor saxophone, bass clarinet.
Born 1955 in California, David Murray fed on church, funk, and the great saxophonists of the '60s -- Albert Ayler and Paul Gonsalves were key influences, but sooner or later Murray mastered everyone while never sounding like anyone else. By 1975 when he moved to New York avant-jazz had gone underground, and Murray dug deep, recording prolifically for tiny labels -- 90 as a leader, 90 more as a sideman (including 20 with the World Saxophone Quartet). Far and away the greatest tenor saxophonist of his generation, his records are hard to find and little known -- with the demise of DIW, half of the records below are out of print.
David Murray: Low Class Conspiracy (1976, Adelphi) At twenty-one, Murray moved to New York from California and bulled his way into the lofts that had become one of the avant-garde's last refuges. His first studio album was a trio where he yielded a lot of space to bassist Fred Hopkins, including a solo dedicated to Jimmy Garrison. But he already shows his trademark chops, especially his skill at punctuating stratospheric runs with abrupt honks. [9]
David Murray: Flowers for Albert: The Complete Concert (1976, India Navigation 2CD -97) Penguin Guide lists Flowers for Albert as a 4-star record, but closer inspection reveals something fishy. This one is IN 2026; their one is IN 2004. This one was recorded 1976-06-26 with Olu Dara, Fred Hopkins and Phillip Wilson; their one was recorded 1977-09 with Butch Morris, Don Pullen, Fred Hopkins and Stanley Crouch (the writer on drums). So clearly they're not the same records, but I can't find any other corroboration for IN 2004. Closest match in Murray sessionography (which, btw, I suspect is incomplete -- certainly isn't up to date) is a 1977-08-17 record, West Wind 2039, also called Flowers for Albert, released 1990, combining two LPs originally released on Circle. This one expands an LP with three additional tracks, 45:47 of new music, which slops about half-way onto a second CD. Same lineup as Low Class Conspiracy except that this one has Olu Dara on trumpet, a second horn that takes some of the focus off Murray -- 21 years old, and already a very imposing performer. On the basis of focus and sound, I give the nod to the studio album. Those are the only two Murray albums I have before Sweet Lovely, his second album for Black Saint. There's a fair amount of live material in his discography, very little of which is still in print. This is a good one, but perhaps a bit of caution is in order. [8]
David Murray & Low Class Conspiracy: At the Bim Huis: First Set (1977, Circle -98) One of a handful of live albums from Murray's early years. Many different ways the artist name and title could be parsed. The spine says David Murray Quintet. The back cover adds "featuring Don Pullen and Stanley Crouch." Why someone would be more impressed with Crouch on drums than Butch Morris on cornet and Fred Hopkins on bass beats me, but even the most marginal of labels think they have marketing geniuses. The music isn't exceptional, but Pullen's part is interesting, and ordinary Murray is still pretty impressive. [6]
David Murray: Live at the Lower Manhattan Ocean Club (1977, Jazzwerkstatt -10) In 2006 I was one of five writers asked to work up a consumer guide to the records of a jazz great. I was the only one to pick a living artist: tenor saxophonist David Murray, b. 1955 in California, raised on church, funk, and saxophonists from Paul Gonsalves to Albert Ayler. (The others opted for Billie Holiday, John Coltrane, Thelonious Monk, and Sun Ra.) I managed to pick out and write short reviews of seventeen key albums, from Low Class Conspiracy in 1976 through Now Is Another Time in 2003. At the time I credited him with 90 albums as a leader and 90 more as a sideman, and figured I had heard 60 + 40 of them -- pretty good that that left some gaps, most notably in the late 1970s when he moved to New York and took the "jazz loft scene" by storm. That period is mostly documented by live albums like this one on defunct labels: this set was originally released by India Navigation on two LPs, then in 1989 was squeezed onto one CD by hacking about eight minutes off the last song. It's finally back in print, the times slightly rejiggered from the CD. It's not a long lost classic, but it has historical interest -- for one thing, Murray plans soprano sax on his trashed trad jazz "Bechet's Bounce" -- and then some. A quartet with Lester Bowie the opposite horn, Fred Hopkins on bass, and Phillip Wilson on drums. Hopkins is already a fascinating player, and Bowie's wit complements Murray's power. [7]
David Murray: Let the Music Take You (1978, Marge): Tenor saxophonist, early quartet, with Lawrence "Butch" Morris (cornet), Johnny Dyani (bass), and George Brown (drums), live shot from Rouen, France. Strong performance, wobbles a bit. [8]
David Murray Trio: 3D Family (1978, Hatology -06) Early in Murray's career, just before the Black Saint recordings that established his career and effectively ended the decade-long exile of the avant-garde to the lofts of New York; live in Willisau with South Africans Johnny Dyani on bass and Andrew Cyrille on drums, a bit on the crude side but bursting with the raw force of creation. [9]
David Murray: Intergoogieology (1978, Black Saint): The tenor sax great's first album on the Italian label that first established him as a star (and, more than any other label, rescued the American avant-garde by providing an outlet for their work). Quartet with Morris, Dyani, and Oliver Johnson (drums), plus Marta Contreras vocals on two (of four) tracks. "Blues for David" is the only cut that really catches fire. [7]
David Murray: The London Concert (1978 [1999], Cadillac, 2CD): Quintet in August, Morris again, plus locals on piano-bass-drums. Album appeared as 2-LP in 1979, reissue adding two long songs (46:27). [8]
David Murray Trio: Sweet Lovely (1979, Black Saint -80) Murray finally found a steady outlet in Italy on Giovanni Bonandrini's label. His second album there was this bare bones trio, with Fred Hopkins and Steve McCall setting up obstacle courses for Murray's fierce saxophone runs. The title comes from a Murray song that didn't make the cut -- fittingly, as there's nothing sweet or lovely this time. [9]
David Murray Octet: Ming (1980, Black Saint) A startling album when it appeared, recalling Mingus both in its complex layering and its sheer energy, but pushing further as it gave vent to some of the most singular musicians of the '80s -- most notably Henry Treadgill, George Lewis, and Murray himself. Cornettist Butch Morris went on to make a cottage industry out of conducted improvisations -- conductions, he called them. This is where he learned his craft. [10]
David Murray: Home (1981, Black Saint) [+]
David Murray: Murray's Steps (1982, Black Saint) Further adventures with the Octet, a group that returns for Octet Plays Trane (1999, Justin Time). [+]
David Murray Quartet: Morning Song (1983, Black Saint -84) The title track recurs frequently in his oeuvre, but never again so joyously as in leading off this ebullient album. Other delights include a meditation on "Body and Soul," a bass clarinet romp through Fats Waller's "Jitterbug Waltz," and a brief but intense "Duet" with drummer Ed Blackwell. Neither avant nor diluted -- one of his most accessible albums. [9]
David Murray: Children (1984, Black Saint -86) Three Murray tunes plus "All the Things You Are" done by a quintet with James "Blood" Ulmer's guitar and Don Pullen's piano locked in a furious race; thrilling when they keep it up, loses something when the pace slackens. [7]
David Murray Big Band: Live at Sweet Basil, Volume 1 (1984, Black Saint -85) [5]
David Murray Big Band: Live at Sweet Basil, Volume 2 (1984, Black Saint) These Butch Morris records always seem to slip by me, but now I realize that a big part of the reason is that they're so underrecorded: it takes some volume to get any detail at all. But here, at least when you can hear it, Murray is his usual brilliant self, and Craig Harris stands out among the background. I've always preferred Murray's quartets to his octet, and his octet to the big band; I may even prefer Murray's duos to his quartets. Good as this one is, there's another thirty, maybe forty, Murray albums I'd put on first. [5]
David Murray: New Life (1985, Black Saint -87) [5]
David Murray: I Want to Talk About You (1986, Black Saint -89) A live trio that ties this period together. [9]
David Murray: Recording NYC 1986 (1986, DIW -95) Another snapshot from a memorable year -- started with I Want to Talk About You and ended with The Hill; a quartet, of course, but with guitarist James Blood Ulmer on guitar instead of the usual piano, Fred Hopkins on bass and Sunny Murray on drums; sound is a little muffled, but the tenor sax has no problem breaking through. [7]
David Murray/Jack DeJohnette: In Our Style (1986, DIW -89) Mostly tenor sax-drums duets, the drummer marvelously supportive (as ever), the saxophonist psyched up; two cuts add Fred Hopkins on bass, never a bad idea; DeJohnette plays a bit of credible piano, and kicks off the final cut with some exotic percussion -- I thought vibes at first, but given the title is "Kalimba" it's most likely African thumb piano. [9]
David Murray Trio: The Hill (1986, Black Saint) Richard Davis and Joe Chambers are more orthodox than Murray's usual trio-mates -- they complement rather than compete, which lets Murray relax and expand. He reveals new subtleties in his tricky title cut, works out a Butch Morris puzzle, takes Ellington's Coltrane, and ends leisurely on Strayhorn's "Chelsea Bridge." But this isn't standard fare. Davis plays quite a bit of bass fiddle, especially on the bass clarinet feature, and Chambers closes on vibes. [9]
David Murray: Hope Scope (1987, Black Saint -91) [5]
David Murray/Randy Weston: The Healers (1987, Black Saint) [5]
David Murray: Deep River (1988, DIW -89) Murray was already famously prolific, but never more so than during the January 1988 quartet sessions he recorded in New York for Japan's DIW label. They split up the surplus into self-evident album titles: Ballads, Spirituals, Lovers, Tenors. The first released has a bit of each and two Africa-themed originals that head elsewhere. They're so consistent they should be wrapped up into a magnificent box set. With Dave Burrell, who repays every second of solo time, Fred Hopkins, and Ralph Peterson Jr. [10]
David Murray: Lovers (1988, DIW -89) Cut at the same January 1988 studio session that also produced Deep River, Ballads, and Spirituals, same quartet; mostly ballads, "In a Sentimental Mood" the only standard, its solo coda Murray at his most tender; on "Ming" pianist Dave Burrell rises to match Murray's emotional bravura. [9]
David Murray: Ballads (1988, DIW -90) [10]
David Murray: Spirituals (1988, DIW -90) [9]
David Murray: Ming's Samba (1988, Portrait -89) [+]
David Murray/Dave Burrell/Wilbur Morris/Victor Lewis: Lucky Four (1988, Tutu) [+]
David Murray: Tenors (1988, DIW) [9]
David Murray: Special Quartet (1990, DIW -91) With McCoy Tyner and Elvin Jones, not to mention Fred Hopkins. [9]
David Murray Quintet: Remembrances (1990, DIW -91) Cover suggests this is child's play, and indeed this is exceptionally light and lively, with Hugh Ragin's trumpet dicing with Murray's tenor sax, and pianist Dave Burrell mixing some boogie into the rhythm section; less explicit about its place in the tradition than Tenors or Sax Men, except on "Dexter's Dues." [8]
David Murray/George Arvanitas: Tea for Two (1990, Fresh Sound -91) This is the most conventional of Murray's piano duos: songbook fare, all ballads, ably supported, exquisite. [10]
David Murray Quartet: A Sanctuary Within (1991 [1992], Black Saint): With Tony Overwater (bass), Sunny Murray (drums), and Kahil El'Zabar (percussion, voice, thumb piano) -- names featured on the cover, each bringing a song (Sunny 2, leaving 5 for Murray). His sax runs are often brilliant, and El'Zabar can chant "song for the new South Africa" as long as he keeps the beat. [9]
David Murray: Shakill's Warrior (1991, DIW) Soul jazz formula takes organ and drums, then adds sax and/or guitar. Here we get both, but this doesn't settle for the funk guitarist Stanley Franks delivers on Andrew Cyrille's piece. That's because Don Pullen's organ goes places only his piano has gone before -- compare "At the Cafe Central" with his original. [10]
David Murray Big Band Conducted by Lawrence "Butch" Morris (1991, DIW/Columbia -92) [5]
David Murray/James Newton Quintet (1991, DIW -96) This is one of several projects which joined Murray and Newton. Newton is sort of the odds-on champ in the arena of jazz flute, although I have usually found his work rather tedious. Murray, of course, is at least as eminent in the much more competitive field of tenor sax -- and plays bass clarinet as well, which complements the flute. The Quintet lists six players, including two drummers who presumably played on separate days, but the cuts aren't listed by date or personnel. There are some outstanding saxophone runs here, as well as excellent John Hicks piano and Fred Hopkins bass. So the only real question mark is Newton. I like Newton best when he complements, as on the little hoot that ends one tune. I like Murray best when he plays, and his solo on "Doni's Song," with Hopkins backing, is one of his best ballad turns. After which, Newton chimes in with some flute that is eerily beautiful. [+]
David Murray: Black and Black (1991, Red Baron) [+]
David Murray: Fast Life (1991, DIW -93) [9]
David Murray/Milford Graves: Real Deal (1991, DIW -92) Graves is an innovative drummer with roots in the '60s avant-garde. He sets the pace and Murray freewheels, at times so caught up in the rhythm that he just clicks and pops. [9]
David Murray: Death of a Sideman (1991, DIW -00) Featuring trumpeter Bobby Bradford, who preceded Don Cherry in Ornette Coleman's quartet and had a long collaboration with John Carter up to his death in 1991; Bradford wrote the songs in Carter's memory, and Murray picks up the thought; with Coleman alum Ed Blackwell on drums, Murray regulars Dave Burrell and Fred Hopkins on piano and bass; poignant, profound. [9]
David Murray: Ballads for Bass Clarinet (1991, DIW -93) Murray adopted the bass clarinet as a second horn in 1979 with the World Saxophone Quartet, used it on Ming in 1980, and brought it to the fore in 1981's Clarinet Summit. Since then he's used it for a song or two on most of his albums, but this is his only showcase. He gets much more out of the instrument than its characteristic hollow tone, including a clean high register he can soar in and honk against. [9]
David Murray/Pierre Dørge: The Jazzpar Prize (1991, Enja -93) [+]
David Murray Big Band: South of the Border (1992, DIW -95) Murray's previous big band efforts, starting in 1984 with Live at Sweet Basil, merely diluted him. But looking south for beat and vibe, conductor Butch Morris weaves the extra horns into seamless flow. Not that they look very far: the table setter is a Sonny Rollins calypso. [9]
David Murray Octet: Picasso (1992, DIW -95) The title comes from a Coleman Hawkins piece, but where Hawk recorded the first landmark tenor sax solo album, Murray wraps a seven-slice suite around the idea and fleshes it out with five horns and some dazzling Dave Burrell piano; not as jarring or protean as earlier octets like Ming, the sense of motion and flow is flush throughout. [7]
David Murray: MX (1992, Red Baron -93) [5]
David Murray: Body and Soul (1993, Black Saint) Another twist on the Hawkins classic. [+]
David Murray: Saxmen (1993, Red Baron) [+]
David Murray: For Aunt Louise (1993, DIW -95) [9]
David Murray/Dave Burrell: Windward Passages (1993, Black Saint -97) [9]
David Murray: Jazzosaurus Rex (1993, Red Baron) The four 1992-93 albums recorded for Bob Thiele's Sony-distributed label are the closest Murray ever got to a major US label, but the net effect is that they're relatively easy to find as cutouts. Cut the same day as Saxmen his quickie survey of the alumni, this one's good for cosmic relief -- especially the memoir of Miles Davis with Murray noodling behind the rap. [10]
David Murray Quartet: Skahill's II (1993, DIW -94) A follow-up to Shakill's Warior, a 1991 album which also featured Don Pullen on organ, providing an edgy soul jazz groove for Murray's powerful improvisations. [9]
David Murray Quartet: Love and Sorrow (1993, DIW -00) Another ballad album, framed with "You'd Be So Nice to Come Home To" and "You Don't Know What Love Is"; the sole original "Sorrow Song (for W.E.B. DuBois)" leading into "A Flower Is a Lovesome Thing" for what may be his most quiet storm side ever; an especially touching John Hicks on piano, Fred Hopkins on bass, Idris Muhammad on drums. [9]
David Murray Quintet With Ray Anderson and Anthony Davis (1994, DIW -96) [9]
David Murray: Jug-a-Lug (1994, DIW) Two upbeat sets with organ and electric guitars, one with "Sex Machine." [+]
David Murray: The Tip (1994, DIW) Two upbeat sets with organ and electric guitars, one with "Sex Machine." [+]
David Murray Quartet: Live at the Village Vanguard (1995, 411 Records -03) This has a fly-on-the-wall quality, catching just one instant of the great saxophonist doing what he does better than almost anyone else; one wonders just why this particular instant -- good players with no special magic -- was chosen over so many others. [+]
David Murray: Dark Star: The Music of the Grateful Dead (1996, Astor Place) [5]
David Murray: The Long Goodbye: A Tribute to Don Pullen (1996, DIW) Four songs by the late, great pianist; two by protégé D.D. Jackson, who occupies the hot seat; the title cut a dirge by Butch Morris. Despite some rousing passages, this has a becalming, elegiac feel, a fitting companion to Pullen's own Ode to Life. [10]
David Murray: Fo Deuk Revue (1996, Justin Time -97) [+]
David Murray: Creole (1997, Justin Time) In moving to France, Murray left the US and moved out into the world. Fo Deuk Revue introduced him to Senegal's griots and rappers. Here he goes to Gaudeloupe, encountering the ka drums, flutes and vocals at the other end of the middle passage. Two remarkable reunions followed -- Yonn-Dé (2002) and the Pharoah Sanders-fortified Gwotet (2004) -- but this is one jazz-world fusion that comes together whole. [10]
David Murray: Seasons (1998, Pow Wow -99) [+]
David Murray/Fontella Bass: Speaking in Tongues (1999, Justin Time) [5]
David Murray: Octet Plays Trane (2000, Justin Time) [9]
David Murray Power Quartet: Like a Kiss That Never Ends (2000, Justin Time -01) More like his Classic Quartet, with longtime mates John Hicks, Ray Drummond and Andrew Cyrille on board. Classic album too, full of power but with none of the rough edges of his early quartets. [10]
David Murray & the Gwo-Ka Masters: Yonn-De (2002, Justin Time) Back to Martinique, sans flutes. The rush here is the percussion and chants, which are harder to track than Creole's exuberance, and there's also a shortage of Murray. Yet when Murray does play, he electrifies the joint. And the percussion and chants finally hold up. [9]
David Murray Quartet: Live at the Village Vanguard (1995, 411 Records -03) This has a fly-on-the-wall quality, catching just one instant of the great saxophonist doing what he does better than almost anyone else; one wonders just why this particular instant -- good players with no special magic -- was chosen over so many others. [+]
David Murray Latin Big Band: Now Is Another Time (2001-02, Justin Time -03) Another bridge, a huge band with muy Latinos and no Butch Morris. Still, Murray stands out -- like Dizzy Gillespie, no band is big enough to contain him. [9]
David Murray: Circles: Live in Cracow (2003, Not Two) Sax trio, featuring local bass and drums duo, telepathic twins Marcin Oles and Bartlomiej Brat Oles, although they seem to be overwhelmed by their guest; Murray holds the spotlight, showing off his extensive bag of improvisatory tricks, especially on bass clarinet. [8]
David Murray & the Gwo-Ka Masters: Gwotet (2004, Justin Time) As with Murray's two previous Guadeloupe albums, a foray into pan-African cosmopolitanism is built around the gwo-ka drums and chant vocals of Klod Kiavué and François Ladrezeau. But the rest of the cast is new, including Guadaloupean guitarist Christian Laviso and Vietnamese/Senegalese hybrid Hervé Samb, extra brass from Murray's Latin Big Band, and featured saxophonist Pharoah Sanders. Where Creole settled for lush exoticism, and Yonn-Dé strove for modest authenticity, this one is a nonstop riot of rhythm and horns. [10]
David Murray 4tet & Strings: Waltz Again (2002, Justin Time -05) Back in 1998 I decided that Murray's Creole was the record of the year. When I praised the record to Christgau, he tersely wrote back that he hates flutes and the record is covered with them. I'm not a flute fan myself, but I was so caught up in the Guadeloupean drums and the master's sax I had hardly noticed. Murray is so monumental he can overpower your prejudices, and he's done so many times -- despite initial reservations I eventually applauded his Latin Big Band and items like Octet Plays Trane. But the strings here are just too much for me. They are as modern and intrusive as those on Stan Getz' Focus, but denser and indecisive -- little swirling maelstroms, they take over the work to such an extent that even Murray has trouble saying his piece. When he does get a word in edgewise, he's magnificent, of course. But there are plenty of other places to hear him to clearer effect. Guess this has to go on the Duds list. [4]
David Murray Black Saint Quartet: Sacred Ground (2006, Justin Time -07) Begins and ends with two Ishmael Reed lyrics sung by Cassandra Wilson: the title cut, tied to Murray's soundtrack for the Marco Williams film Banished, recalls atrocities between 1890 and 1930 when rioting white mobs drove thousands of black Americans from their homes, clearing out whole neighborhoods, while the closer conjures up an ancient Cassandra as "The Prophet of Doom." In between, Murray waxes poetic -- lamenting the past, redeeming the present, offering hope for the future. [10]
David Murray/Mal Waldron: Silence (2001, Justin Time -08) Cut in Brussels a year before Waldron's death, this may now be seen as a remembrance of an all-time piano great, but Murray fills the room so prodigiously that you have to work to hear how skillfully Waldron ties it all together. [9]
David Murray Black Saint Quartet: Live in Berlin (2007, Jazzwerkstatt -08) The piano and bass slots aren't much, but muscular bass clarinet and monster sax prevail. [8]
David Murray and the Gwo Ka Masters: The Devil Tried to Kill Me (2007, Justin Time -09) Murray's connection to Guadeloupe has produced a remarkable series of albums: 1998's Creole, 2002's Yonn-Dé, and 2004's Gwotet. I figured one more would automatically be a year-end contender, so rushed this advance CDR into the player. Two plays later it's certainly not a contender. The saxophonist is brilliant, natch, and the gwo ka drummers power an awesome beat. Can't complain about the guitarists, or Rasul Biddik's occasional trumpet. But the vocals barely connect, especially on Taj Mahal's solo feature, the generic "Africa" with the overly didactic Ishmal Reed lyric. Sista Kee holds up a bit better, with or without Taj. My copy includes two "radio edits" -- shorter versions of the two Taj Mahal songs. I don't mind recapping a hit, but a miss is something else. [6]
David Murray Cuban Ensemble: Plays Nat King Cole en Español (2010, Motéma -11) More inspired by than based on Cole's 1958-62 Spanish-language records, En Español and More En Español. Cole took backing tracks from a small Cuban group and dubbed in his sweet vocals -- one story is that the 1958 revolution prevented him from finishing the album in Havana. Murray is at least equally circuitous, recording his Cuban band in Buenos Aires with tango singer Daniel Melingo -- as rough as Cole is smooth -- then dubbing in strings in Portugal, mixing the album in France, and mastering it in the UK. Even with Melingo on board, the vocals are trimmed way back, leaving more room for the sax, as imposing as ever. [9]
David Murray Infinity Quartet: Be My Monster Love (2012, Motéma -13) Paul Krugman likes to refer to Joseph Stiglitz as "an insanely great economist"; Murray, for much the same reason, is an insanely great tenor saxophonist: his solos here are monumental, taking off in flights of fancy that no one else can think of much less do. Unfortunately, he decided to do songs here, or more precisely, of texts improvised into something song-like. Three of the texts come from Ishmael Reed, whose own deadpan authority made them work on Conjure. Here, Macy Gray sings the title piece in her own idiosyncratic mien, and Gregory Porter tries to croon the others, plus a bit by Abiodun Oyewode on the importance of children. The texts mean well, but the hymn about "making a joyful noise" is doubly ironic: if only Porter would shut up and let the sax man wail. [8]
Murray, Allen & Carrington Power Trio: Perfection (2015, Motéma -16) That's David Murray (tenor sax, bass clarinet), Geri Allen (piano), and Terri Lyne Carrington (drums) -- "Power Trio" would have been redundant had they just spelled out those names. I missed this, and passed up Murray on my latest DownBeat ballot because I hadn't heard anything by him since 2013. My bad. [9]
David Murray Feat. Saul Williams: Blues for Memo (2016, Motéma -18) Williams is more poet than singer, but has a half-dozen albums, notably Martyr Loser King (2016). He read a poem at Amiri Baraka's funeral, and Ahmet Ulug got the idea of arranging a meet up with Murray in Turkey, where this album was originally released. The saxophonist is typically magnificent here, the singer/rapper harder to hear and suss out, but offhand doesn't seem like a good match (unlike, say, Murray's work with Ishmael Reed). [7]
World Saxophone Quartet
With 20 albums to date, Murray's longest-running side-project is the World Saxophone Quartet, formed in 1977 with Julius Hemphill, Oliver Lake, and Hamiett Bluiett. Hemphill was the main arranger until illness sidelined him in 1990. His records, with four saxes and nothing else, follow a purism I've never enjoyed and often found tedious. The later records are more eclectic, often with extra musicians as well as whoever they could find for Hemphill's slot.
World Saxophone Quartet: Point of No Return (1977, Moers) Early on, a live performance from Festival Moers. One's tempted to ask whether it's so early they haven't learned to play yet, but most certainly they were just being nasty, as they were wont to do. And the nastiness is actually the most becoming thing about them. [5]
World Saxophone Quartet: Steppin' With the World Saxophone Quartet (1978, Black Saint -79) If this was their only album I'd use the names on the cover as the artist credit: Hamiet Bluiett (baritone sax/flute), Julius Hemphill (alto/soprano sax), Oliver Lake (alto/soprano sax), David Murray (tenor sax/bass clarinet). But they recorded 20+ albums, starting with a 1977 debut on Moers, then five albums on Black Saint, a major label move to Nonesuch, then from 1996 on Justin Time (like Murray). Hemphill dominates, writing 4 tracks vs. 1 each for Lake and Murray, but the whole approach to harmony was his -- something he pursued on his other records, but kept especially pure here. I've always found their limited monophonic range unpleasant, but this is more dynamic than most. [5]
World Saxophone Quartet: W.S.Q. (1980, Black Saint -81) Hamiet Bluiett steps up here, with two short pieces (or five, as his "Suite Music" is broken into five parts), vs. 3-2-1 for Hemphill, Lake, and Murray. [6]
World Saxophone Quartet: Revue (1980, Black Saint -82) Hemphill wrote four pieces, the whole first side. The others split the second, with Murray offering "Ming" and "David's Tune," and Lake and Bluiett offering hymns. Hemphill's side is the more cohesive, which doesn't necessarily make it better. [6]
World Saxophone Quartet: Live in Zürich (1981, Black Saint -84) Bluiett riff pieces open and close, brief at 1:40 and 1:30. In between it's all Hemphill, six substantial pieces, played slow and soft enough to focus on complex harmony rather than indulging in the thrash that gladiators are prone to. [6]
World Saxophone Quartet: Live at Brooklyn Academy of Music (1985, Black Saint -86) More of a group effort, with Murray's "Great Peace" longest at 14:58, but Hemphill gets the last word. [5]
World Saxophone Quartet: Plays Duke Ellington (1986, Elektra) [3]
World Saxophone Quartet: Dances and Ballads (1987, Elektra) [+]
World Saxophone Quartet: Rhythm and Blues (1989, Elektra) [4]
World Saxophone Quartet: Metamorphosis (1990, Elektra/Nonesuch -91) [+]
World Saxophone Quartet/Fontella Bass: Breath of Life (1992, Elektra/Nonesuch -94) [+]
World Saxophone Quartet: Moving Right Along (1993, Soul Note -94) Eric Person takes over for the departed Julius Hemphill, the mastermind for better and worse of this group. Plus James Spaulding shows up for two tracks. I've always had problems with this group -- both the tone and their tendency to scratch -- but this one redeems itself less than most. [4]
World Saxophone Quartet: Four Now (1995, Justin Time -96) Julius Hemphill became ill, stopped playing, left the group in 1990 (between Rhythm & Blues and Metamorphosis), and died in 1995 (age 57). (He continued composing. His 1993 Five Chord Stud, played by six other saxophonists, perhaps the best of his sax choir records, and a sextet in his name recorded a good Live in Lisbon in 2003. He had a profound influence on many saxophonists, notably Tim Berne and Allen Lowe.) The other three sax giants kept WSQ going through 2006, running through a series of alto replacements (Arthur Blythe was the first, but it's John Purcell here) and adding other musicians as opportunity arose. The cover notes: "With African Drums" (Chief Bey, Mor Thiam, and Mar Gueye). They make a difference, inspiring a vocal on the Thiam's closer, "Sangara." [7]
World Saxophone Quartet: Takin' It 2 the Next Level (1996, Justin Time) The four saxophonists (Hamiet Bluiett, Oliver Lake, David Murray, and John Purcell) get a full rhythm section for backup this time: Donald Blackman (keyboards), Calvin X Jones (bass), and Ronnie Burrage (drums). All but Jones contribute pieces, and they're all over the place. [5]
World Saxophone Quartet: Selim Sevad: A Tribute to Miles Davis (1998, Justin Time) [9]
World Saxophone Quartet: M'Bizo (1997-98, Justin Time -99) [+]
World Saxophone Quartet: Requiem for Julius (1999, Justin Time -00) [4]
World Saxophone Quartet: Steppenwolf (1999, Justin Time -02) Bluiett is one of my favorite saxmen, and Murray, well, he's my main man. Dunno about Purcell, but Lake's pretty good, too. So I keep going back to the well (10 albums so far), but the fact is that I've always found WSQ's sound way too monotonic -- what a difference some African drums make -- and I've also found them prone to slip into incomprehensible cacophony (especially when Julius Hemphill was present, in person or in memory). Twenty-some years down the road, this live set seems about par for the course: brilliant musicians, startling runs, astonishing tones, and more than a dollop of incomprehensible cacophony. [4]
World Saxophone Quartet: 25th Anniversary: The New Chapter (2000, Justin Time -01) After a decade of trying new things, back to the well -- just four saxophonists harmonizing, no bells or whistles (or African drums). Before this came their look back, Requiem for Julius, their tribute to founder and visionary Hemphill. Here they look forward, dressed on the cover in white tuxes, John Purcell way out front, pictured with saxello but credited with alto. Once again, I get it, but don't especially enjoy it. [5]
World Saxophone Quartet: Experience (2004, Justin Time) If Hendrix's songs were just scaffolds for great guitar, why not great sax? The group has been fleshed out here with drums (Gene Lake), bass guitar (Matthew Garrison), violin (Billy Bang) and trombone (Craig Harris, also credited with didgeridoo and spoken word, which mostly amounts to "foxy lady"). That gives them what they've always needed, with is a bottom, a beat, and some sonic differentiation. (Otherwise, the saxes, even given the richness of the interplay, often seem much too much the same color.) Not a complete success, in part because it too complicated for Hendrix's songs, which worked just fine in the simplest of trios. [+]
World Saxophone Quartet: Political Blues (2006, Justin Time) The political situation has gotten so dire that the old masters feel compelled to write tirades. David Murray and Oliver Lake go so far as to step up to the mike, while Hamiet Bluiett recruits gospel heavyweight Carolyn Amba Hawthorne to excoriate the nation's "Amazin' Disgrace." In the first recorded understatement of his career, Murray complains that "the Republican Party is not very nice." But like most Americans, they'd still rather party than protest, so they bring their friends in. In the spirit of anger, Craig Harris weighs in on the "Bluocracy" -- Lincoln Center's, presumably, they've been on the front lines of that political struggle all their careers. All Blood Ulmer has to offers is "Mannish Boy," but why not? They've always struck me as uptight without bass and drums, but with a backbeat and their blood up they're the champs. [10]
World Saxophone Quartet: Yes We Can (2009, Jazzwerkstatt -11) Murray and Bluiett celebrate Obama, with Kidd Jordan for Lake's grit, and James Carter for Hemphill's soul. [7]
Some side credits:
Bobby Battle Quartet With David Murray: The Offering (1990, Mapleshade) The "with" clause is the one that matters. Battle is a drummer who has catalogued nothing else under his name, no doubt because he also wrote nothing here. Six long, relaxed performances, the two classics (Waller and Monk) being the ones you most notice, but solid work all around. [+]
Big Band Charlie Mingus: Live at the Theatre Boulogne-Billancourt Volume 1 (1988, Soul Note) [+]
Big Band Charlie Mingus: Live at the Theatre Boulogne-Billancourt Volume 2 (1988, Soul Note) [9]
Jeri Brown/Leon Thomas: Zaius (1998, Justin Time) [5]
Dave Burrell/David Murray: In Concert (1991, Victo) [9]
James Carter: Live at Baker's Keyboard Lounge (2001, Warner Bros. -04) Overstuffed with four generations of Detroit saxophonists -- Johnny Griffin goes virtually unnoticed for the first time ever, Franz Jackson sings to be heard, and David Murray has to play like David Murray -- this isn't a great album, but it's voluble and exciting the way Carter can be. If he recorded for boutique labels, they'd be on his case for three or four records like this per year, and he'd deliver. But with the majors this sits on the shelf until he moves on and they decide to flush it. [9]
Andrew Cyrille Quintet: Ode to the Living Tree (1994, Venus -95) Recorded in Senegal with an all-star group: David Murray (tenor sax/bass clarinet), Oliver Lake (alto sax), Adegoke Steve Colson (electric piano), Fred Hopkins (bass). Two Cyrille pieces, one each by Murray and Colson, plus a 19:12 slice from "A Love Supreme." Loud, raucous even, still feels cluttered and slipshod. [4]
Jack DeJohnette: Special Edition (1979, ECM -80) Quartet with Peter Warren (bass, cello) and two saxophonists: David Murray (tenor, bass clarinet) and Arthur Blythe (alto). That's a lot of firepower, but for some reason it's deployed rather erratically. [7]
Jack DeJohnette's Special Edition: Album Album (1984, ECM) Horn-heavy quintet, with John Purcell (alto/soprano sax), David Murray (tenor sax), Howard Johnson (tuba/baritone sax), and Rufus Reid (acoustic/electric bass). On the downside I find that I don't like the sax section playing at all -- Purcell's smaller saxes sound tinny, and Johnson's bottom washes out, but Murray's solos are pretty impressive. There's just not enough of them to put the album album over. [5]
Barbara Dennerlein: Junkanoo (1997, Verve) [+]
Kahil El'Zabar With David Murray: One World Family (2000, CIMP) The duo's record on Delmark is easier to grasp, probably because the sound is much more upfront. CIMP likes to give the listener as much dynamic range as possible, which means that the quieter parts tend to drop out -- at least unless you have a billion dollar stereo system and the patience to use it. The title cut is a prime example of this, with a big hole all the way to the end. There's some prime Murray here, but there's lots of prime Murray all over the place. [+]
Kahil El'Zabar Trio: Love Outside of Dreams (1997, Delmark -02) While El'Zabar is always interesting, the real attraction here is David Murray, who blows his ass off. Makes up for underplaying on Yonn-Dé. [9]
Kahil El'Zabar & David Murray: We Is: Live at the Bop Shop (2000, Delmark -04) El'Zabar is an important conceptualizer of pan-Africanist world jazz, but he can get to be annoying. He takes two long drum solos here, lots of banging and thrashing, but they never quite come through with whatever it is that drum solos are supposed to deliver. Worse are his chants, grunts, and vocalizations, which only make sense on "One World Family." On the other hand, Murray transcends all that. Give him space to blow and he generates wonders. His tenor sax intros to "Groove Allure" and "Blues Affirmation" are clear, concise, and breathtaking. His plays bass clarinet on "One World Family" and he's simply the all-time master of the instrument. Murray's recorded a number of duos, and the one thing they all have in common is a lot of great Murray. This is his third record with El'Zabar. One World Family (CIMP) came from the same year, covers much the same ground, and has pluses and minuses to this one: the sound here is better, much warmer, at least for Murray -- El'Zabar's vocals are clearer on the CIMP; this one has live crowd noise and a lot more drum solo. I rate the CIMP a tad higher, but they're very close. Better than either is the trio with bassist Fred Hopkins, recorded in 1997 but unreleased until 2002, Love Outside of Dreams. [+]
Kahil El'Zabar Ft. David Murray: Kahil El'Zabar's Spirit Groove (2019 [2020], Spiritmuse) Chicago percussionist, leads a quartet with Murray on tenor sax, Justin Dillard on keyboards, and Emma Dayhuff on bass. The leaders have history, but it's been a while since their 1997-2000 albums. Both have slowed down, gotten sentimental, which is why I forgive El'Zabar's singing, and treasure what's left of the saxophonist's chops -- not awesome, but still inspiring. [9]
Donal Fox/David Murray: Ugly Beauty (1993, Evidence) [5]
Henry Grimes Trio: Live at the Kerava Jazz Festival (2004, Ayler -05) The sound doesn't favor the return of Ayler's long-lost bassist, but David Murray and Hamid Drake do. [8]
Andy Hamilton: Silvershine (1991, World Circuit) [+]
[Kip Hanrahan] Conjure: Music for the Texts of Ishmael Reed (1983, American Clavé -85) [9]
[Kip Hanrahan] Conjure: Cab Calloway Stands in for the Moon (1987-88, American Clavé) [5]
Kip Hanrahan: Vertical's Currency (1984, American Clavé) [5]
[Kip Hanrahan] Conjure: Bad Mouth (2005, American Clavé 2CD -06) Long after two '80s albums, another helping of Ishmael Reed texts, read by the man over Kip Hanrahan's music. The first was called Conjure: Music for the Texts of Ishmael Reed, the title becoming a virtual group of sorts. I dig the concept, admire the man, only wish the music was a bit better -- especially from what looks on paper to be a Latin percussion dream team. Only David Murray truly rises to the occasion. [7]
John Hicks/David Murray: Sketches of Tokyo (1985, DIW -86) The first of many duos with pianists, this one stands out because Hicks keeps pushing his ideas even when Murray is flying. Starts with Hicks solo on Monk, then Murray joins in -- overpowering at first, but the pianist hangs tough. Piano duo albums are a Murray staple, but his regular pianists have the edge [9]
William Hooker: Light: The Early Years 1975-1989 (1975-89, NoBusiness -4CD -16) A trawl through the avant drummer's early oeuvre. First disc starts with him solo, a failed soul singer backed only by his own percussion. Then comes two monster pieces with saxophonists: a 26:48 trio with David Murray (1975), and a 19:27 duo with a young and even more visceral David S. Ware. Second disc is more obscure, ending with a 16:07 trio with two saxophonists (Jameel Moondoc and Hasaan Dawkins). Third jumps ahead to 1988, a previously unreleased trio with Roy Campbell on trumpet and Booker T. Williams on tenor sax. Fourth gives you a set with Lewis Barnes (trumpet) and Richard Keene (reeds) and a 16:18 drum solo. All avant, very underground, and while the horns make a lot of noise, there's very little filler -- I think just one cut with bass, no piano or guitar -- so the drums always ring clear. [9]
D.D. Jackson/David Murray: Peace-Song (1994, Justin Time -95) [9]
D.D. Jackson: Paired Down, Vol. 1 (1996, Justin Time -97) [+]
D.D. Jackson: Paired Down, Vol. 2 (1996, Justin Time -97) [+]
Michael Gregory Jackson: Clarity (1976, ESP-Disk -10) Guitarist, first album at 23, also credited with vocals, mandolin, flute, timpani, marimba, percussion, but what caught my attention was the three young horn players: Leo Smith, Oliver Lake, and David Murray. Still, those horns are generally wasted, although Lake has some moments, and gets into the label's ad hoc aesthetic with flute and percussion. [5]
Jon Jang Sextet: Two Flowers on a Stem (1995, Soul Note) Jang's melodies are rooted in Chinese music, but the real oriental feel comes from Chen Jiebing's erhu -- a string instrument likened to a cello. The only other oriental instrument is the gong that bassist Santi Debriano uses. The rest of the group: Billy Hart (drums), James Newton (flute), David Murray (tenor sax, bass clarinet). The early sections here tend to favor newton, his flute providing an arch airiness. On rarely does the music here lapse into the stateliness I associate with Chinese music -- the bottom line is that Jang swings too much for that. The latter half is increasingly turned over to Murray, who rips off an astonishing solo on "Variation on a Sorrow Song of Mengjiang Nu." [+]
Jon Jang/David Murray: River of Life (1998-2001, Asian Improv -02) A mixed bag. Murray is frequently outstanding in duo frameworks, so the surprise here is that he seems to be the source of the trouble. He feels awkward on several of these pieces, probably because they don't have a lot of melodic flow. Nor is this problem all Jang's fault: Murray takes another shot at his "Requiem for Julius," which is as difficult as anything Julius ever wrote. Also the bass clarinet doesn't seem to fit a couple of pieces. On the other hand, when he's hot he's hot. This starts strong, and ends stronger. The other high point is Jang's arrangement of a Chinese piece. Jang actually is interesting throughout. Like I said, a mixed bag. [+]
Ranee Lee: Seasons of Love (1997, Justin Time) Jazz singer, born in Brooklyn but based in Montreal since 1970, recording a dozen albums 1980-2009. Tenor saxophonist David Murray gets a "with special guest" credit on the cover, but only plays on 4 (of 12) songs. Otherwise backed by piano, guitar, bass, and drums, all very deliberate. [6]
Allen Lowe: Louis Armstrong: An Avant Garde Portrait (1992, Constant Sorrow -16) Recorded live at Knitting Factory, originally released as Mental Strain at Dawn: A Modern Portrait of Louis Armstrong (1993, Stash), the band included Doc Cheatham and Robert Rumboltz on trumpet, Paul Austerlitz (clarinet, bass clarinet), David Murray (bass clarinet, tenor sax), Lowe (alto/tenor sax), Loren Schoenberg (tenor sax), John Rapson (trombone), and Ray Kaczynski (drums). Some old, some new, Lowe is clever enough he rarely tips his hand. [8]
Abdoulaye N'Diaye: Taouè (2001, Justin Time -03) [9]
Ralph Peterson: Presents the Fo'Tet (1989, Blue Note) [5]
The Roots: Illadelph Halflife (1996, DGC) [B+]
Hal Singer: Challenge (2010, Marge) Ninety years old, seems likely to be his last album, recorded in Paris, but his pick up band for once is American, young, and pretty famous: Lafayette Gilchrist (piano), Jaribu Shahid (bass), Hamid Drake (drums), plus Rasul Siddik (trumpet) on two tracks, and David Murray (tenor sax) everywhere. The latter more than earns his "featuring" credit, but the two-sax work early on is pretty thrilling. [9]
Jamaaladeen Tacuma: Renaissance Man (1983, Gramavision -84) [5]
Aki Takase/David Murray: Blue Monk (1991, Enja) [9]
Aki Takase/David Murray: Cherry Shakura (2016, Intakt -17) Piano/sax duets, Murray also playing bass clarinet. The pair recorded a previous album in 1991, Blue Monk, long a personal favorite, and they add another Monk piece here, along with seven originals (Takase 4, Murray 3) which makes this a bit harder to fall for, but the pianist is superb, and Murray is as awesome as ever. [9]
McCoy Tyner: 44th Street Suite (1991, Red Baron) [+]
James Blood Ulmer: Are You Glad to Be in America? (1980, Rough Trade) [+]
James Blood Ulmer: Free Lancing (1982, Columbia) David Murray on 3 tracks. [5]
Paul Zauner's Blue Brass feat. David Murray: Roots n' Wings (2019, PAO/Blujazz) Austrian trombonist, handful of albums with variants of this group, an octet here including his guest star. Zauner played some with Murray in the late 1980s. Good to hear him here, but two other saxes and trumpet vie for attention. [8]
Wildflowers: The New York Loft Jazz Sessions Complete (1976, Knitting Factory, 3CD) Collects five LPs, originally Douglas 7045-7049; Murray appears on three tracks.
Other Albums
This is very partial.
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https://www.johncoltrane.com/biography
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John Coltrane Biography
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JOHN COLTRANE
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https://www.johncoltrane.com/biography
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“I know that there are bad forces, forces that bring suffering to others and misery to the world. I want to be the opposite force. I want to be the force which is truly for good.”
Coltrane achieved his goal as a hard-working jazz player coming out of a proud, rooted musical tradition, paying his dues as a sideman, learning the ropes as a leader, working with primarily wordless music to convey his message. He released twenty-five albums as a leader during his lifetime, some attaining five-star, classic status: Blue Train, Giant Steps, My Favorite Things, his Grammy-nominated, “humble offering” to God, A Love Supreme. One after another, from 1957 to ’67, his music defined a comet-like path of rapid growth and dizzying rate of change. That Coltrane accomplished all he did in a mere ten years accounts at least partly for the saint-like devotion he often receives.
Jazz journalist Nat Hentoff, who interviewed and championed Coltrane, praised him more soberly. “By the time A Love Supreme hit, Trane struck such a spiritual chord in so many listeners that people started to think of him as being beyond human. I think that’s unfair. He was just a human being like you and me -- but he was willing to practice more, to do all the things that somebody has to do to excel. The real value in what John Coltrane did was that what he accomplished, he did as a human.”
Certain aspects of Coltrane’s humble beginnings point to what he would become. Being born in 1926 in small-town North Carolina—specifically Hamlet, and later High Point—helps explain his predilection for the blues. His affinity for a distinct, gospel feel—meditative, prayer-like songs and the preacher-like tone in his saxophone—can be partially credited to being raised in a religious family. His father preached, and his grandfather was a community leader and minister. In 1938 both passed away suddenly, then Coltrane’s grandmother and an aunt—all within months of each other. Coltrane himself was barely twelve. The family was devastated, emotionally and economically. Having just taken up the clarinet, music became a lifeline of sorts for Coltrane.
Timing had much to do with building Coltrane’s musical foundation as well. Being born in ‘26 meant that by his teenage years he was hearing the popular songs and sophisticated arrangements at the height of the big band era. As he approached adulthood in the mid ‘40s, the bebop of alto saxophonist Charlie Parker and trumpeter Dizzy Gillespie grabbed the ears of his generation. Johnny Hodges, the longtime alto saxophonist in Duke Ellington’s famed orchestra; and Dexter Gordon, the tenor-sax playing, first-generation bebopper, were two of Coltrane’s earliest heroes.
Bebop was a new exciting language that snapped and popped with a fresh, rhythmic freedom, and expanded the harmonic bandwidth of the music—requiring an under-the-hood familiarity with the mechanics of music. Coltrane, already an autodidact, was hooked, intellectually and emotionally.
Coltrane moved to Philadelphia in 1943, following other family members, and immediately threw himself into the local music scene, meeting other young, bebop-focused players, like saxophonists Jimmy Heath and Benny Golson. A stint in the Navy in the closing days of World War II gave him the chance to use the G.I. Bill to take music classes after his discharge, and dedicate himself to music as a profession.
Philadelphia featured one of the most developed and vibrant African American communities in the post-WWII years. The black parts of town were filled with bars, clubs, and theaters, all requiring live music of all styles. Despite his dedication to bebop, Coltrane became a journeyman musician on the circuit, blowing alto saxophone and playing whatever the gig required.
Coltrane’s apprenticeship took place from 1946 to 1955. He was a horn-for-hire, blowing the blues out front of small groups, backing various jazz and R&B singers, adding to the punch and blend of the sax section in a number of big bands. He worked his way up the ranks, from local groups (Jimmy Heath’s big band for one; Bill Carney’s Hi-Tones, a small R&B outfit, for another) to national ensembles in the early ‘50s—like big bands led by saxophonists Johnny Hodges, and Earl Bostic, and Dizzy Gillespie, the latter demanding he switch from alto to tenor saxophone. Coltrane followed orders, and his development continued.
It was during this endless succession of gigs and travel when Coltrane first tried narcotics; by 1951, like too many of his peers, he acquired a heroin habit that would stay with him for six years.
Coltrane was playing in organist Jimmy Smith’s group at the end of summer 1955 when a call came from New York City to audition for trumpeter Miles Davis’s band. Despite Coltrane’s initial uncertainty—“I am quite ashamed of those early records I made with Miles. Why he picked me, I don’t know”, he later said—Miles liked what he heard. “After we started playing together for a while, I knew that this guy was a bad motherfucker,” Davis wrote in his autobiography. “[He] was just the voice I needed on tenor to set off my voice.”
The four years Coltrane spent in Davis’s group—from 1955 through ’59—catapulted the unknown saxophonist from local obscurity to national renown. Under the spotlight that came with playing alongside Davis, Coltrane evolved from what many heard as faltering insecurity to bold, chance-taking confidence. True to Miles’s words, the intensity and density of Coltrane’s saxophone was an effective foil to Davis’s subdued melancholy on trumpet. They had been born the same year and grown to be so different in temperament. Yet they were, at the core, equal in their obsession with the inner workings of music theory, and in their need for musical challenge and surprise.
Davis provided Coltrane an open-ended, instruction-less freedom to explore and find his own voice; Coltrane referred to him as “Teacher”. Save for nine months in 1957 when the trumpeter unceremoniously fired him due to his heroin use impeding his appearance and performance—after which Coltrane kicked his habit cold turkey—their relationship remains one of the most fruitful and significant in jazz history.
1957, in fact, was the year Coltrane truly became Coltrane. During that twelve-month period, his compulsion to practice incessantly led to the first phase of his signature style: slaloming through changes, playing and replaying scalar patterns, an outpouring of harmonic stacking the critic Ira Gitler famously dubbed “sheets of sound.” Once clean and back on the scene as a freelancer, Coltrane’s workaholic nature propelled him into the studio—as sideman on many tracks, recording his debut as a leader (Coltrane on Prestige), and the first album to reveal his gifts as a composer (Blue Train on Blue Note).
No event in ’57 proved more enduringly significant to Coltrane than his summer-long collaboration with the pianist/composer Thelonious Monk, of which Coltrane said:
“I learned from him in every way – through the senses, theoretically, technically.”
Monk's tutelage—more direct and patient than Miles—helped him grasp music riddled with strange melodic leaps and rhythmic breaks, and appealed with its own logic. When Coltrane returned to Miles’s group at the end of that year, the trumpeter was on his own way to developing a new vocabulary.
The timing could not have been better. Miles’s shift from traditional, chord-based song forms to more open-ended, modal structures provided a needed freshness that helped improvisers avoid the same old bebop clichés. This “modal jazz” was the foundational idea to what is still Miles’s most famous album, 1959’s Kind of Blue. For Coltrane, it was like pouring high-octane into a turbo-charged engine. Liberated from the meticulous pathways in Monk’s music, he dove with gusto into the harmonic freedoms that modal jazz offered, absorbing and later developing the same ideas further in his own groundbreaking groups of the 1960s.
“Miles's music gave me plenty of freedom," he said. "It's a beautiful approach...I found it easy to apply harmonic ideas that I had."
By the end of 1959, Coltrane was 33. While Miles tried to keep him in his group, it was clear he was itching to go his own way. He began gigging with his own bands, and continued writing material. He had a booking agent and a lawyer, both recommended by Miles, the latter who helped him start his own music publishing company (Jowcol Music) and jump from his Prestige to a more lucrative contract with the midsize Atlantic Records, a label known as much for its R&B successes as for releasing jazz records.
1959 to ’61 mark Coltrane’s Atlantic period, during which he recorded one of his most important albums—Giant Steps—featuring timeless tunes like “Naima”, “Cousin Mary”, and the title track; collectively they served as a masterful farewell to the labyrinthine chord changes of the bebop world. He began to focus more on the highly emotional, melody-driven influence of the avant-garde jazz of the time, inspired greatly by the music of Ornette Coleman—the Texas-born saxophonist who had turned the jazz world on its ear upon arriving in New York City in 1959.
Coltrane often visited and in fact received instruction from Coleman; “He was interested in non-chordal playing and I had cut my teeth on that stuff," Coleman reported years after. "He later sent me a letter which included thirty dollars for each lesson . . ."
In his last year with Atlantic, Coltrane added the soprano saxophone to his repertoire and the pianist McCoy Tyner to his band. The confluence of the two led him to record the waltz-time Broadway show tune “My Favorite Things” (from the musical The Sound Of Music) as a raga-flavored, modal piece; the unlikely reimagining became a radio hit and his biggest commercial success.
By the end of 1961, Coltrane was able to push higher, signing with Impulse Records—the jazz imprint within the major label ABC-Paramount Records. It was with Impulse—from ’61 through his death in July ‘67—that Coltrane would reach his highest career crest, and reveal the full range of his projects: first with his quintet that featured saxophonist/flutist Eric Dolphy, then his so-called “Classic Quartet” (with Tyner, drummer Elvin Jones and bassist Jimmy Garrison), various big band efforts (Africa/Brass, Ascension), and finally the quintet that included Garrison, his wife, pianist Alice Coltrane, saxophonist Pharoah Sanders, and drummer Rashied Ali.
Coltrane’s Impulse recordings, from 1961 through most of ’64, show him with one foot in the more traditional jazz world, playing standards (Ballads) and collaborating with the likes of the legendary Duke Ellington and vocalist Johnny Hartman, while the other foot rested in more avant-garde territory. His release schedule balanced fiery, live recordings (Live! at the Village Vanguard, Live at Birdland, some tracks on Impressions) with studio recordings sharing a softer, more meditative side to his composing (other tracks on Impressions, Coltrane, Crescent). By the early ‘60s, Coltrane was a nightclub and festival headliner, a force in terms of record sales and box office receipts, and a major influence on many of his peers—his albums by then were required listening for jazz, R&B, and rock players alike.
Coltrane recorded A Love Supreme at the end of ’64, calling it his “attempt to say ‘THANK YOU GOD’ through our work”—a musical offering in gratitude for his spiritual re-awakening in ’57, the year he rid himself of his drug habit. It was a four-part suite, the first of a series of larger works that held to a higher intent and focus. It was carefully composed and planned in September ’64, just after the birth of his first son John Jr. with his new wife, the Detroit-born, bebop-enthused Alice Coltrane—née McLeod.
Their relationship would prove to be one of the most prodigious and prolific husband-wife pairings of the jazz world. John’s musical and spiritual influence on Alice would redirect her life and career. After his death, she carried his music and universalist message forward in her own way, fusing modern jazz, Indian ragas, and Vedic devotional songs on eighteen very special albums, and eventually put her career aside to establish and lead an ashram of spiritual followers in southern California.
A Love Supreme was atypical for a jazz recording in many ways. It included Coltrane’s voice, chanting the album’s title. The album cover featured a letter to the listener and a poem, both penned by Coltrane and both espousing a universalist spirituality, and addressing his role as a musician. When released in early ’65, it quickly became Coltrane’s best-known album, a kind of musical self-portrait that earned him two Grammy nominations, induction into Downbeat magazine’s Hall of Fame, and a newer generation of fans—many of who were likewise looking to alternative spiritual paths. A few weeks before Coltrane composed A Love Supreme, jazz writer Leonard Feather noted that his “most devoted followers are young listeners” and asked how they could fully appreciate music that “demands technical knowledge and intense attention.”
“As long as there is some feeling of communication, it isn't necessary that it be understood,” Coltrane replied. “After all, I used to love music myself long before I could even identify a G minor seventh chord…eventually the listeners move right along with the musicians.”
Coltrane’s put this truism to the test through 1965 as his musical explorations— inviting other players into his band, writing music that grew increasingly discordant, dense, and multi-rhythmic—tested the patience of both his audience and members of his Classic Quartet. Before the year was out, both Tyner and Jones departed: Alice took over the piano seat, the young Rashied Ali was added on drums, and Pharoah Sanders on second saxophone.
From 1966 until his death in ’67, Coltrane was seen as the point of the spear by a new generation of jazz avant-gardists—a generation more politically charged and socially conscious than those before, and whose music reflected the growing political outrage of the time. Coltrane himself remained a humanist, more in tune with the non-violent philosophy of Dr. Martin Luther King, Jr., than the confrontational attitude of Malcolm X or the Black Panthers. Yet his music was an indelible part of the soundtrack of that turbulent era, and the recordings he made between ’65 and ’67 remain the most controversial of his entire career.
Through the last months of his life, Coltrane continued to push ahead with sessions that swung between tracks that could be grating and intense, and sonic tapestries deeply introspective and calm. The musical seeds that sprouted during the A Love Supreme sessions predicted where Coltrane would go with his music. His measured key-hopping on “Acknowledgement” presaged a passionate atonality. His chanting was heard again on the album Om. His love of poetry resurfaced on Kulu Se Mama. His hymn-like titles became an unbroken theme—“Dear Lord”, “Welcome”, “The Father, the Son and the Holy Ghost”—their meditative sonority reflecting that of A Love Supreme.
In the last year of his life, as Coltrane’s reputation and notoriety reached its highest level, those close to him were aware something was wrong. He was often in pain, suffering from liver cancer, as it was later learned. Yet Coltrane did not let up. He continued to perform and record, only weeks before his passing on July 17, 1967. The impact on the music scene was seismic; he left behind a stunned community of musicians, as well as his wife Alice, a daughter Michelle and three sons—John Jr., Ravi, and Oran—and a catalogue of recordings from which music continues to be issued and reissued.
Coltrane died in mid-search, musically driven till the end. As he told Nat Hentoff in late ’66:
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David Murray – Willard Middle School
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https://www.willardmiddleschool.org/david-murray/
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David Murray
Few musicians in jazz history have been more vigorously productive and resourceful than tenor sax player David Murray. He has released more than 150 albums over the course of four decades, at times putting out up to a dozen albums per year. His use of the circular breathing technique enables him to play astonishingly long phrases, and he remains a tireless innovator. Born in Oakland, he grew up in Berkeley and studied music from an early age with his mother, organist Catherine Murray, as well as Bobby Bradford, Arthur Blythe, Stanley Crouch and others. After graduating from Berkeley schools he went to Pomona College but dropped out in 1975, moving to New York, where he roomed with Crouch and was at the heart of the underground “loft jazz” scene. He led numerous bands at jazz clubs around the city (including a big band at the Knitting Factory), and was a founding member of the World Saxophone Quartet. In the 1990s, Murray relocated to Europe and now splits his time between Paris and Portugal. His latest album is Perfection, with pianist Geri Allen and percussionist Terri Lyne Carrington.
Murray’s mother died in 1968 when he was just 13, and in 1969 he was Willard’s student body president. At a time that must have been turbulent both politically and personally for Murray, he showed his cool in a short essay written for the school yearbook about the desegregation movement: “We could all get along with integration if everyone would be cool and naturally do their own thing.”
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https://www.berkeleyside.org/2023/06/20/david-murray-back-room
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Jazz musician David Murray returns to Berkeley, where he first played sax at church in 1965
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2023-06-20T00:00:00
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Murray’s concert Friday at the Back Room will come 58 years after a Missionary Church of God in Christ pastor urged him to play his new sax.
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Berkeleyside
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https://www.berkeleyside.org/2023/06/20/david-murray-back-room
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The jubilant wail of David Murray’s saxophone first resounded on Earth in Berkeley, circa 1965, at the Missionary Church of God in Christ on Allston Way, a congregation where his father was a founding deacon and his mother played organ.
Handed an alto saxophone earlier that fateful day by music teacher Phil Hardymon at Longfellow Elementary School, the proud fourth grader brought his newly acquired horn to church, where the Rev. Thirland Daniels said, “Young Murray’s got a new instrument. Let’s hear you play something,” Murray recalled.
“I probably sounded like a young inexperienced saxophonist playing multiphonics and he said ‘You sound very spiritual.’ After a few weeks, I knew all the songs already. I grew very quickly on the horn.”
Murray grew into one of the mightiest tenor saxophonists and bass clarinetists in jazz history, a player whose sound is steeped in the ecstatic Pentecostal gospel music he absorbed growing up in Berkeley. Now living in New York after a quarter-century residency in Paris, he returns to town Friday for a Back Room concert with the GoldenSea Duo featuring Chicago percussion maestro Kahil El’Zabar (they also perform Wednesday, June 21, at Bird & Beckett Books and Records in Glen Park).
He and El’Zabar have been collaborating since 1975, when Murray relocated from Southern California to New York City. He’d spent his high school years performing around the region in R&B bands and playing basketball and football. He made the Berkeley High junior varsity team as a sophomore before transferring to St. Mary’s.
A scholarship to Pomona College put him smack dab in the middle of LA’s roiling creative music scene, and Murray quickly fell in with a brilliant cadre of experimental-minded improvisers and composers such as cornetist Butch Morris, clarinetist John Carter, alto saxophonist Arthur Blythe, bassist Roberto Miranda and Art Ensemble of Chicago drummer Don Moye (during a brief Southland sojourn). El’Zabar was already connected with the Art Ensemble and he and Murray bonded as fierce athletic competitors and emerging artists eager to establish themselves.
“Kahil and I met on the basketball court, and we started hanging out,” said Murray, “Kahil was a great basketball player in Chicago. He’s a visionary who’s hooked up to the creator and the universe, and transfers that to the music. We’re not just a duo. We’re a band. We continue every year to get better and better and more explorative. I’m the silent one on stage, other than what’s coming out of my bass clarinet.”
They documented the duo on the 1989 album Golden Sea, which was released by the German label Sound Aspects. With tunes like “Song For A New South Africa” the project captured the particular optimism of the moment as the political tectonics shifted with the end of the cold war and the defeat of apartheid. When he’s not touring with Murray, El’Zabar is best known for his incantatory Ritual Trio, which has featured Murray and similarly protean tenor saxophonists Pharoah Sanders and Archie Shepp, and the Ethnic Heritage Ensemble, a group that has released a dozen albums since he founded it 50 years ago, including 2023’s Spirit Gatherer: Tribute to Don Cherry.
Among the most prolific artists in jazz history, Murray has released some 265 albums as a leader or co-leader and around another 100 with other artists and groups, most importantly the World Saxophone Quartet. His once torrential recording output has eased in recent years, though he recently documented several of his working bands for Finland’s Intakt Records, like 2022’s Seriana Promethea by his New World Trio (Questlove recently announced he’s releasing Plumb, a four-LP box set he recorded with Murray and Ray Angry in the coming months).
Despite his blizzard of activities, Murray has always maintained close ties to the East Bay. He’s a founding member of the advisory board for the EastSide Cultural Center, where he and poet/activist (and fellow advisory board member) Amiri Baraka developed the opera The Sisyphus Syndrome featuring Berkeley vocalist Faye Carol, bass great Jamaaladeen Tacuma, Boots Riley and the Deep River Gospel Choir (a production they brought to Paris and Milan).
While he’s in town, Murray is convening with Bob Weir, Taj Mahal and Cary Williams to continue working on their musical about legendary Black pitcher Satchel Paige, a Sisyphean project they’ve been toiling on intermittently for some three decades. Every once in a while Weir includes a song from the musical on his set list, through the Paige piece that’s gotten the widest exposure, “Shoulda Had Been Me” (by Weir, Bruce Cockburn, and Michael Nash), appeared on the David Murray Octet’s 1996 CD Dark Star: The Music of the Grateful Dead (a strong contender for the greatest Dead cover album ever).
He credits Berkeley with shaping the artist he became, from Hardymon’s affectionate but demanding tutelage in his formative years to his awe-inspiring experience hearing Sonny Rollins perform solo at the Greek Theatre in 1969 as part of the Berkeley Jazz Festival. Feeling a little envy at the bigger size of Rollins’ tenor sax, Murray implored his father to replace his alto.
His mother had died the year before, and his father, who worked for the Berkeley sanitation department, “took me to the credit union and he took out a loan,” Murray said. “We went to Forrests Music and bought a Selmer tenor that I played up until about 25 years ago.”
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https://motema.com/artists/david-murray/
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ARTISTS OF POWER AND DISTINCTION SINCE 2003
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http://www.motema.com/
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http://www.motema.com/
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Motema Music. Artists of power and distinction since 2003.
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Motema Music
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BIO
Jazz Innovator David Murray & Acclaimed Actor/Poet Saul Williams Craft Powerful, Political Expression of the Blues on New Album, BLUES FOR MEMO,
Project Pays Homage to Turkish Jazz Impresario Mehmet “Memo” Uluğ (1959-2013), inspired by Avant-Garde Jazz Legend Butch Morris (1947-2013) & poet Amiri Baraka (1934-2014)
Features Jason Moran, Orrin Evans, Nasheet Waits, Craig Harris, Jaribu Shahid & More
At Amiri Baraka’s funeral in 2014, Saul Williams recited a poem imploring the iconic poet, author and social critic to “get out of the coffin” and continue his important work. Sadly, Baraka was beyond hearing the younger poet’s words, but they did reach the ears of one of his closest collaborators: saxophonist David Murray.
Williams’ impassioned reading made such an impression on Murray that a day later he was on the phone, proposing a new collaboration. “Saul was one of the most dynamic speakers at the funeral,” Murray recalls. “His words were violent, but Baraka used violent words too.”
Williams sent several of his works to Murray, mostly pieces that were soon to be published in his politically scathing 2015 collection, US(a.), which powerfully confronts issues of race, class, gender, economics and culture in modern-day America. The saxophonist responded to the poet’s words with his trademark vigor, resulting in their new album, Blues for Memo, due out February 2 (digitally). Recorded in Istanbul at the end of a three-week European tour by request of the legendary Turkish producer Ahmet Uluğ, the album features a stellar band – pianist Orrin Evans, bassist Jaribu Shahid, and drummer Nasheet Waits – performing road-tested versions of these newly-penned compositions. Trombonist Craig Harris, keyboardist Jason Moran, guitarist (and Murray’s son) Mingus Murray, kanun player Aytac Dogan, and vocalist Pervis Evans offer striking contributions as well.
Blues for Memo was commissioned by Ahmet Ulug, of Pozitif music in Istanbul to commemorate his late brother Mehmet Uluğ – affectionately known as “Memo” – who co-founded the music promotion company Pozitif (with a third partner, Cem Yegul), and opened the well-known Istanbul club Babylon. Pozitif opened the doors to experimental jazz in Turkey, and have presented such artists as David Murray, Butch Morris, Sun Ra and Pharoah Sanders. The album is a labor of love from Murray to the Ulug brothers in response to their many years of friendship and support. Saul Williams knew Memo from his shows in Babylon in the late ‘90s with saxophonist Ilhan Ersahin’s Wax Poetics project.
The session also provided an opportunity to pay homage to another longtime Murray collaborator, conduction innovator and cornetist Butch Morris, who lived and taught in Istanbul for several years in the late 1990s. Williams adds his words to “Obe,” one of nearly 30 Morris compositions that Murray has recorded over the decades. “We were all really close,” Murray says. “So we all put our heads together and ended up making a tribute to Mehmet and Butch Morris at the same time.”
The union between Williams and Murray becomes even more meaningful as it allows the two to continue poet Amiri Baraka’s mission. “As someone who had grown up extremely familiar with and inspired by the works of Amiri Baraka, I was honored when David asked me to work with him,” Williams says. “I stepped into this very much aware of the fact that I was collaborating with someone who had worked with Amiri.”
When Williams began performing in the mid-90s, as part of the thriving New York slam poetry scene, he consciously avoided working with jazz musicians. He saw the pairing of poetry and jazz at that time as somewhat cliché, especially in light of the thrilling merger of poetry and hip hop then underway. “I was eager to find a way to make sure that my work was not easily connected to some passé idea,” Williams says. “I never really wanted to dive too deeply into jazz because it seemed to fit an existing idea.”
Two decades later, Williams could count a wealth of experiences stemming from his widely acclaimed work: a half-dozen books, appearances in films including Slam (1998), the lead role in the Tupac Shakur-based Broadway musical Holler If Ya Hear Me, and several albums fusing his poetry with hip hop, rock and electronic music. So with an established reputation, years of distance, and a deep respect for Murray’s work, he undertook his first substantial jazz collaboration – and was surprised by what he found.
“As a poet who’s very often tied to the page, collaborating with David has freed me up,” he says. “What’s beautiful about jazz is that it’s a celebration of improvisation. It has so much to do with listening, how you hear and what you hear, and how you respond to that. It keeps me fresh, so it’s the opposite of what I was afraid of when I was dodging performing with jazz musicians. It has invigorated the creative process.”
For Murray, the collaboration with Williams took on a similar form to his work with Baraka and other poets, whether living writers like Ishmael Reed or his adaptations of work by long-dead authors like Alexander Pushkin. “I let a poem just sit on my piano for a week, and the next thing I know it turns into a song,” Murray explains. “The words are like water; they find their own way.”
The band also takes a few pieces without Williams’ words. The title track pays homage to Memo with a blend of blues and classical Turkish music with the addition of Aytac Dogan on the kanun, a zither-like stringed instrument from the Middle East. Murray’s “Positive Messages” offers an uplifting yet forceful message, with a laid-back groove fueled by Moran on Rhodes; Sun Ra’s “Enlightenment” tips its hat to the Uluğ brothers’ love of the cosmic bandleader and the influence of his teachings on Murray’s formative years.
At a challenging time, Williams’ interpretation is understandably confrontational and incisive. Commissioned by Simon & Schuster upon Williams’ return from a four-year sojourn in Paris, US(a.) was intended to be a celebration of being an African-American living in Obama’s America, but the string of police shootings that led to the Black Lives Matter movement and the rise of Donald Trump led to a much darker tone.
A piece like “Red Summer” is directly inspired by the 2015 mass shooting in a Charleston church. “Citizens (The River Runs Red)” takes an excerpt from “Said the Shotgun to the Head,” urging a shift from a patriarchal society to a female perspective. “Cycles and Seasons” draws from Williams’ poem “Coltan as Cotton,” which parallels the mining of coltan – a precious mineral found in smartphones and other technology – with more traditional forms of mining.
Reflecting on Blues For Memo and their work together, Murray says, “Saul is a very forward-thinking visionary. I’ve always tried to be very accommodating to poets and their vision of what the world is. I’ve tried to make it a clearer and truer vision through music.”
al society to a female perspective. “Cycles and Seasons” draws from Williams’ poem “Coltan as Cotton,” which parallels the mining of coltan – a precious mineral found in smartphones and other technology – with more traditional forms of mining.
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Babs Rangaiah on LinkedIn: David Murray, always upbeat, full of energy and truly one of the best and…
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2024-07-22T22:32:35.381000+00:00
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David Murray, always upbeat, full of energy and truly one of the best and most charismatic people I’ve ever known, passed away unexpectedly yesterday.
I've… | 11 comments on LinkedIn
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https://www.linkedin.com/posts/babs26_david-murray-always-upbeat-full-of-energy-activity-7221281000385867777-Rvi9
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DYNAMIC DUOS | "He brings the energy, I bring the heart", what a quote to sum up our CEO Stephen Leeds and COO Jacquie Alley GAICD's relationship in this weeks Dynamic Duos in Mumbrella. "Whilst attitudinally we are aligned, we bring complementary skills. Jacquie brings our business a calming and considered approach to my exuberant and fast paced style. I like to talk; she likes to write. I get energy from others; she is happy in her own company. I’m always looking for the next big idea; she gets things done quickly so we can focus on the next assignment. I like Melbourne; she likes Sydney. Maybe what brings us together is we both love a drink – champagne, red wine or gin – we’re totally aligned on that!" says Stephen of Jacquie. "Stephen has a big personality but an equally big heart and this is what I admire the most about him. He can command a room with his motivating speeches yet also shed tears when we farewell a team member. I say this all the time to him but honestly, I couldn’t imagine being on this journey with anyone else. Don’t get me wrong, we have conflict and difficult conversations as it’s a ‘work marriage’ but when we come back and listen to each other, we are quickly re-aligned and back to business" Says Jacquie of Stephen. What a partnership. Thank you Mumbrella for the opportunity to showcase our leaders, culture always comes from the top down. Stephen Leeds Jacquie Alley GAICD Sam Cousins #mediareimagined #partnerships #dynamicduos #growth #media #culture
Reflecting on Matthew Perry, Chandler's character, two important lessons stand out: laughing at oneself and understanding that not everyone will fully comprehend what you do. These lessons are valuable reminders for navigating our own lives. In our journey, it's crucial to find humor in our quirks and imperfections. Laughing at ourselves helps us embrace our uniqueness, bringing joy to our everyday experiences. Additionally, it's important to remember that not everyone will understand or appreciate our choices, passions, or professions. That's alright. Stay true to your authentic self and surround yourself with a supportive tribe that values and understands your journey. Matthew Perry's legacy extends beyond his on-screen performances. By sharing his journey in his biography and discussing his struggles, he inspired countless people to know that they are not alone in facing their challenges. Through his bravery and vulnerability, he left behind a lasting impact that continues to touch lives. Let's remember the importance of sharing our own stories and experiences, just as Matthew Perry did. By opening up about our journeys, we have the power to inspire and uplift others, reminding them that they are not alone. As we honor Matthew Perry's legacy, let's continue the conversation and share a personal story or experience that has inspired you or taught you something valuable. ✨ #MatthewPerry #ChandlerBing #FavoriteCharacterLessons #ShareYourStory #InspireOneAnother #MatthewPerryLegacy
Time off between roles in December = A lot of time for reading. Some recommendations: ➡️*The Path to Paradise: Sam Wasson’s new book on Francis Ford Coppola’s life, career, and approach to film making. ➡️How to Know a Person: Among other things, how to get better at understanding another person’s perception of reality. ➡️The Color of Truth: Mainly focused on the role played by the Bundy Brothers in the Kennedy & Johnson administrations, particularly in relation to decisions on Vietnam. Up there with “The Best and the Brightest” and a great examination of how strict adherence to certain mental models led extremely intelligent and rational people into making catastrophic decisions. ➡️Mastery: A book I wish I’d read when first published in 2012. How to uncover your “Life’s Task”, approach the pursuit and accumulation of knowledge, and ultimately work towards Mastery in your discipline. * Caveat: Will probably result in an additional ~12-hour time investment watching/rewatching Apocalypse Now, Godfather Part 1+2 and The Conversation. #bookrecommendation #career #careerdevelopment
Back at the end of 2005 I packed my life up in Wisconsin and moved to Florida with no job as I wanted something different in my life and never looked back. This brought me out of my shell of a life that I was leading at the time. Focusing on being a person that should not fear life and what it has in store for me. Fast forward, less than two years (2007) later I meet my future wife while at Disney and she convinces me to move to Alabama. (Love you Lindsey 🙏) She says not to worry her father owns a business just work for him. My father in law taught me everything I need to know to be successful in that space. (Forever grateful Keith 🙏) Mid 2015, the business is sold, later that year things are not going the way we all envisioned and an opportunity (thank you Rich & Ivan 🙏) is put in front of me that allows me to take another risk. This is something different outside of my comfort zone as it builds me to be a better person. (thank you JP 🙏) Late 2021, life says I need to take another risk and switch industries even though my wife is 8 months pregnant. (thank you Ashley & Tyler 🙏). Now this opportunity has made me look deeper at myself. This has challenged me to new levels and overall making me appreciate life and everything that it has to offer. What’s next? Who knows what risks will be put in front of me. But I am not worried and afraid of the challenge. #mindset #success #positivity #growth #risk #takeachance
Back at the end of 2005 I packed my life up in Wisconsin and moved to Florida with no job as I wanted something different in my life and never looked back. This brought me out of my shell of a life that I was leading at the time. Focusing on being a person that should not fear life and what it has in store for me. Fast forward, less than two years (2007) later I meet my future wife while at Disney and she convinces me to move to Alabama. (Love you Lindsey 🙏) She says not to worry her father owns a business just work for him. My father in law taught me everything I need to know to be successful in that space. (Forever grateful Keith 🙏) Mid 2015, the business is sold, later that year things are not going the way we all envisioned and an opportunity (thank you Rich 🙏) is put in front of me that allows me to take another risk. This is something different outside of my comfort zone as it builds me to be a better person. (thank you JP 🙏) Late 2021, life says I need to take another risk and switch industries even though my wife is 8 months pregnant. (thank you Ashley & Tyler 🙏). Now this opportunity has made me look deeper at myself. This has challenged me to new levels and overall making me appreciate life and everything that it has to offer. What’s next? Who knows what risks will be put in front of me. But I am not worried and afraid of the challenge. #mindset #success #positivity #growth #risk #takeachance
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https://wallofsound.wordpress.com/david-murray/
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Wall of Sound
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2007-04-29T10:17:27+00:00
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This page features a series of posts on the jazz saxophonist David Murray. It's part of a long-term project to chronicle and analyse Murray's work. If you’re a Murray fan I hope you find what I have to say straightforward and interesting, even if some of it is written for academic publication. Firstly, there's the…
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https://s1.wp.com/i/favicon.ico
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Wall of Sound
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https://wallofsound.wordpress.com/david-murray/
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David Murray
This page features a series of posts on the jazz saxophonist David Murray. It’s part of a long-term project to chronicle and analyse Murray’s work. If you’re a Murray fan I hope you find what I have to say straightforward and interesting, even if some of it is written for academic publication.
Firstly, there’s the drafts to a fairly lengthy analysis of Murray’s career. This is followed by analyses of his recorded output. I’ve identified getting on for 200 LPs, so it’s going to take time to build up the complete set. After that there’s some posts on rather random aspects of Murray’s career usually written in response to assumptions about Murray’s career that I find unconvincing. As I get round to it you’ll also be able to read some interviews with people who offer interesting insights into Murray’s career.
David Murray: the making of a progressive jazz musician
These are drafts of an article that should be coming into publication soon. They aren’t polished, finished pieces, but the final article needed cutting down, so these drafts often feature lengthier sections on matters that interest me, even if the overall argument is harder to follow.
First here’s a discussion of the idea of progress in jazz discourse using David Murray (and a comparison with Coleman Hawkins) as an example.
Coleman Hawkins and David Murray, and the idea of the progressive musician
The next three links are to a full version of the article, which extends and distills earlier drafts. This is not the final version, which has now been published in the Jazz Research Journal. If you want more detail on some aspects it is worth reading the drafts as well.
Just click on the link to go to the topic.
David Murray: the making of a progressive jazz musician (Part One)
David Murray: the making of a progressive jazz musician (Part Two)
David Murray: the making of a progressive jazz musician (Part Three)
Bibliography
The drafts:
David Murray Part One
David Murray Part Two
David Murray Part Three
If you want to find out more the bibliography should give you plenty more to read.
David Murray – I am a Jazzman
Information of a French TV documentary about Murray.
David Murray’s recorded output
My ultimate aim here is to produce a detailed survey of Murray’s whole recording career. You’ll find surveys of different decades of his work, and I’m building up a series of posts based upon close analysis and contextual discussion of his recordings. I’m starting with the earlier and hard to find releases.
I’ve also posted the first of a series of guides to Murray’s prodigious output if you want to buy and listen to more. I’ll extend and add to them over time. Here’s what’s available so far:
A listener’s guide to David Murray’s records in the 1990s
I’ve been collecting Murray records for a few decades now, and recently I came to believe that had had all but a few of his recordings as leader or co-leader. This is quite an achievement because there are around 150 of them. You can count down the final additions to my Murray record collection through these posts:
150
151
The records
Ted Daniel: In The Beginning (featuring David Murray) 1975
Live At The Peace Church 1976
Flowers For Albert 1976
Live At The Lower Manhattan Ocean Club Vol.1& 2 1977
Solomon’s Sons 1977
Conceptual Saxophone 1978
track by track: ‘Home’ ‘Come Sunday’ ‘Flowers for Albert’
Organic Saxophone 1978
Sur-Real saxophone 1978
Last of the Hipman 1978
Wilber Morris / David Murray / Dennis Charles: Wilber Force 1983
Clarinet Summit In Concert at the Public Theater Vol. I/II 1984/5
Kahil El’Zabar with David Murray Golden Sea 1989
David Murray & Milford Graves: Real Deal 1992
Popular misconceptions
You can also read about Murray’s comments about Albert Ayler as an influence (he isn’t much of one) in a series of posts
Does Flowers for Albert suggest Murray was influenced by Ayler?
Flowers for Albert (reprised)
Misunderstanding Flowers for Albert
Flowers for Albert (yes again)
Interviews
I have conducted a series of interviews with people involved in Murray’s career. As I write them up you’ll be able to read them here:
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My Thoughts on Being a Jazz Musician with Saxophonist Bruce Williams
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2018-05-09T11:23:00-05:00
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Dansr
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DANSR, Inc.
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https://www.dansr.com/resources/my-thoughts-on-being-a-jazz-musician-with-saxophonist-bruce-williams
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Who has most influenced you in your career?
My oldest brother’s record collection, Bird, Jackie McLean, Cannonball Adderley, Frank Foster, Calvin Jones, Leroy Barton, Hank Crawford, Gary Bartz, Dexter Gordon, Wayne Shorter, Grover Washington Jr., Jimmy McGriff, Miles Davis, John Coltrane, Joe Ford, Kenny Garrett, Steve Wilson, Ben Webster, James Spaulding, Stanley Cowell, and Sonny Clark.
As a teacher, what do you think is the greatest responsibility you have to your students?
Being honest with them and being totally dedicated to the whole pedagogical process is my greatest responsibility. I also feel I have an obligation to help my students explore jazz from A to Z.
How do you manage to keep up your playing standard on so many different instruments with such a tight schedule?
I have several methods. One time I may choose to work on straight technique, at another time, on sound quality. The most important thing for a young musician is to realize that consistency and regular practice are essential to progress. In the long run, the standard of your playing is directly related to the work you put in. It’s up to you!
Why is jazz such a tough business?
First of all, because jazz has such a limited public… It takes years to build up a real following. You have to go to Europe and Asia and get known internationally before you can really become a big name in the States, even if you’re playing serious gigs with big stars. There’s no lack of talent in any field, from hard bop, to traditional, to avant-garde! I really do think that jazz is the hardest music to play.
How would you define your playing?
I feel that I am an intellectually soulful sax player. I love harmonic dialogue with great pianists and rhythmic conversations with great drummers. I play a little drums and I can really hear that connection on the bandstand. I love textural playing, but I also like to groove, funk, and swing. Having a pleasing tone and groove or swing are first – then comes the rest.
If you could have been there for one great moment in jazz history what would it be?
I’d choose when John Coltrane composed A Love Supreme. How incredible to see him go so deep inside himself, and bring out such a piece.
Bruce’s Vandoren setups:
Soprano sax: V16 S6 or S7 (depends which soprano I play) Optimum Ligature and Traditional #2.5 or #3
Alto Sax: V16 A9 small chamber, Optimum and M|O Ligatures, #2.5 Java Red
Tenor Sax: T55 Java, Optimum and M|O Ligatures, #3 Java Red
Clarinet: 5RV Lyre, M|O Ligature, #3.5 Rue Lepic or V12 #3.5 (depends on the room and the day)
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Famous Jazz Saxophone Players
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2020-08-25T16:49:33+02:00
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A rundown of the most famous (or, dare we say) best jazz saxophone players of all time, PLUS an essential album tip from each.
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Jazzfuel
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https://jazzfuel.com/best-saxophone-players/
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I might be slightly biased given my background as a saxophonist, but it’s still fair to say that the most famous saxophone players in history are responsible for a HUGE proportion of the greatest jazz albums and groups of all time.
From early pioneers such as Lester Young and Coleman Hawkins, to players like Charlie Parker and John Coltrane who brought the style into the mid-20th Century, we put together a list of, arguably, the best saxophone players who have ever lived.
We then expanded it with 10 of the most famous modern jazz saxophone players to bring us right up to date in the 21st Century.
And, if you hang around until the very end, we’ll show you why there are really TWO undeniable names when it comes to the ‘best’ saxophonists in history…
From soprano and alto to tenor and baritone, for many people the saxophone will always be the archetypal jazz instrument and the first thing that comes to mind when they think of the genre.
And for good reason too, given how often it was at the forefront of new emerging styles of jazz.
Of course, putting together a list of best sax players like this is always tricky and potentially controversial, as there are dozens of master musicians who could realistically be included here.
Hopefully though, this is a good springboard for you to discover (or rediscover) some of the greatest jazz musicians of all time.
So here’s our list of some of the best jazz saxophonists ever, along with an indication of their primary instrument and some further listening tips.
31. Ben Webster
Born not long after the turn of the 20th Century, American jazz tenor saxophonist Ben Webster was an early pioneer who made his mark on some of the most important albums in history.
Working extensively as a sideman in the 1930s and 1940s with the likes of Teddy Wilson, Fletcher Henderson, Cab Calloway and, most famously, Duke Ellington.
A relative late-comer as a bandleader, his recordings in the 1950s until his death in 1974 showcase his Coleman Hawkins-influenced tone and ear for melodic improvisation.
Recommended Ben Webster album: Sophisticated Lady
Originally released as “Music For Loving”, this album was re-issued by Verve in 1957 and named “Sophisticated Lady”.
The original was arranged by Duke Ellington’s collaborator and friend, Billy Strayhorn. Reviewers lauded Webster’s playing as the gem on this record and, perhaps unsurprisingly, it was ranked #2 in Colin Larkin’s list of the 50 most overlooked jazz albums of all time.
30. Melissa Aldana
Melissa Aldana shot to fame in the jazz world when, aged 24 in 2013, she became the first female instrumentalist and the first South American to win the Thelonious Monk International Jazz Saxophone Competition.
Originally from Santiago, Chile, her father is also a renowned tenor saxophonist, who was a semifinalist in the 1991 edition of the Monk Competition. Her grandfather played too, and Melissa continues to play his Selmer Mark VI tenor.
Now based in New York, she released a number of albums with her Crash Trio, before opting for a quintet, with Sam Harris on piano and Joel Ross on vibraphone, on 2019’s Visions, an homage to the visual artist Frida Kahlo.
A Berklee College of Music Graduate, her playing is notably influenced by Mark Turner and Sonny Rollins, who inspired her switch from alto to tenor as a teenager.
Recommended album: Melissa Aldana & Crash Trio
The recording contract with Concord that resulted in this 2014 album was part of Aldana’s prize for winning the previous year’s Monk Competition.
It features the Harry Warren standard ‘You’re My Everything’ and the Thelonious Monk classic ‘Ask Me Now’, alongside Aldana’s compositions. Bassist, fellow Chilean and longstanding collaborator Pablo Menares, and Cuban drummer Francisco Mela complete the sparse trio lineup.
29. Sidney Bechet
Born 1897 in New Orleans, Sidney Bechet was one of the first jazz soloists to be captured on record and a true trailblazer of the soprano saxophone.
An early jazz pioneer, he pushed the genre forward, transitioning from the constraints of ragtime into a freer, solo-based structure that modern jazz was built upon.
Those not familiar with his stated as one of the first famous saxophone players need look no further than a quote from the great Duke Ellington who described his as “very epitome of jazz.”
Recommended Sidney Bechet album: “Blues in Thirds”
Bechet was a master of the blues and his skills are on full display on this stripped-back blues from the beginning of the traditional jazz revival.
He joined forces with pianist and modern jazz pioneer Earl Hines, as well as influential drummer Baby Dodds who played with the likes of King Oliver, Jelly Roll Morten and trumpeter Louis Armstrong.
28. Mark Turner
Since the mid 1990s Mark Turner has emerged as one of the most impressive and influential tenor saxophonists in the jazz world, carrying on the torch for cool school players such as Warne Marsh and Lenny Tristano.
His highly distinctive sound has proved particularly popular with saxophone players the world over, and if you attend a jam session now, there’s a good chance that you’ll hear echoes of his tricky playing.
Known for a serious dedication to his art form, and for his softly spoken, modest demeanour, his career to-date has seen him release more than nine acclaimed albums under his own name and make dozens of appearances on other musicians’ projects.
Recommended Mark Turner album: In This World
The diverse repertoire on this album includes the Henry Mancini standard ‘The Days of Wine And Roses’ and the Beatles cover song ‘She Said She Said’, as well as a number of original compositions. One of these – including ‘Lennie Groove’ – is a tribute to the pianist Lennie Tristano.
Turner’s complex, snaking linear approach and his cool, dark sound, bring the sound of his other big influence – Warne Marsh – to mind.
27. Vi Redd
Born in Los Angeles in 1928 as the daughter of a jazz drummer, Vi Redd is an American alto saxophone player (and sometimes singer) known for her work in the bebop and hard bop genres.
She started playing the saxophone at the age of 14 and was heavily influenced by Charlie Parker who was leading the charge in bebop at the time.
With her blues-inflected style, she performed as a side-woman with many of the greats of her time, including Earl Hines, Max Roach, Count Basie and Dizzy Gillespie.
Whilst she had success as a touring artist (including trips to Japan and a 10-week stint at London’s Ronnie Scott’s) she was heavily into education and spent her later years in this role.
Recommended Vi Redd album: Bird Call
Whilst she didn’t release a huge number of records under her own name, her 1962 debut Bird Call is well-worth a listen. We included her top of our list of famous female saxophonists here.
26. Chris Potter
Tenor saxophonist Chris Potter remains one of the most impressive jazz musicians to have emerged in the last 30 years and arguably took on the baton from the older generation of saxophone greats.
Blessed with awe-inspiring instrumental technique he emerged as a young prodigy in the early 1990s.
After cutting his teeth in bands led by various elder statesmen and women, he established himself as one of jazz music’s major soloists and sidemen, as well as a formidable bandleader and accomplished composer.
With albums on many of jazz’s most important record labels, featuring all-star colleagues, and a stylistic palette ranging from swinging standards to futuristic fusion, he is one musician to add to your must-see list.
In fact, go to a jam session in any major city with young, conservatory-educated saxophonists in attendance, there’s a good chance that you’ll notice his influence (or colleagues like Mark Turner and Joshua Redman) almost as often as you’ll hear echoes of John Coltrane, Charlie Parker or Wayne Shorter!
Recommended Chris Potter album: Lift: Live at the Village Vanguard
Chris Potter is at the top of his game on this 2004 live album from legendary New York jazz club The Village Vanguard.
He joined an illustrious list of saxophone players who recorded live at this Greenwich Village venue, including Sonny Rollins and John Coltrane.
Listen out for the climax: an impressive 13/4 arrangement of Charles Mingus’ “Boogie Stop Shuffle”, replete with an epic solo sax intro.
25. Donny McCaslin
McCaslin moved to New York in the early 1990s and replaced Michael Brecker, one of his saxophone idols, in the fusion band Steps Ahead.
He then developed a reputation for his work in complex contemporary jazz, recording as a bandleader and as a sideman with the likes of alto saxophonist David Binney, pianist Danilo Perez and trumpeter Dave Douglas. He is also a long standing member of Maria Schneider’s Jazz Orchestra.
He found a wider audience when he was asked to play on David Bowie’s final album Blackstar in 2016, after the singer heard McCaslin’s band at the 55 Bar in New York.
Key Donny McCaslin recording: Blow
Capitalising on his musical relationship with David Bowie, McCaslin takes his music in adventurous art-rock direction on 2018’s Blow. Multitracking is used liberally, and the tenor saxophonist also doubles on clarinet and flute.
24. Miguel Zenón
Zenon was born and raised in San Juan, Peurto Rico before a move to Boston, USA, where, like a number of modern sax players on this list, he studied at Berklee College of Music.
The alto saxophonist has been awarded the prestigious Guggenheim Fellowship and the McArther “Genius Grant”, and his music explores the influence of various Latin American folk traditions within a sophisticated contemporary jazz framework. He has also appeared on albums by leading lights of left-field jazz including Miles Okazaki, Guillermo Klein and Jeff Ballard.
A renowned jazz educator, he holds teaching posts at the Manhattan School of Music and the New England Conservatory, and has lectured and given workshops around the world.
Recommended Miguel Zenón album: Jíbaro
The original compositions on this 2005 album are inspired by La Música Jibara, a folk style from rural Peurto Rico. It was released on Marsalis Music, Branford Marsalis’ label.
23. Dexter Gordon
Legendary tenor saxophonist Dexter Gordon is perhaps the most fascinating jazz musician of the bebop and hard bop eras.
Whilst never achieving the ‘groundbreaking’ status of players like John Coltrane, Ornette Coleman or Charlie Parker, he barely released even a mediocre album in a career spanning 40 years.
He was skilled at walking the line between accessible and experimental and consistently played soulful, interesting and complex music.
Recommended Dexter Gordon album: Go!
If Dexter Gordon ever released a perfect album, this may be it! The personnel consists of Gordon on tenor saxophone, Sonny Clark on piano, Butch Warren on bass, and Billy Higgins on drums.
And while each of these musicians is key to the success of this recording, it is clear right away that Gordon is in total control.
22. Joshua Redman
Redman is the son of legendary tenor player Dewey Redman, who played on pioneering free jazz records with Ornette Coleman in the 1960s, and in Keith Jarrett’s American Quartet in the ‘70s.
But he was actually on the path to a legal career, having just graduated from Harvard and been accepted by Yale Law School when he won the Thelonious Monk International Jazz Saxophone Competition in 1991 (above Eric Alexander and Chris Potter in second and third places respectively).
As his career took off he made sideman appearances on albums by Paul Motian, Joe Lovano, Elvin Jones and others, and formed a particularly popular quartet with Brad Mehldau on piano, Christian McBride on double bass and Brian Blade on drums, all of whom have gone on to be recognised as being amongst the finest players of their generation.
After last recording together on MoodSwing in 1994, the band reformed 26 years later to release RoundAgain in 2020.
Other projects and releases include organ trio sets, the orchestral Walking Shadows, a duo album with Mehldau, a collaborative effort with The Bad Plus, and Still Dreaming, a tribute to his father’s band Old and New Dreams.
If you’re a saxophone player yourself, you might be interested to check our guide to the mouthpieces, reeds & horns of the jazz greats, which includes Joshua Redman.
Key Joshua Redman album: Spirit of the Moment – Live at the Village Vanguard
Joshua Redman’s passionate, highly energetic playing style has won him a large fan base, and the audience’s excitement is plain to hear on this live album from 1995. Yet another killer album from New York’s Village Vanguard!
21. Gerry Mulligan
Gerry Mulligan was one of the first artists to popularise the idea of the baritone saxophone as an improvising solo jazz.
Rising to prominence in the Cool Jazz era, his light, delicate tone and highly melodic style are perhaps at odds with the baritone saxophone’s reputation as a powerfully honking, rather unwieldy horn.
Across a 50 year career, his work on Miles Davis’ seminal Birth of the Cool album, his innovative chordless quartets with Chet Baker and Bob Brookmeyer, his own popular Concert Jazz Band and later cross-cultural projects would all help to see him remembered as a jazz trailblazer, and undoubtedly the most famous baritone saxophone player of all time.
Recommended Gerry Mulligan album: Jeru
The title of this 1962 album was also Mulligan’s nickname and the name of one of the compositions he contributed to the famous Birth of the Cool sessions.
Jeru provides a relatively rare chance to hear him in an informal small group setting accompanied by a traditional piano-led rhythm section.
The fantastic Tommy Flanagan is at the keyboard, while the somewhat surprising inclusion of Alec Dorsey on congas lends things a rather happy-go-lucky air. Rarely played songs by Kurt Weil, Cy Coleman and Leonard Bernstein feature on this stimulating programme.
Check this – and many others – in more detail in our dedicated guide to Gerry Mulligan’s discography.
20. Kenny Garrett
After playing saxophone in The Duke Ellington Orchestra (then under the leadership of Mercer Ellington, following Duke’s death) whilst still a teenager, Kenny Garrett did sideman work with major figures like Woody Shaw, Art Blakey, Freddie Hubbard and Miles Davis, appearing on various Davis albums including Amandla.
The saxophone player has sometimes been mentioned as part of the ‘Young Lions’ school, which emerged in the 1980s, spearheaded by Wynton and Branford Marsalis, heralding a return to the popularity of acoustic, straight-ahead jazz.
Certainly he is comfortable playing standard material in a swinging small group setting, as evidenced by his debut, Introducing Kenny Garrett, which features Woody Shaw, but his bright-toned, funky alto saxophone style is equally at home in more fusion-orientated contexts.
His influence can be heard upon alto players around the world, and he remains incredibly popular as a touring artist.
The New York Times called him “one of the most admired alto saxophonists in jazz after Charlie Parker”.
Recommended Kenny Garret album: Triology
Other Garrett albums, like 1997’s Songbook, may have more crowd-pleasing original music and be an easier entry-point for beginner saxophone players, but Triology (1995) showcases the alto saxophonist in an exposed trio format with just double bass and drums for company.
It includes a burning rendition of John Coltrane’s famously tricky ‘Giant Steps’.
19. Hank Mobley
As many fans of Hank Mobley would agree, the hard bop tenor saxophone player may well be one of the most underrated musicians in jazz.
Rising to prominence in the 1950s and 1960s golden age of jazz, he was up against slightly elder and more established musicians like Thelonious Monk, Miles Davis and John Coltrane who were at the height of their careers.
But whilst the careers of fellow sax players like Coltrane and Sonny Rollins are noted for their constant searching and transformational qualities, Mobley established himself firmly in the hard bop and soul jazz styles where he excelled.
With a more laid-back tone and melodic leaning, he was arguably the definitive sound of the Blue Note label, for whom he recorded, paving the way for a whole new generation of saxophone players.
Recommended Hank Mobley album: Soul Station
Soul Station is one of the definitive albums of the hard bop era and showcases this iconic tenor saxophonist at the height of his powers.
18. Paul Desmond
Composer and alto saxophone player Paul Desmond is one of the most influential jazz musicians of all time, having played an integral role in the development of West Coast jazz with his smooth, easy tone.
His long-term role in the legendary Dave Brubeck Quartet saw him become a household name, with his laid-back solos and elegant style the the perfect complements to Dave Brubeck’s improvisational skills and musical vision.
But whilst this group dominates his legacy and discography, he took the opportunity to record with others both during and after the existence of the Dave Brubeck Quartet (which broke up in 1967) with notable collaborations including Gerry Mulligan, guitarist Jim Hall and the Modern Jazz Quartet.
Recommended Paul Desmond album: Time Out
Whilst this recording was released under Dave Brubeck’s name, it’s place as one of the biggest-selling albums in history (and the fact that it’s most popular song “Take Five” was written by Desmond) makes it an unavoidable first choice for any newcomer to this legendary alto man!
Read our in-depth review of Time Out here.
17. Sonny Stitt
Sonny Stitt is something of an anomaly in this list, given that he has recorded acclaimed albums as both an alto and tenor sax player!
We’ve included him in the alto half due to the fact he emerged in the early 1940s with Charlie Parker as a key early influence. Suggestions that he was a ‘copy’ of the alto saxophonist great, though, are unfair; as drummer Kenny Clarke said “even if there had not been a Bird, there would have been a Sonny Stitt.”
Playing with fellow bebop luminaries such as Dizzy Gillespie, Eddie ‘Lockjaw’ Davis and Dexter Gordon in his early days, his career saw the saxophonist tour and record relentlessly, with his final sessions coming just 6 weeks before his death in 1982.
With more than 100 recordings, we took on the unenviable task picking 5 essentials in our in-depth guide to Sonny Stitt here.
Recommended Sonny Stitt Album: New York Jazz
Produced by Norman Granz, it features a killer rhythm section including Jimmy Jones on piano, Ray Brown on bass and Jo Jones on drums.
Stitt’s bebop stylings are on full display here, with blistering solos and hi-octane versions of jazz standards such as Twelfth Street Rag and I Know That You Know.
Despite the Parker comparisons, his playing his fresh, inventive and highly distinctive. The medium tempo versions of jazz standards ‘Alone Together’ & ‘Between The Devil And The Deep Blue Sea’ give the listener another great insight into his hard-swinging, blues-inflected, hard-swinging style.
16. Greg Osby
Osby came to prominence, along with Cassandra Wilson, Steve Coleman and Geri Allen, as part of the M-Base Collective, the exact ethos of which is somewhat mysterious, but which is generally associated with a rhythmically complex brand of funky contemporary jazz.
His searing alto saxophone sound has been heard with elder statesmen like Jim Hall and Andrew Hill, as well as with forward-thinking contemporaries including Jason Moran and Gary Thomas.
His personal, highly modern sound comes out of deep study of the jazz tradition, and the New York Times called him one of the most “provocative musical thinkers of his generation”.
He founded a record label of his own, Inner Circle Music, which has released albums by promising young musicians, including Melissa Aldana’s first two records and a collaboration with Swiss drummer Florian Arbenz.
You can find the Jazzfuel 2020 Greg Osby interview here.
Key Greg Osby album: Banned in New York
This live recording was recorded with a MiniDisc on a table in front of the bandstand, but the low fi sound gives it a classic charm, as the quartet takes a highly exploratory look at standards by Monk, Ellington and Rollins.
Pianist Jason Moran was just 22 when it was recorded in 1997. Osby’s St. Louis Shoes is also excellent, and may prove slightly more accessible.
15. Seamus Blake
Seamus Blake is another winner of the Thelonious Monk Competition: he took first prize above John Ellis and Marcus Strickland in 2002.
As well as releasing 16 albums of his own, he has played with The Mingus Big Band, Victor Lewis and John Scofield, who called him “extraordinary, a total saxophonist.”
He was born in London, raised in Vancouver, made his name in the jazz clubs of New York, and is now largely based in Europe.
His powerful and versatile tenor sound is increasingly detectable as an influence upon young, conservatory-educated saxophonists.
Key Seamus Blake album: Reeds Ramble
Blake had a funky jazz-rock band called The Bloomdaddies in the 1990s, which included brilliant fellow tenor player Chris Cheek.
This 2013 album features the pair in a more straight-ahead two-tenor setting, playing an engaging mixture of material by composers ranging from Elmo Hope to Brian Wilson. Ethan Iverson, of The Bad Plus fame, is on piano.
14. Joe Henderson
Henderson showed huge talent as a teenager and was a devoted student of his musical forefathers, including saxophone players Lester Young, Charlie Parker, Stan Getz and others.
He emerged in the 1960s, becoming almost the in-house sax player for Blue Note Records.
His sideman appearances for the label ranged from the funky hard bop of Horace Silver’s Song For My Father and Lee Morgan’s The Sidewinder, to the modal jazz of McCoy Tyner’s The Real McCoy, to the more Avant garde-flavoured Point of Departure by Andrew Hill.
His own Blue Note albums from that period are excellent too, including Page One, Our Thing, Inner Urge and Mode for Joe.
Later highlights include the live trio date State of the Tenor and his early ‘90s major label come back albums on Verve, which paid tribute to Billy Strayhorn, Antonio Carlos Jobim and Miles Davis respectively.
Recommended Joe Henderson album: Inner Urge
The title track of this 1966 classic has become something of a modal jazz standard, while the set finishes with a reharmonised version of Cole Porter’s ‘Night and Day’. McCoy Tyner, Bob Cranshaw and Elvin Jones form a brilliant rhythm section.
13. Lee Konitz
With a relentless commitment to “pure” improvisation, Lee Konitz was one of the most distinctive voices in jazz.
In the early part of his career the alto saxophonist was a disciple of the strict teaching method of Lennie Tristano and was associated with the so-called Cool jazz scene that emerged in the early 1950s.
But Konitz forged a sound and professional path that were all his own, recording and performing with an incredibly diverse range of collaborators over the course of a career that spanned more than seven decades.
Recommended Lee Konitz Album: Motion
1961’s Motion is perhaps the ultimate document of Konitz’s musical philosophy.
On a selection of five Songbook standards he declines to even state the melody at the start of each tune, instead diving straight into inspired off-the-cuff creation.
Check up our round up of 10 of the best Lee Konitz albums here.
12. Michael Brecker
Brecker is one of the most famous saxophone players since the death of John Coltrane.
Noted for his incredible technical prowess, and for his impressive range and versatility, he is often seen as the important link between the legends of the 50s and 60s and the modern jazz saxophone players who emerged in the 80s and 90s.
His career began in the late 1960s as fusion and jazz rock were becoming the dominant styles, with Brecker working with Steps Ahead and co-leading the Brecker Brothers with his trumpet-playing brother Randy.
However, the tenor saxophone player was no slouch when it came to playing in a more traditional, straight-ahead style either, as he proved with a stint in hard bop pianist Horace Silver’s quintet, and appearances on albums by elder statesmen Chet Baker, Ron Carter and Charles Mingus.
He also had a parallel career as an A-list session musician, contributing classic pop solos to songs by Paul Simon, Donald Fagen, Elton John and countless others.
Brecker died from complications of leukaemia in January 2007. He was inducted into the Downbeat Hall of Fame the same year and awarded a number of posthumous Grammy Awards, taking his total to 15.
Recommended Michael Brecker recording: Tales From The Hudson
Released in 1996, Brecker’s fourth album as a bandleader won the Grammy Award for Best Instrumental Jazz Album.
11. Kamasi Washington
Washington reached a level of fame that few jazz musicians can dream of when his third album, The Epic, was a surprising breakout hit in 2015, attracting the attention of mainstream music journalists and listeners.
His intense brand of spiritual contemporary jazz carries shades of Alice Coltrane and Pharoah Sanders and seems to work particularly well in big venues and at festivals.
Washington, along with a number of other Los Angeles jazz musicians, contributed to Kendrick Lamar’s multi Grammy-winning rap album To Pimp A Butterfly.
Interestingly, his playing style and career trajectory are somewhat different to that of the typical jazz saxophone star: most of the players on this list have attended an elite conservatory in Boston or New York, before establishing themselves as bandleaders and sidemen or women with major names in the jazz world.
Whilst Washington’s playing has had its detractors inside the jazz community, its wider appeal is perhaps explained by its communal feel, with arguably less of a focus on the individual soloist.
Recommended Kamasi Washington album: The Epic
Released on Brainfeeder, a label that has generally released experimental electronic music, The Epic is a remarkable three hours long. The 13-piece band features electric bassist Thundercat.
10. Lester Young
Coleman Hawkins’ heavy, muscular tone was very much the dominant early tenor style and something saxophone players of his generation aimed to imitate. But in the mid-1930s, Lester Young replaced Hawk in the tenor chair in Fletcher Henderson’s orchestra, and the younger man’s style caused quite a stir.
The President, or Prez, as he was nicknamed by Billie Holiday, executed his thoughtful linear ideas with a soft, lithe tone that was almost the opposite of Hawkins’.
After a traumatic experience in the military during the Second World War, Young suffered with substance abuse problems and ill health for the rest of his life, with the quality of his later work arguably suffering.
However, his early efforts with Count Basie, Billie Holiday, Benny Goodman and his own groups contain some of the most joyous saxophone playing ever recorded.
Charlie Parker, Dexter Gordon, Stan Getz, Lee Konitz and Zoot Sims are just some of the famous sax players who would name him as a primary influence, and the ‘Cool school’ that came to prominence in the 1950s was particularly indebted to him.
Young was also something of a cultural icon: he wore a distinctive pork pie hat and coined a number of expressions that are now commonplace, such as “cool” and the word “bread” to mean money.
Recommended recording: The Lester Young Story
This compilation includes classic work with Basie, plus plenty of tracks from his magical collaboration with Billie Holiday.
9. Art Pepper
Born in California in 1925, Art Pepper came to prominence during the 1950s as one of the major soloists of the West Coast and cool jazz movements. But his playing changed dramatically later in his career, as he took on the influence of new stylistic developments in the jazz world.
His personal life was eventful, intriguing and tragic: he struggled with various personal demons and a long-running drug addiction, which saw him spend time in prison and rehab. This partly explains why Pepper has made some of the most memorable appearances in jazz-related media, both in print and on film.
Recommended album: Art Pepper Meets the Rhythm Section
Recorded in 1957, this is one of Pepper’s most famous albums.
The rhythm section in question is composed of pianist Red Garland, bassist Paul Chambers and drummer Philly Jones; at the time the New York-based trio were all members of Miles Davis’ First Great Quintet.
Learn more about Art Pepper’s life and music here or check out our pick of the best Art Pepper songs.
8. Stan Getz
Getz was known as ‘The Sound’ for his famously lyrical tenor saxophone tone.
He first found fame in the jazz world as a member of Woody Herman’s ‘Second Herd’ big band in the late 1940s, with his ballad solo on ‘Early Autumn’ becoming a hit.
As he launched a career as a soloist, his light, Lester Young-inspired sound saw him categorised in the press as a Cool jazz player, although he was equally comfortable playing with bebop musicians like Sonny Stitt and Dizzy Gillespie.
In the 1960s he collaborated with Brazilian guitarist João Gilberto, spearheading the Bossa Nova craze that took the US by storm and finding huge commercial success with Getz/Gilberto and the single ‘The Girl from Ipanema’ in particular.
A peerless technician, he rarely sounds less than pristine and was always completely fluent, even at extremely fast tempos.
He is still in fantastic from on his final recordings, the duo sets with Kenny Baron, which were made shortly before his 1991 death from liver cancer.
Recommended Recording: Stan Getz and the Oscar Peterson Trio
In 1957 Getz recorded a swinging selection of standards as guest soloist with Oscar Peterson’s intimate drummer-less trio. His solo on the up-tempo ‘I Want To Be Happy’ is simply flawless.
7. Cannonball Adderley
Julian “Cannonball” Adderley was one of the most distinctive and important alto saxophone voices to appear on the jazz scene in the aftermath of Charlie Parker’s bebop revolution.
Adderley was certainly influenced by Bird, but had a distinctive and soulful style all his own.
In 1957 he met Miles Davis, who was impressed with the young alto sax player and agreed to play on Cannonball’s record Somethin’ Else (featured here in a list of great Cannonball Adderley albums) which would turn out to be one of the trumpeter’s final appearances as a sideman.
In return, the jazz saxophonist joined Davis’ group, recording the seminal albums Milestones and Kind of Blue, both of which were important documents of the new modal jazz approach that was being explored at the time.
Adderley also led a quintet with his brother, trumpeter Nat. Their group pioneered Soul jazz, a funky variation on hard bop, and would later experiment with funky electric instrumentation, including arguably the most famous of Cannonball Adderley tunes Mercy, Mercy, Mercy.
Recommended Cannonball Adderley album: Somethin’ Else
Cannonball’s most famous album features the alto saxophonist as his ebullient, blues-drenched best.
6. Coleman Hawkins
Hawk, or Bean as he was also sometimes nicknamed, was the father of jazz saxophone: remarkably it was not really considered a jazz instrument until his emergence in the 1920s.
He was a major soloist during the swing era, playing most notably with Fletcher Henderson’s big band, and his vibrato-laden, surprisingly complex arpeggiated lines influenced a generation of jazz saxophone players.
He was also present for the birth of bebop, playing on sessions with the likes of Thelonious Monk, Dizzy Gillespie and Max Roach.
Later his instantly recognisable tenor sound was heard in relatively Avant garde settings, like the 1963 album with Sonny Rollins and Paul Bley.
“When I heard Hawk, I learned to play ballads” – Miles Davis
Recommended Coleman Hawkins recording: Body and Soul
This compilation album features Hawkins’ most famous track. Almost entirely abandoning the melody, his two-chorus solo on the 1939 title track is one of the great improvisations in jazz.
Check out our pick of 10 essential Coleman Hawkins songs here
5. Wayne Shorter
Acclaimed saxophonist and composer, champion of the soprano saxophone, renowned sage and philosopher, Wayne Shorter has spearheaded jazz innovations for seven decades.
He was enlisted in Art Blakey’s Jazz Messengers in the late ’50s, seen by many to be a finishing school for future stars, contributing his concise tenor saxophone playing and many compositions.
From Blakey he went to Miles Davis, becoming an integral member of his Second Great Quintet before taking his place at the forefront of the Jazz fusion movement in the 70s and 80s.
That round up probably only scratches the surface, though, as this more in-depth look at Wayne Shorter shows.
Wayne Shorter died aged 89 in early 2023, marking the end of a true jazz era.
Recommended Wayne Shorter album: Speak No Evil
Speak No Evil is the third of eleven Wayne Shorter dates for Blue Note and the choice of personnel highlights the crossroad he was at in the mid-1960s.
Former Messengers peer Freddie Hubbard on trumpet and new Miles Davis colleagues Herbie Hancock (piano) and Ron Carter (bass) are complemented by Elvin Jones at the drums.
The playing and writing on this album are an interesting counterpoint to his work at the time with Miles Davis, and an opportunity to hear what he composes when it is for himself alone.
4. Ornette Coleman
Alto saxophonist Ornette Coleman sent shockwaves through the jazz world when his quartet arrived in New York in 1959 with a much-discussed residency at The Five Spot.
His new free jazz stylings saw him abandoning traditional chord sequences and structures with a technique known as a ‘time-no-changes’, while Ornette has also referred, somewhat mysteriously, to the concept of ‘harmolodics’ in his music.
Coleman was a self-taught and highly unconventional sax player.
His high-profile detractors included Miles Davis and Charles Mingus and, while he couldn’t tear through chord changes at any tempo and in any key in the way that Stan Getz or Sonny Stitt could, for example, he had an impact upon the narrative of jazz that few others could match.
Recommended Ornette Coleman recording: The Shape of Jazz to Come
Despite the depth and brilliance of the Ornette Coleman discography, this one (from 1959) is undoubtedly his best know. It features a number of his most memorable compositions, including ‘Lonely Woman’ and ‘Peace’.
An utterly unique voice, his alto playing is somewhat unpolished, but undeniably melodic and steeped in the blues. Ornette’s most important collaborator, Don Cherry, is heard on cornet.
3. Sonny Rollins
Sonny Rollins’s tenor saxophone playing is marked by a supreme swagger and incredible rhythmic confidence.
A famed in-the-moment improviser, he is capable developing a simple melodic motif through a seemingly limitless number of variations without the well of ideas running dry.
As early as 1949, aged just 19, he was recording with famed bebop pianist Bud Powell. The mid-to-late ‘50s saw him make a brilliant run of albums under his own name, including Saxophone Colossus, Tenor Madness, The Sound of Sonny and Newk’s Time, among others.
Rollins is famously self-critical and between 1959 and 1961, feeling that his playing didn’t live up to the hype he was receiving in the press, he took a sabbatical from recording and performance, practising for up to 16 hours a day under the Williamsburg Bridge in New York.
His comeback album, The Bridge, is one of his finest and cemented his place as one of the best jazz musicians of all time.
Through the ’60s he explored raucous free jazz-inspired sounds on albums like Our Man in Jazz and East Broadway Rundown, while his later work has often taken on a calypso flavour.
Rollins has now retired from playing due to medical issues, but continues to give deeply insightful interviews.
Recommended Sonny Rollins recording: Saxophone Colossus
It was a hard choice (as our list of 10 amazing Sonny Rollins albums shows), but this 1956 set features ‘St Thomas’, Rollins’ best-known composition. His performance on ‘Blue 7’ has been analysed extensively for its use of clever motivic development.
So before we finish up this countdown, you may remember we mentioned TWO kings of jazz saxophone…
If we’re talking about musicians who changed the face of jazz and all that was to follow, separating virtuoso alto saxophonist Charlie Parker and iconic tenor saxophonist John Coltrane just doesn’t seem possible.
Of course, these rankings are very subjective, but if you just landed on planet jazz and don’t know where to start, these two are you essential first listens.
So, without further ado…
2. Charlie Parker
Few people have changed the vocabulary of jazz as drastically as iconic alto saxophone player Charlie Parker.
In fact, few musicians have proved so influential as the Kansas City-born player who was at the forefront of the bebop movement in New York in the mid-1940s. He created a new way of playing over chord changes, with chromatic passing notes linking chord tones together, and a fresh rhythmic vocabulary.
The music was also a resolutely intellectual affair, partially in response to the more populist Swing era that had dominated American music since the 1930s.
Parker’s playing was complex and virtuosic, yet bluesy and fabulously swinging. A number of his compositions – often new melodies written over the chord sequences of existing songs – have become part of the standard repertoire.
Sadly, he struggled with substance addiction, and was just 34 when he died in 1955.
Recommended recording: Charlie Parker with Strings
Much of Charlie Parker’s recorded output came before the LP era, and the live recordings are the place to go to hear him really stretch out.
But this album, with Parker accompanied by a classical string section and jazz rhythm section is essential.
The solo on ‘Just Friends’ is one of his most acclaimed.
1. John Coltrane
Arguably the most famous tenor saxophone player in history, John Coltrane was a relentless practiser who never stopped searching and striving to develop as an artist.
A relatively late bloomer amongst his fellow saxophone players, he did not make his first record as a leader until he was 30 years old. He initially made his mark with mid-‘50s hard bop, as a member of Miles Davis’ First Great Quintet and on his own albums like Blue Train.
In the mid-1950s and early ‘60s his own compositions – ‘Giant Steps’, ‘Countdown’ and ’26-2’ – explored new harmonic territory, with highly challenging harmonic sequences based on key centres moving quickly in thirds.
He was also present for the birth of modal jazz, appearing on Davis’ seminal Kind of Blue. As a saxophonist, ‘Trane is noted for his metallic, snaking tone (partly due to his choice of mouthpiece and saxophone) and his unique ‘sheets of sound’ approach.
His 1960s quartet is considered one of the all-time great jazz groups, while his work in his final years embraced the new free jazz movement and took on a deeply spiritual direction.
Recommended John Coltrane album: A Love Supreme
Coltrane’s 1964 masterpiece A Love Supreme features his classic quartet – with McCoy Tyner, Jimmy Garrison and Elvin Jones in the rhythm section – on an intense suite of religion-inspired modal jazz.
Check out our round up of 10 of his best album here.
Thanks for join us for this trip through some of the most famous saxophone players of all time. I hope it helped you (re)discover some brilliant jazz music in lots of different styles.
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[] |
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To contact David Murray send an email to david.murray@gmail.com.
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/favicon.ico
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https://contactout.com/david-murray-email-63566
|
📖 Summary
David Murray is an influential American saxophonist and composer who has made significant contributions to the world of jazz music. Known for his innovative and dynamic style, Murray has established himself as a leading figure in the genre, earning critical acclaim and numerous accolades throughout his career.
Born on February 19, 1955, in Oakland, California, Murray was exposed to music at a young age and quickly developed a passion for the saxophone. He began playing the instrument in his youth and honed his skills through formal training and dedicated practice. His early influences included jazz greats such as John Coltrane, Coleman Hawkins, and Albert Ayler, whose innovative approaches to the saxophone inspired Murray to push the boundaries of the instrument and explore new musical territories.
Murray's career took off in the 1970s when he emerged as a leading figure in the jazz avant-garde movement. He gained recognition for his powerful, expressive playing style and his ability to blend traditional jazz elements with more experimental and progressive influences. His fearless approach to improvisation and his willingness to incorporate diverse musical influences into his work set him apart as a truly unique and innovative artist.
Throughout the 1980s and 1990s, Murray continued to push the boundaries of jazz music with his groundbreaking compositions and collaborations with a diverse array of musicians. He explored a wide range of musical genres, including funk, blues, and world music, infusing his work with an eclectic and adventurous spirit. His prolific output during this time solidified his reputation as a highly versatile and creative composer, as well as a masterful saxophonist.
In addition to his solo work, Murray has been a key member of several influential jazz ensembles, including the World Saxophone Quartet and the David Murray Octet. His collaborations with these groups have further showcased his remarkable talent and versatility as a musician, as well as his ability to seamlessly blend different musical styles and influences.
Murray's impact on the world of jazz music extends beyond his performances and recordings. He has also been an influential figure in jazz education, sharing his knowledge and expertise with aspiring musicians through workshops, masterclasses, and lectures. His dedication to nurturing the next generation of jazz talent has helped to ensure the continued vitality and relevance of the genre.
Murray's contributions to jazz music have not gone unnoticed. Throughout his career, he has received numerous awards and accolades in recognition of his outstanding talent and artistic achievements. He has been the recipient of multiple Grammy nominations and has been honored with awards from the National Endowment for the Arts and the Guggenheim Fellowship, among others. His impact on jazz music has been celebrated by critics and music lovers alike, solidifying his legacy as one of the most important and influential figures in the genre.
In addition to his achievements in jazz, Murray has also made a name for himself as a composer and arranger. He has written a wide range of original compositions, showcasing his remarkable skill and creativity as a composer. His works have been performed by orchestras and ensembles around the world, further demonstrating his knack for creating music that is both innovative and accessible.
In summary, David Murray is a pioneering figure in the world of jazz music, known for his bold and adventurous approach to the saxophone and his groundbreaking compositions. His remarkable talent and versatility as a musician, combined with his dedication to jazz education and his tireless commitment to pushing the boundaries of the genre, have cemented his status as one of the most important and influential artists in the world of jazz. With a career spanning several decades and a legacy that continues to inspire musicians and audiences alike, David Murray stands as a true giant in the realm of jazz music.
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https://birdbeckett.com/david-murray-kahil-elzabar-duo/
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en
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Kahil El’Zabar Duo – Bird & Beckett Books & Records
|
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2019-03-24T00:00:00
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en
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https://birdbeckett.com/david-murray-kahil-elzabar-duo/
|
The return of the mighty David Murray and the miraculous Kahil El’Zabar.
People get ready!
We are pleased and honored to present a return engagement by one of the towering jazz figures of our time, saxophonist David Murray, playing in a duo format with his esteemed colleague of three decades, the Chicago-based percussionist Kahil El’Zabar. Messrs. Murray and El’Zabar last performed as a duo at Bird & Beckett in April of 2017.
Doors at 7:30pm; Showtime 8:00pm.
Two 50-minute sets ending at 10pm.
On the day of the show, at 7pm, we will sell 10 seats at $30 each
plus 15 standing room tickets at $25 each. Cash only, please.
(24 tix were sold in advance on June 1.)
Capacity is 49 (35 seated).
BYOB.
Call 415-586-3733 for information.
No advance reservations will be taken.
Thanks for your consideration!
A founding member of the World Saxophone Quartet, David Murray is an American jazz musician who mainly plays tenor saxophone and bass clarinet. He was initially influenced by free jazz musicians such as Albert Ayler and Archie Shepp and evolved a more diverse style in his playing and compositions. Murray set himself apart from most tenor players of his generation by not taking John Coltrane as his model. He has recorded prolifically for many record labels since the mid-1970s. He was named Village Voice Musician of the Decade, and was awarded the Guggenheim Fellowship, the Grammy, and the Danish Jazzpar Prize. He has visited Pittsburgh performing with the World Saxophone Quartet courtesy of City of Asylum, as well as with the Ritual Trio featuring El-Zabar and Harrison Bankhead.
Kahil El’Zabar is one of Chicago’s jazz treasures. A member of the AACM, music holds no boundaries for El’Zabar, who has not only played alongside a myriad of jazz greats, but was in the bands of Stevie Wonder, Cannonball Adderley, Dizzy Gillespie, and Nina Simone (who he also designed clothes for), as well as recording with rock bands like Sonia Dada and Poi Dog Pondering. He was also chosen to do the arranging for the stage performances of The Lion King, in addition to leading his own longstanding Ethnic Heritage Ensemble and Ritual Trio. The son of a drummer, El’Zabar took to music at an early age, and was playing with members of the Art Ensemble of Chicago by his teens. He started the Ethnic Heritage Ensemble upon his return from Africa in 1973, and while the lineup has changed over time, they are still an active group. He has also released a great many albums under his own name, including a long-running relationship with Chicago’s great Delmark label. Kahil El’Zabar is not just a master percussionist- his efforts as a musician, educator, and community leader led to being named “Chicagoan of the year” in 2004 by the Chicago Tribune.
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https://www.ccvf.pt/en/detail-eventos/20221118-david-murray-octet-revival/
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David Murray Octet Revival
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Centro Cultural que programa, produz e cocria obras das chamadas artes de palcoâ contemporâneas, nacionais e internacionais e com um foco na nova criação.
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en
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https://www.ccvf.pt/en/detail-eventos/20221118-david-murray-octet-revival/
|
One of Guimarães Jazz's main self-appointed missions throughout time has always been to present the audience with the widest range possible of jazz musicians, thereby allowing an amplitude of discovery and knowledge of this musical genre more difficult to attain at more stylistically dogmatic events. However, in thirty years the repetition of the name became almost inevitable, and that explains why some musicians often return to the festival, either with their own new projects or integrated into formations led by other artists. In 2022, this specific status is represented by the great saxophonist David Murray who visited Guimarães for the first time in 2014 with his internationally renowned Infinity Quartet and whose career in jazz constitutes, in multiple senses, an example of how creative longevity may be achieved through an attitude of permanent reinvention and experimentation of different formats and musical idioms.
David Murray was born and raised in Oakland, California, where he began his first studies in music under the tutorship of his own mother, Catherine, and which he left in 1975 in order to pursue a career in jazz. In New York, he began to collaborate with countless musicians of many different styles and aesthetical affiliations (Don Cherry, Anthony Braxton and Sunny Murray, among many others) but, at a time still dominated by the impact of the avant-garde movement, it soon became notorious that, despite his full comprehension and respect for such trends, the young saxophonistâs more natural means of expression was closer to bebop than from free jazz. In 1976, David Murray founded his first group as co-leader, the World Saxophone Quartet, alongside Oliver Lake, Hamiet Bluiett and Jullius Hemphil and began a particularly collaborative phase with, among other influential jazz and rock musicians, Max, Roach, Randy Weston and the band Grateful Dead, while at the same time composing soundtracks for cinema and theater. During the following decades, Murray became notorious for being one the precursors of emerging musical forms such as jazz fusion, world music and pan-African music due to his several projects with musicians from very different backgrounds, namely the group QuestLove Afro-Picks, featuring Tony Allen, legendary drummer of Fela Kutiâs bands. In parallel, his personal work kept bifurcating steadily into many different formats and artistic intentions â like, for example, his reinterpretation and rearrangement of great jazz composers, among them Duke Ellington and Nat King Cole, or the collaborations with pop music stars such as singer Macy Gray or hip-hop producer Kanye West. In more recent years, David Murray has been focused on his partnership with vocalists and his own-led ensembles, alongside fundamental musicians of contemporary jazz such as Jason Moran, Geri Allen or Gregory Porter, just to name a few.
In Guimarães Jazzâs 2022 edition, David Murray will revisit the repertoire of his innovative Octet, an iconic group in his career that is currently considered by many music critics as one of the most influential ensembles of the 1980âs and 1990â. A formation whose original line-up of musicians included jazz luminaries such as Henry Threadgill or Buth Morris and The Octet Revival features a group of highly-skilled musicians of very different ages and aesthetical affiliations, such as percussionist Hamid Drake or bassist Brad Jones, and casts, according to Murrayâs words, an âecumenicâ glace over one of the many innovative contributions to the music of a composer with four decades of work at the highest level of jazz.
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9048
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dbpedia
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3
| 80
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https://www.nashvillescene.com/music/twenty-five-years-later-host-saxophonist-david-sanborn-looks-back-on-nbcs-i-sunday-night/article_4b10b1d5-b8ca-5e70-848f-aba636ea8509.html
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en
|
Twenty-five years later, host/saxophonist David Sanborn looks back on NBC's <i>Sunday Night</i>
|
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[] |
[] |
[
"music"
] | null |
[
"Andrew Clayman"
] |
2013-06-13T04:00:00-05:00
|
On one episode, Leonard Cohen performed a haunting rendition of "Who by Fire" while backed by jazz legend Sonny Rollins. A week later, it was Lou Reed, Gladys Knight and
|
en
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https://www.nashvillescene.com/content/tncms/site/icon.ico
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Nashville Scene
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https://www.nashvillescene.com/music/twenty-five-years-later-host-saxophonist-david-sanborn-looks-back-on-nbcs-i-sunday-night/article_4b10b1d5-b8ca-5e70-848f-aba636ea8509.html
| |||||
9048
|
dbpedia
|
0
| 7
|
https://postgenre.org/david-murray-francesca/
|
en
|
Pass Everything in My Soul: A Conversation with David Murray on ‘Francesca’
|
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[
""
] | null |
[
"Rob Shepherd"
] |
2024-05-19T21:31:59-05:00
|
The love song is one of the oldest and most primal forms of musical expression, dating back to ancient Greece, if not earlier. Charles Darwin even theorized that the love song was the first form of human musical expression. Of course, the emphasis on romance in songs has continued to the present day. It is
|
en
|
PostGenre - Music beyond category
|
https://postgenre.org/david-murray-francesca/
|
Getting your Trinity Audio player ready...
The love song is one of the oldest and most primal forms of musical expression, dating back to ancient Greece, if not earlier. Charles Darwin even theorized that the love song was the first form of human musical expression. Of course, the emphasis on romance in songs has continued to the present day. It is easy to label David Murray’s quartet album dedicated to his wife, Francesca (Intakt, 2024), as yet another in this long lineage. But that is only part of the story.
Make no mistake, the tenor saxophonist/bass clarinetist unequivocally expresses his deep feelings for his spouse on both the album and in our conversation. But it is only one of his two loves on the album. The other is his adoration of the history and development of jazz music. Surrounding himself with young artists – pianist Marta Sanchez, bassist Luke Stewart, and drummer Russell Carter – well-versed in the avant-garde, it is natural to expect Francesca to be a free affair. Intakt’s notoriety for experimental recordings would add further credence to this presumption. So would Murray’s long history of crafting creative music. He emerged from the New York loft scene of the 1970s with Flowers for Albert (Valley of Search, 1977), an album dedicated to Albert Ayler. Murray was also one of the four legs of the World Saxophone Quartet, an extension of the Black Artists’ Group, St. Louis’ answer to the Association for the Advancement of Creative Musicians (AACM). But a decades-long collaboration with Kahil El’Zabar and works with Henry Threadgill, Fred Hopkins, and Steve McCall also tie him to the Chicago powerhouse.
Instead, however, Francesca is a little more accessible. It is an album more indebted to Ben Webster and Dexter Gordon than Eric Dolphy or Pharaoh Sanders. The record does not ignore avant-garde music – Murray’s solo on “Come and Go” comes to mind – but, overall, it is a thoroughly melodic outing. Its eight tracks exude warmth and passion. As Francesca extracts ideas from the music’s past, it also avoids being mired in prior greatness; Francesca sounds thoroughly modern even as its roots are evident. It also digs into jazz’s own core by infusing ideas from gospel, Afro-Caribbean music, and more. The album is a clear statement on the continued vibrancy of the Great American art form. As a result, the group is invigorating – to the point that it seems to capture the energy of a live recording even though it was all captured in the studio. With an upcoming run at the historic Village Vanguard, a lucky few will get to experience the magic live.
PostGenre: Before getting into your new quartet, you have also been playing somewhat frequently with Kahil El-Zabar. How did you first meet him?
David Murray: Kahil and I met in 1975 on a basketball court in the South side of Chicago. I was staying at Don Moye’s House, whom I had met out in California.
I had just moved to New York and went back to California to do a concert. On the way back, I drove up to Iowa with a friend of mine tbecause he had a saxophone for me, which I ended up selling to Jimmy Lyons. I brought the horn with me to Chicago. And then from Chicago, I flew back to New York. I had gotten a new apartment in New York and was ready to live there for a while.
But that’s how I met Kahil. I also went to hear him at, I think, the Transcendental East, a club in Chicago. And I was amazed at how connected he was with his drumming and words. It seemed like he had a spiritual connection to the universe, one that was quite different from what I had heard in California, which was a more hippie style. Kahil’s style was 100% African American. I mean, I had played with Africans before, but he played pure African American hand drums. He was playing the Earth drum at that time. And a few years later, we ended up playing as a duo. And we’re still going. We have another dup tour coming up right after my Vanguard engagement. We call it the Friends for Life tour.
PG: You mentioned when you first moved to New York. Once in New York, you were part of the so-called loft scene.
DM: Yeah, I moved to New York in March of 1975 and met Kahil in, probably, October of that year.
PG: One interesting thing about the loft scene is how much creativity came out of it, all during a period when jazz supposedly “died.”
DM: Yeah, depending on who you ask. I was certainly not dead. Nor was anyone else playing in lofts. But perhaps the music changed a bit. Maybe people were resetting it. I wouldn’t say it was a lost period because there was a lot of energy. There were musicians from Tokyo. There were cats from Chicago. There were cats from Florida. And so many more coming from California and Texas. They all seem to have hit New York.
The loft scene was already there when I moved to New York. Ornette Coleman already had a loft [Artist House-]. Rashied Ali already had a loft [Studio 77]. Studio Rivbea was happening. Studio We was starting out. There were a lot of studios. The musicians were changing so much. Musicians were tired of focusing on entertaining other people and were mostly trying to play their souls. Sometimes it meant that instead of playing five-minute solos, l they wanted to play a thirty-minute solo. And whoever said that jazz died, I think they were some fake ass people anyway.
PG: One of your best recordings from that period was Flowers for Albert, a quartet date with Olu Dara, Fred Hopkins, and Phillip Wilson. Of course, almost fifty years later, you are releasing a new quartet album. How do you feel you have changed the most since Flowers as both a performer and a composer, specifically in the quartet context?
Dam: Well, my new quartet just came off of a tour where we played in Poland, Holland, and Germany, My quartet is on fire, man. The names have changed since back when but the music has remained fantastic.
People say I’m playing pretty well these days, and I just got a new bass clarinet. Well, it’s an old clarinet but it’s new to me. It’s the same brand as the one that I had before. The old one’s wood was dying, and once the wood goes, that is pretty much it. But I have a better one now that I got from James Carter. I’m very happy with it. It plays very much like the other one, and it’s a more solid piece.
But the song ‘Flowers for Albert’, has seen so many different changes over the years. I think I have recorded it around thirteen times across different settings. And now I have lyrics for the song. Do you want to hear them?
PG: Of course.
DM: ‘The man was here, done came and gone. He left us here just singing his song that love and peace and joy. Divine will read the hate in people’s minds.’ And you do that again. And then it modulates through the bridge. ‘Whenever he played his saxophone, the Blues came out like Black folk songs. The schools and dues of jazz Preludes will finally make it cool for you. The man was here, done, came and gone. He left us here to sing a song of love and peace.’ And then I blow another solo.
PG: That’s great.
DM: But, in general, ‘Flowers for Albert’ is a song people ask for. You know, Duke Ellington had ‘Sophisticated Lady’ and I’ve got ‘Flowers for Albert.’ Every musician has a particular song that people ask them to play, and ‘Flowers’ is mine.
PG: Do you ever get tired of the song?
DM: Definitely. But you have to find new ways to reinvent it. Play it with the big band or rearrange it. But it’s ultimately something that people want to hear. They come asking for that. I’m sure I’ll never record it again, but sometimes it gets recorded on live albums because people ask for it.
But I’m writing a lot of new songs. This new album, Francesca, is probably going to win an award.
PG: It is a fantastic record.
DM: Well, hold on. I think it’s going to be a dubious award. Have you seen the cover of the CD?
PG: Yes.
DM: I think it’s going to be voted the worst CD cover in the history of jazz. The music is 100%, but that cover almost seems like it was made by some kids using awful graphics.
PG: What would you have preferred as a cover?
DM: I wanted to use another image for the cover. It’s a picture included with the liner notes. It is a picture of Francesca on a nude beach with only a tie. She made the tie. It has a wonderful design. Her ties are great. Actually, I’m going to wear one of her ties at the Village Vanguard. Her ties are very beautiful and creative. They’re one-of-a-kind. And the photo is from a wonderful beach in New Jersey. It was taken by a great photographer, Jules Allen.
There is also one piece on this album that has been animated by Francesca. Fantastic work that she produced along with a painter. I think it might be one of the first animations in jazz. We’ve been playing it on screens at every concert a few minutes before we begin playing. Then we come on and start with that song. It’s an amazing thing. And people very much get into it. It’s a shock to them to see the animation of a dog in Paris named Ninno. And in the liner notes, you can read about it in more depth. But when people are blowing each other up all across the globe, I think it’s fantastic that someone like Francesca would come up with a video about the life of a dog who ends up saving a man’s life. There is some humanity in it, and she’s trying to reach a little deeper into the hearts, minds, and souls of jazz lovers.
PG: You mentioned how most of the compositions on Francesca are originals. But there is one song that is a cover of a Don Pullen tune.
DM: Oh, yeah, yeah. Oh, yeah.
PG: What inspired you to add that piece, “Richard’s Tune”?
DM: Well, a few months ago, I did a gig with D.D. Jackson in [Washington] DC, and he greatly liked that song. And I think I had played it once with Don. It’s a song that we hadn’t recorded before. I don’t generally play many fast songs on the bass clarinet. But this song has some beautiful [chord] changes and it shows that I could play something fast on the bass clarinet. So it’s a kind of a milestone for me that we could put it on the album.
Don Pullen and John Hicks were my favorite piano players that I worked with. I’ve worked with some great ones, I spent a lot of time on the road with each of those guys, and they taught me so much about jazz in New York City. So, I use the song as a tribute to Don Pullen.
PG: As far as your original compositions, are they shaped by your ability to circular breathe? It seems circular breathing would allow you to craft longer lines.
DM: No, I never really think about that. Circular breathing is just one of the little things that I do. I learned how to do it with Arthur Blythe. I don’t like to use it as a trick. I like to use it as a technique. People have mentioned that you could play longer phrases when you circular breathe, but that’s not why I do it. When I do it, I do it for power.
Every time a new breath comes inside of my diaphragm, it increases in power. I can bend the note. I can overblow in different ways in different levels of overblowing to make it create another sound out of the instrument. The instrument has to be warmed up very well. I only use circular breathing sometimes. I don’t use it all the time. In the World Saxophone Quartet, we used circular breathing often to create different shifts of sound. If we wanted to play a quarter tone, sometimes we would use circular breathing to get there. I know some guys out there – like Kenny G – use it as a trick, but that’s stupid. I would hate to stoop to something that low. Many musicians will probably never substantively use circular breathing, as I try to do, during their careers. Most just concentrate on the superficial use of it.
But, to answer your question, no, I never consider circular breathing when composing. It’s just something that I do on stage.
PG: A little earlier, you mentioned the World Saxophone Quartet. What do you think is the legacy of that group?
DM: Well, the original World Saxophone Quartet of Julius [Hemphill], Oliver [Lake], Hamiet [Bluiett], and myself came out of the Black Artist Group in Saint Louis. Julius was from Texas, but he spent a lot of time in Saint Louis and got married in Saint Louis. Oliver and Hamiet were from there. I came from the West Coast, but even now, some people consider me a Saint Louis person because of my association with those guys.
But once Julius was out of the group – and there were a lot of natural causes that caused him to leave – he took the music with him. He was the main composer in the group. He probably composed half of the music that we played, and the rest of the pieces were split between us other three. We were never able to replace Julius. The band was never going to sound like the original band. We had some other great players like Arthur Blythe, James Spaulding, and James Carter, but it just wasn’t the same. But including the different people who came and joined us, the band lasted nearly forty-five years. I think when Bluiett passed away and Oliver developed Parkinson’s [Disease] it was just no longer the World Saxophone Quartet.
I don’t have the energy to put into it to keep it alive after that. Right now, keeping my quartet on stage after this COVID business is enough. I still write for big bands. I don’t have a big band, but have the compositions if the right project comes along. I am duly ready to delve into larger compositions as well, but it seems like all of my attention should be on the quartet, at the moment.
PG: Well, going through your many recordings, the quartet format seems to treat you well.
DM: I’ve had some great people in my quartets over the years. I’ve had Andrew Cyrille. Eddie Blackwell. Billy Higgins. I’ve had great players on every instrument. Ray Drummond. Fred Hopkins. John Hicks and the great Don Pullen. But this new quartet is different.
PG: How so?
DM: Now I’m sixty-nine years old. The other guys are in their forties, or close to. It’s very interesting to me, because I’m finally the older guy in the group. Before, I was fifteen to twenty years younger than everybody else. So now in a way, it’s my time. And I’ve got a killing wife who tries to keep me as healthy as I can. She’s also very creative and inspires me on many levels. It’s like a new life for me.
PG: Did you intentionally seek out younger musicians in forming your new quartet?
DM: Well, I’m too old to drag out people my age. I’m lucky to get up on the stage myself. I needed some new energy. I needed new inspiration. I needed new thoughts from people who think differently than me. People with energy, especially drummers. It’s important to hear what the young minds are doing.
But I didn’t select these musicians because of their youthfulness. I selected them because they’re the cream of the crop. They all have groups of their own. They inspire me on stage. And at the same time, I’m inspiring them. I’m teaching by example.
PG: So, how did you select the specific members of the quartet?
DM: Well, they all came to me in different ways. I think Francesca put me onto Luke [Stewart]. She greatly liked his playing and made me aware of him. She’s got a pretty good ear and is a former singer herself, so knows music.
As for Marta [Sanchez], back when I was putting the group together, I was planning to do some duets in Spain. I had heard of Marta and got her number. I called her to see if she would play the duets with me, thinking she was in Spain. But I realized she was in Brooklyn and had been there for twelve years. But we ended up playing together in Pamplona, where they run the Bulls every year. We played their jazz festival there – a beautiful festival. However, it culminated in disgusting bullfights.
And as far as Russell [Carter], I know him and his brother Rahsaan. They’re from DC, and I remembered them from a workshop with the World Saxophone Quartet several years ago. They were bound to be great musicians because their mother has been a radio host for a long time in DC and their father, Rusty, is a great tenor sax player. He showed up the other night when I played with D.D. I don’t think their parents are together anymore, but they certainly care about their kids. You’ll see one parent and one set, then the other at the other set. They raised their kids to be great musicians, and that’s amazing. They are also both very nice young men. They used to be in a group with me and my son Mingus called Class Struggle. We played a few times, and we had another brother, Chris Beck, in our ensemble too. In fact, on this most recent tour of Europe, Russell couldn’t play with the quartet because of his baby son, and Chris filled in.
PG: As a quartet, the group explores some pretty wide areas of music – gospel, free jazz, Afro-Caribbean, Blues, soul, and many others. Do you see a large distinction between these different categories?
DM: Well, all I know is that when I’m playing a set, I want to incorporate all different eras of music. I might want to play something that hearkens to the 30s or the 40s. Or maybe something that happened in the 50s or 60s. The Caribbean element comes from the twenty years I spent living in Paris, where I was reading up on the Haitian uprising and working with the poet Saul Williams, whose people are from Haiti. So are Andrew Cyrille’s people. But all of these elements are in my music. I’ve worked with many people from different parts of the world, and those experiences are all in my repertoire.
Also, I come from the Church of God in Christ which is the most powerful gospel in the United States. I grew up with [gospel singer] Tramaine Hawkins. She lived down the street from me. My mother was her godmother. We had two bishops in California, Bishop Cleveland and Bishop Crouch – Andre Crouch’s father. I think that background distinguishes me from many other saxophone players. Not everyone grew up with the saxophone in their hands and played through all of those [church] services. Reverend Bernard Johnson has that experience, but other than him, there are not many gospel saxophone players. And those that do play gospel don’t go too far into jazz. Things are changing now, but I try to pass everything in my soul on to the young people around me.
The best thing I could tell a young saxophonist is to play in the church. I’ve noticed that universities have produced probably far more musicians- saxophone players in particular – than in the past. There are maybe too many. If they want to be different in how they express themselves, they should play in church and try to get that feeling inside their music. Jazz itself has different elements – at least four or five – inside it. And gospel is one of them, coming from the Spirituals. African rhythms and European music are also part of the music. The bigger holds you have on each of those different inputs, the better and stronger you’ll be.
‘Francesca’ is out now on Intakt Records. You can purchase it on Bandcamp. The David Murray Quartet will be performing at the historic Village Vanguard from May 21 to May 26, 2024. Tickets can be purchased here. More information on David Murray is available on his website.
Photo credit: Laurent Elie Badessi
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The Golden Sea Duo with Kahil El'Zabar and David Murray — Rhizome DC
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Monday June 3rd * 7pm * $30 admission in advance/$40 at the door. Student/low-income tickets: $20-25 sliding scale in advance * TICKETS This classic inspiring duo returns to Rhizome. Join us for an evening of great music. Sir Kahil El’Zabar was Knighted by the Council General of France for
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Rhizome DC
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https://www.rhizomedc.org/new-events/2024/6/3/the-golden-seas-duo-with-kahil-elzabar-and-david-murray
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Monday June 3rd * 7pm * $30 admission in advance/$40 at the door. Student/low-income tickets: $20-25 sliding scale in advance * TICKETS
This classic inspiring duo returns to Rhizome. Join us for an evening of great music.
Sir Kahil El’Zabar was Knighted by the Council General of France for his Global contributions to the Arts. He has performed with luminaries like, Dizzy Gillespie, Cannonball Adderley, Pharoah Sanders, Nina Simone, Stevie Wonder, Archie Shepp, Eddie Harris, Donny Hathaway, Paul Simon, Ntozake Shange, Nona Hendryx, Neneh Cherry, Lester Bowie, Hamiet Bluiett, Malachi Favors, Billy Bang, Gene Ammons, to name a few. Dr.El’Zabar, holds a PHD from Lake Forest College in Interdisciplinary Arts. He taught music and interdisciplinary arts at the U. Nebraska/Lincoln, and U. IL/Chicago. He was Appointed by Pres. Bill Clinton to the National Task Force for Arts representing Education. He won the International Ambassador Award from Pres. Barack Obama’s Administration. Kahil El’zabar ,has served on the prestigious boards of the Lila Wallace Readers Digest Fund, The National Endowment of the Arts, and the National Campaign for the Freedom of Expression. He is also the former chairmen of the Association for the Advancement of Creative Musicians (AACM). El’Zabar, Has recorded over 100 acclaimed projects, and founded and leads the legendary Ethnic Heritage Ensemble and Ritual Trio.
David Murray is considered to be the most influential tenor saxophonist of his generation. He has recorded more than 300 acclaimed projects. He has worked with many of the giants, such as Max Roach, Charles Mingus, Cecil Taylor, Jack DeJohnette, Chico Hamilton, Elvin Jones, Archie Shepp, Pharoah Sanders, Randy Weston, the list goes on. He is co-founder of the World Saxophone Quartet, and leads the famed David Murray Quartet, David Murray Octet, and the David Murray Big Band. Dr. Murray was awarded a PhD in the Arts from Claremont College, and is also a Guggenheim Fellow and a Fulbright Scholar. Mr. Murray has won 2 Grammys and is the recipient of the prestigious Jazz Par Award from the country of Denmark.
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David Murray
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https://www.wbgo.org/tags/david-murray
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There’s nothing fake about David Murray.His authentic voice on tenor saxophone is only bolstered by his fiery sincerity as an improviser. And he’s just as…
It's always exciting when a new composition is unearthed from a behemoth in American art. In this case, it's a composition by Ornette Coleman, the…
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