David Murray - Von Mainstream bis Avantgarde

"David Murray ist ein Romantiker. Er lebt die Erforschung von Gefühlswelten in seinen sehnsüchtigen Balladen ebenso wie das Komponieren und Arrangieren groß angelegter Werke für Bigband und Orchester. Dabei scheint sein Bedürfnis, Musik zu schaffen, unstillbar. So sagt er selbst, er habe in den letzten 25 Jahren weit über 100 Platten gemacht - genau wisse er das gar nicht. Erst im vergangenen Jahr er- schienen drei CDs, darunter die herausragende Octet Plays Trane (Justin Time / Sunnymoon) und die eher skeptisch aufgenommene Death of a Sideman(DIW), eine Requiem-Suite von Kornettist Bobby Bradford für den Klarinettisten John Carter. Einige Kritiker werfen David Murray vor, seine Soli seien zu vorhersehbar und er sei jetzt als Komponist weit innovativer denn als Spieler. Aber sein unverwechselbarer Sound hat immer noch die Kraft, Spannung und Energie, die den Atem stocken lässt. Sein Saxophon flüstert, schreit, lockt, verführt. Der Ton dehnt sich, bleibt stehen, wird lauter, gleitet sanft ins Nichts. Ein Ort für Traumbilder."

Kompletter JazzThetik-Artikel: www.jazzthetik.de/article/991346400.html


David Murray, Tenorsaxophonist, Komponist und Bandleader ist einer der produktivsten Jazzmusiker der letzten 15 Jahre. Er hat Sessions der unterschiedlichsten Genres aufgenommen: Trio mit Bass und Schlagzeug, klassisches Quartet, Orgel-Band, Bigband, Du mit Piano, und das Niveau ist immer sehr hoch. Trotzdem ist Murray nur Jazz-Fans bekannt, kommerzielle Erfolge hatte er nicht.

Home page: www.members.tripod.com/go54321/d ... urray.html

All Music Guuide: www.allmusic.com/cg/amg.dll?p=am ... bkd96akn~C


Einige der wichtigsten Platten seiner Karriere:


- David Murray Octet -Home (Black Saint, 1980)



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"Although David Murray has recorded in many different settings throughout his busy career, his octet has always been perfect for his talents. More disciplined than his big band, yet containing more tone colors than his smaller combos, the octet allowed Murray to be exploratory yet occasionally look backwards. This set, his second with the band, has quite an all-star lineup: Murray on tenor and bass clarinet, altoist Henry Threadgill, trumpeter Olu Dara, cornetist Butch Morris, trombonist George Lewis, pianist Anthony Davis, bassist Wilber Morris and drummer Steve McCall. All of the brilliant players have their opportunities to make strong contributions to Murray's five originals (best known of which is "3- D Family"), and the leader's writing is consistently colorful and unpredictable. Recommended. — Scott Yanow"


- David Murray Trio -The Hill (Black Saint, 1986)



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"For this date, Murray teamed up with the able veterans Richard Davis and Joe Chambers, producing a varied, solid, and enjoyable session mixing originals with standards and showing that he was quite capable of holding his own among the older pros. Davis had always shown himself to be open to all sorts of jazz, from the most traditional to the outer reaches of the avant- garde (check out his work with the Creative Construction Company), and he runs the gamut here. His arco playing on the title track and "Herbie Miller" is as free as you please, yet he swings Ellington's "Take the Coltrane" like nobody's business. Butch Morris contributes a lovely number, "Fling," allowing Murray to indulge in his romantic side. The leader's playing is typically gritty and imaginative throughout; Murray rarely gives less than 100 percent live or on record, and if his work here is less than his most inspired, that still leaves plenty of room for a lot of good blowing. Joe Chambers switches to vibes for the closing track, a luxuriant rendition of Strayhorn's classic Chelsea Bridge, and along with deep work from Davis, provides a rich bed for Murray's most probing playing on the date. Summoning the spirits of Ben Webster and perhaps just a bit of Archie Shepp, he pours phrase after liquid phrase in a warm and touching tribute to one of the great jazz composers. The Hill offers an accurate snapshot of Murray in the mid-'80s, straddling the mainstream and avant-garde and proving himself quite adept in either. — Brian Olewnick



- David Murray mit zwei Jazz Legenden -Special Quartet (DIW, 1990)



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"When one reads the personnel on this CD, the potential seems enormous: tenor saxophonist David Murray, pianist McCoy Tyner, bassist Fred Hopkins, and drummer Elvin Jones. Murray was a good choice for the tenor slot because, although influenced by John Coltrane's adventurous spirit, he has never sounded like Coltrane, coming closer to the Ben Webster/Paul Gonsalves tradition but with a style of his own. In addition to Trane's "Cousin Mary" and "In a Sentimental Mood" (which Coltrane had recorded with Duke Ellington, and Murray takes as a duet with Tyner), the music includes three of the tenor's originals (including "3-D Family") and a Butch Morris song. The fresh material really pushes Tyner, who mostly sticks to standards with his own trio, while Jones sounds as passionate as usual. A successful outing full of mutual inspiration, this CD is easily recommended. — Scott Yanow"


- David Murray goes Hammond -Shakill's Warrior (DIW, 1991)




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"Tenor saxophonist David Murray has recorded so many CDs during the past 20 years that it is difficult to keep up with them. This one finds him in mostly restrained form, updating the tenor/ organ soul jazz tradition with Don Pullen (who sticks exclusively to organ), guitarist Stanley Franks and drummer Andrew Cyrille. The music, with the exception of some typical Murray outbursts into the extreme upper register, is generally respectful and soulful, one of Murray's mellower efforts. Unfortunately, Columbia has since ended its association with DIW so this release will be a difficult one to find. — Scott Yanow"


- David Murray Octet -Picasso (DIW, 1991)



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Die lange Picasso-Suite aus der Feder von David Murray ist ein hervorragendes Vehikel für extatische Soli von Murray und Altsaxophonist James Spaulding.

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