redbeansandrice
hier ist ein interessanter Artikel von 2007 und darunter ein Blindfoldtest aus den frühen 2000er Jahren… ich wollt mal gucken, ob sich mein Eindruck bestätigt, dass Murray jemand ist, der auf Festivals etc natürlich viel von der Jazzszene mitbekommt, aber kaum Platten hört… ganz so krass wie zB bei Grant Green ist es nicht, er errät auch das eine oder andere… aber ich würd behaupten, die Tendenz ist schon da…“I used to put out five albums a year; now I put one out every year or 18 months,” he says. “I worked all the time and took pretty much any gig; now I take select gigs, maybe 120 concerts a year. I’m in Paris half the time, moving around the other half. I’m not aligning myself with the avant-garde or the bebop, I’m just David Murray. I take my kids to school at 8:30, then I exercise, and I’m home at 9:30. I write until noon, and practice the rest of the day till 6, going through my books, trying to keep my chops up and my mind open. When a project comes up, I get very serious, and don’t study nobody else’s shit but mine. That will last for three months, and then there’s no project. Then I go back to my little everyday shit.”
das ist aus dem Artikel von 2007…
Danke, das passt gerade, weil da auch steht, dass Gwo-Ka-Drummer Klod Kiavue bzw. wie es dort geschrieben ist Klod Klavue (der im „Creole“-Line-Up direkt auf Ray Drummond und Billy Hart folgt, noch vor James Newton, D.D. Jackson usw.) der Ehemann der Schwester von Murrays Frau Valerie Malot sei. Der Kontext ist eh interessant, wenn es um die Phase geht, in der Murray quasi vom Quartett zum Konzept wechselt – und von New York nach Paris:
Murray attracted a worldwide fan base through the lyric swagger and raw edge of his tonal personality. He drew criticism from many ’80s “young lions,” who attacked him as a poseur, suggesting that his predisposition to blast off to the outer partials stemmed less from an independent aesthetic decision than insufficient grounding in the tropes of tradition. As Crouch, who had championed Murray during the ’70s, joined forces with Wynton Marsalis to establish the Jazz at Lincoln Center juggernaut, Murray was unceremoniously deleted from the mainstream conversation. He recorded ever more prolifically, for multiple labels, and toured regularly with his various ensembles, but he was falling into a rut, and his rambunctious lifestyle was beginning to take a toll.
“I was troubled, and I needed to leave,” Murray recalls. “I had Paris in my sights.” For one thing, Paris was a magnet for African musicians. For another, Malot, who grew up in North Africa and whose sister’s husband, Klod Klavue, is a master Gwo-Ka drummer from Guadeloupe, understood — and through her booking and production experience was in a position to actualize — Murray’s desire “to get closer to my African roots and do a little personal research” on them by traveling to and performing with “groups of people in Senegal, in Ghana, in South Africa, in Cuba I’d met that I could relate to.”
“Jazz has the primal feeling of African drums and the sophistication of the city,” Murray says. “A primal force, like [drummer] Dudu Ndiaye Rose, brings very complex rhythms. I bring the harmonies and melodies. It makes me want to play and sweat, like praising the Lord, going into a trance and getting back to roots. I’m trying to get to the core where the musics fuse.”
Today, Murray is less enamored with Paris than he once was. (“[The French] have an attitude that gets on your nerves.”) Nonetheless, Murray finds family life a sanctuary that provides space to think and focus, to work more systematically than the distractions of the New York City allowed.
Und der BFT ist doch ziemlich gut, er erkennt – ausser vielleicht Branford Marsalis – doch im wesentlichen alle Leute … okay, nicht Booker Ervin (was echt ein Hinweis auf „nicht so viele Platten hören“ sein könnte) und Charles Gayle, aber der war ja auch in anderen Welten unterwegs, und nicht Branford Marsalis …
zuletzt geändert von gypsy-tail-wind--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #160: Barre Phillips (1934-2024) - 11.2., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba