Zum Unterschied von Live vs. Studio steht auch was von Murray selbst im Booklet, was ich ganz interessant finde (auch etwas trivial, drum hab ich’s gestern nicht gleich abgetippt): „On stage, he notes, ‚if you make a mistake, you have to make that mistake sound beautiful. By the time you get into the studio and can hear everything back, you say, oh, o.k., I’ve been doing that wrong all this time. So let’s get used to doing that right. Here the trio had the opportunity to hear what we’d done, what we got used to doing. Wo we said: let’s flip that.'“ The result shows the intuitive level of understanding achieved. Having reached in his mid-60s a level of technical mastery where a musician ‚can play every note he hears,‘ Murray saw this pianoless trio as not just a way to keep the notes flowing, but a catalyst for total freedom: that rare configuration that allows him to deliver, through the saxophone, ‚my most free expression of myself.'“
„Francesca“ – das ich so gut wie „Seriena Promethea“ oder noch eine Spur besser finde – spare ich mir auf für wenn Album Nr. 2 der Band nächste Woche auch erscheint (wird sicher übernächste Woche, bis es hier landet, vielleicht dann auch Mitte Mai, nach dem kurzen Urlaub.
--
"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, #163: Neuentdeckungen aus dem Katalog von CTI Records (Teil 2), 13.5., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba