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Francesca
Francesca in Bloomington, MN
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Composer and multi-instrumentalist
David Murray
has issued well over 100 albums as a bandleader and played on more than 500 others. Since returning from Paris in 2017 after a 20-year sojourn,
Murray
remains an active musician and serves as a mentor and guide to younger players. This is one of two recordings for 2024; the other,
Sun / Moon
, is a collection of bass clarinet and saxophone solos. This quartet grew out of
's touring trio with bassist
Luke Stewart
and drummer
Russell Carter
. The addition of Madrid-born pianist
Marta Sanchez
, a celebrated bandleader and composer, is an anomaly given the saxophonist's historically complex relationship with pianists. She is a canny accompanist and formidable soloist who implicitly understands the sometimes subtle but important difference between comping and cluttering another soloist's creativity. This group recorded
Francesca
in Switzerland after a tour.
plays tenor and bass clarinet here. He wrote everything but "Richard's Tune" by pianist
Don Pullen
. The bright opening title track was composed for his spouse, jewel tie designer
Dr. Francesca Cinelli-Murray
. Nearly 11 minutes long, its opening sax vamp is adapted from
Irving Berlin
's "Cheek to Cheek" and gets transformed into a thing of post-bop beauty with
Sanchez
swinging ahead of the rhythm section.
moves from lyricism to angular modal invention in his solo.
Carter
delivers a solo and engages in knotty interplay with
Stewart
. The ten-minute "Ninno," introduced by
and
, weds samba and
Horace Silver
-esque funk. A straight-ahead, midtempo groover, it finds
winding around one another in a circular phrase as the rhythm section double-times.
plays bass clarinet on "Shenzen." He opens with a warm, limpid solo as
introduces a bluesy rumba.
uses mallets to introduce
, who responds gently from the upper middle register. The pianist offers
lovely, dark, contrasting chords and skeletally framed vamps to play off. "Come and Go," in 5/4 time, is blistering, as
go head-to-head; her solo, weaving contrasting harmonic lines and chords, is as dazzling as it is elegant. "Am Gone Get Some" was originally recorded for 2022's
Seriana Promethea
with
Brad Jones
Hamid Drake
. Melding post-bop, gospel, and Latin overtones,
trade fours with one another and
.
plays bass clarinet on "Richard's Tune," a tender midtempo ballad inspired by tropes in the Great American Songbook.
's playing on "Free Mingus" is striking in its fluidity and lyricism.
wed gospel, funk, and bolero, recalling
Pullen
's playing in the
Mingus
band. The strutting closer, "Cycles and Seasons,'' lopes from a 7/4 sprint to 4/4 swagger, folding in rumba, descarga, hard bop, post-bop, and rich counterpoint.
is remarkable, both for the depth of
's compositions and for his band's willingness to pursue forward-thinking yet always balanced communication as the root of collective exploration. ~ Thom Jurek
David Murray
has issued well over 100 albums as a bandleader and played on more than 500 others. Since returning from Paris in 2017 after a 20-year sojourn,
Murray
remains an active musician and serves as a mentor and guide to younger players. This is one of two recordings for 2024; the other,
Sun / Moon
, is a collection of bass clarinet and saxophone solos. This quartet grew out of
's touring trio with bassist
Luke Stewart
and drummer
Russell Carter
. The addition of Madrid-born pianist
Marta Sanchez
, a celebrated bandleader and composer, is an anomaly given the saxophonist's historically complex relationship with pianists. She is a canny accompanist and formidable soloist who implicitly understands the sometimes subtle but important difference between comping and cluttering another soloist's creativity. This group recorded
Francesca
in Switzerland after a tour.
plays tenor and bass clarinet here. He wrote everything but "Richard's Tune" by pianist
Don Pullen
. The bright opening title track was composed for his spouse, jewel tie designer
Dr. Francesca Cinelli-Murray
. Nearly 11 minutes long, its opening sax vamp is adapted from
Irving Berlin
's "Cheek to Cheek" and gets transformed into a thing of post-bop beauty with
Sanchez
swinging ahead of the rhythm section.
moves from lyricism to angular modal invention in his solo.
Carter
delivers a solo and engages in knotty interplay with
Stewart
. The ten-minute "Ninno," introduced by
and
, weds samba and
Horace Silver
-esque funk. A straight-ahead, midtempo groover, it finds
winding around one another in a circular phrase as the rhythm section double-times.
plays bass clarinet on "Shenzen." He opens with a warm, limpid solo as
introduces a bluesy rumba.
uses mallets to introduce
, who responds gently from the upper middle register. The pianist offers
lovely, dark, contrasting chords and skeletally framed vamps to play off. "Come and Go," in 5/4 time, is blistering, as
go head-to-head; her solo, weaving contrasting harmonic lines and chords, is as dazzling as it is elegant. "Am Gone Get Some" was originally recorded for 2022's
Seriana Promethea
with
Brad Jones
Hamid Drake
. Melding post-bop, gospel, and Latin overtones,
trade fours with one another and
.
plays bass clarinet on "Richard's Tune," a tender midtempo ballad inspired by tropes in the Great American Songbook.
's playing on "Free Mingus" is striking in its fluidity and lyricism.
wed gospel, funk, and bolero, recalling
Pullen
's playing in the
Mingus
band. The strutting closer, "Cycles and Seasons,'' lopes from a 7/4 sprint to 4/4 swagger, folding in rumba, descarga, hard bop, post-bop, and rich counterpoint.
is remarkable, both for the depth of
's compositions and for his band's willingness to pursue forward-thinking yet always balanced communication as the root of collective exploration. ~ Thom Jurek
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