David Murray Octet

Murray's Steps

★★★★

David Murray is known to me through his work in the New York Loft Scene, but I know he has been a torchbearer for the new wave of jazz artists after Coltrane, especially through his work on the amazing Black Saint label. On this, and many other dates, he's accompanied by an octet that sounds much more compact than you would expect. Murray is always the star of the show and it's not difficult to understand why; he's uniquely great. The horn section here is just pure gold too: Henry Threadgill on alto and flute, Lawrence Butch Morris on cornet, Bobby Bradford on trumpet, and Craig Harris on trombone. Of course the rhythm section is not slacking either, especially with the fast paced heartbeat that Wilber Morris brings with his bass. Curtis Clark stays light and whimsical on the piano, much like an early Herbie Hancock. And Steve McCall ties it all together with a flavorful and sometimes even Latin inspired drumming. 

There are only four tunes on here but they each fit their allotted time like a perfect glove. Nothing here feels overstretched or unnecessary. Starting off with the longest and most expansive and reaching track, "Murray's Steps" is an obvious ode to Coltrane's "Giant Steps", but in a distinctly Murray way. Murray turns the whole number into a miniature swinging Ellingtonian song that is strained through the mind of Ornette Coleman. And I think that applies to a lot of Murray's music on this album. The main motif from "Giant Steps" is manipulated to an almost soulful and more intense variation that surely brings a bit more downtown life into it. At certain points you can faintly hear other players moan and cheer on the soloist, like a religious sermon taking place right in front of them. And when you reach "Sweet Lovely", it's a complete hundred and eighty degrees transformation from what was previously displayed. It's a lot like what you'd expect from Eric Dolphy, in some of his ballads at least. But the most automatic though that pops into my head is that of listening to a group of various birds just singing their songs on a still and sunny summer afternoon. It's playful and beautiful in a very straight sense, something that any jazz listener should enjoy. 

The second half continues a curious sort of exploration but doesn't overstep or break away from the original tightness that Murray provides in his compositions. "Sing Song" is a very poppy and heartfelt song that mutates and transforms into something of a spiritual jam session. Reminds me of something that would come about in a more abstract version of an Art Blakey led album. Ending with "Flowers for Albert" was a smart move by Murray as it is one of his most recognizable pieces and definitely a great celebration of Ayler's music. It's not wailing in despair or desperation, but in immense joy. Almost like Murray's version of Día de Muertos for Ayler. They proudly play in a communion that recognizes and celebrates Ayler's contribution to jazz and how long lasting it will be. A touching end to a fine album. 

I'm not sure if this is just Murray's style, or if it was due to the Black Saint label, but this music is not completely "out". There are some parts that push certain boundaries but this was a fairly pleasing and consistent listen. You can tell that Murray's inspirations are not from the likes of John Coltrane or Ayler for example, but more in the vein of the forefathers of hard bop and bebop. He's taken their style and vamped it up and updated it for the new age, and in no way does it sound antiquated or backwards. Murray's an innovator of innovators, and I'm happy to dig deeper into what he has to offer.

Favorite Song: Sweet Lovely