Larry Kart Posted May 31, 2006 Report Share Posted May 31, 2006 Yes, Relyles, I remember that performance and that review. I didn't use the word "crap," though -- couldn't in a newspaper, at least not back then -- but I might have if I could. Heard him again a few years later in NYC at Sweet Basil with his Octet and had the same reaction. Interestingly, perhaps, I spoke after the last set to a member of the band, an older veteran saxophonist whose work I like, and he made it pretty clear (he brought this up himself) that his opinion of the leader, musically, was not favorable. Quote Link to comment Share on other sites More sharing options...
Larry Kart Posted May 31, 2006 Report Share Posted May 31, 2006 One thing I do remember saying in that review was that rhythmically Murray was "like Charlie Ventura on roller skates." Quote Link to comment Share on other sites More sharing options...
Spontooneous Posted May 31, 2006 Report Share Posted May 31, 2006 Interestingly, perhaps, I spoke after the last set to a member of the band, an older veteran saxophonist whose work I like, and he made it pretty clear (he brought this up himself) that his opinion of the leader, musically, was not favorable. What else did Spaulding say? Quote Link to comment Share on other sites More sharing options...
Larry Kart Posted June 1, 2006 Report Share Posted June 1, 2006 After I introduced myself, he quoted, word for word from memory, a paragraph I'd written in praise of him almost 20 years before in a review for Down Beat of a Chicago performance by the Freddie Hubbard Quintet. This was quite surprising and pleasing to me, but it also made me feel a bit blue, as though he'd kept those words pressed in his memory book, so to speak, because in the intervening years he hadn't received that many other words of the same kind. Quote Link to comment Share on other sites More sharing options...
Clunky Posted June 1, 2006 Report Share Posted June 1, 2006 I discovered DM for myself in 1988. Ballads on DIW was my intro and I was swept away. Other strong DIWs and Blacksaints followed. Plus a whole load of cutout vinyls. In the last 10 years or so despite seeing Murray live I really haven't had the interest in what he's playing and find my self easily bored. Perhaps too much of the same thing is bad for the soul. Curiously I don't seem to have that problem with Lee Konitz or Lee Morgan, must be a David Murray thing. Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted June 1, 2006 Report Share Posted June 1, 2006 "what kind of a great anybody includes himself in a list of great anybodies ? well, the massively talented Edmundo proclaimed himself the greatest soccer player in the world ... but that guy is a fucking prick." well, than, I'm in good company - and I can kick a soccer ball 190 miles - Quote Link to comment Share on other sites More sharing options...
relyles Posted June 1, 2006 Report Share Posted June 1, 2006 Yes, Relyles, I remember that performance and that review. I didn't use the word "crap," though -- couldn't in a newspaper, at least not back then -- but I might have if I could. Heard him again a few years later in NYC at Sweet Basil with his Octet and had the same reaction. Interestingly, perhaps, I spoke after the last set to a member of the band, an older veteran saxophonist whose work I like, and he made it pretty clear (he brought this up himself) that his opinion of the leader, musically, was not favorable. If it was in deed Mr. Spaulding I wonder why he continued to play in the Octet for so long? For what it is worth, I loved James Spauldings' contribution to the Octet. I had a brief conversation with him at the Litchfield Jazz Festival a couple of years ago and found him to be a very gracious and warm person. Definately, an underappreciated master. I have tried to purchase just about all of his recordings as a leader and thoroughly enjoyed all of them. Quote Link to comment Share on other sites More sharing options...
Larry Kart Posted June 1, 2006 Report Share Posted June 1, 2006 "I wonder why he continued to play in the Octet for so long?" Because it was a semi-regular gig, I would guess. We don't always have that much choice about how we put bread on the table. Also, he did have some room there to do his own thing. Quote Link to comment Share on other sites More sharing options...
relyles Posted June 1, 2006 Report Share Posted June 1, 2006 "I wonder why he continued to play in the Octet for so long?" Because it was a semi-regular gig, I would guess. We don't always have that much choice about how we put bread on the table. And that is a shame. Quote Link to comment Share on other sites More sharing options...
Chalupa Posted June 3, 2006 Report Share Posted June 3, 2006 Cross post from the Live Shows folder..... I just got an email from Jamaaladeen..... Five Spot 1 South Bank Street Philadelphia, PA 19106-2803 (215) 574-0070 Tenor Saxophonist, composer and Grammy Award Winner David Murray will be performing this Thursday June 8th at "The Five Spot" in Philadelphia along with world class bassist Jamaaladeen Tacuma and Drummer Lee Pearson (Roy Ayers, Erika Badu, Lauren HIll). Show time is 9:00 P.M. and admission is $10.00. This is a rare performance of David Murray in the Philadelphia area. Jamaaladeen has been touring with David Murray collaborating on his West African Feduek Revue , Gwo Ka Masters Creole project and currently touring with the World Saxophone Quartet performing the music of Jimi Hendrix. David and Jamaaladeen just finished a new recording project for the World Saxophone Quartet on Justin Time Records entitled: "POLITICAL BLUES" . This evening is being propelled by the production company "SNEAKIN UP ON YA PRODUCTIONS" . It's a great pleasure to host David Murray here in Philadelphia along with Jamaaladeen Tacuma on bass and Lee Pearson on Drums. There will be an appearance by a very special guest. If you're in the know, you know that this show will be one of the hottest creative performances this summer. Don't miss it. Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted June 7, 2006 Report Share Posted June 7, 2006 I'm glad this thread kept going - as, until I read about it here, I was certain that James Spaulding was dead - which he apparently is not - and I for one am glad to hear it - Quote Link to comment Share on other sites More sharing options...
relyles Posted June 7, 2006 Report Share Posted June 7, 2006 I'm glad this thread kept going - as, until I read about it here, I was certain that James Spaulding was dead - which he apparently is not - and I for one am glad to hear it - Mr. Spaulding is still very much alive and performing last I heard - in particular in and around Brooklyn. Quote Link to comment Share on other sites More sharing options...
47 West 63rd N.Y.C. Posted June 7, 2006 Report Share Posted June 7, 2006 (edited) I'm glad this thread kept going - as, until I read about it here, I was certain that James Spaulding was dead - which he apparently is not - and I for one am glad to hear it - Mr. Spaulding is still very much alive and performing last I heard - in particular in and around Brooklyn. Check out his newest release -- Round To It Vol. 2 -- recorded live at Brooklyn's Up Over Jazz Café. Edited June 7, 2006 by 47 West 63rd N.Y.C. Quote Link to comment Share on other sites More sharing options...
relyles Posted June 7, 2006 Report Share Posted June 7, 2006 Both Volumes of Spaulding's self produced live recording are well worth hearing. Quote Link to comment Share on other sites More sharing options...
Guy Berger Posted June 16, 2006 Report Share Posted June 16, 2006 I very much like Ming, and am waiting for an order that includes Home. I've heard only a few other things, but I guess, so far, I like Murray best in that octet formation. (Nothing wrong with that, as far as I can tell!) I just listened to Ming for the first time. More mainstream than what I was expecting, but sounds pretty good. I have Murray's Steps lying around and I'll probably give it a listen next month. If I like these then I'll be on the lookout for Home. Guy Quote Link to comment Share on other sites More sharing options...
Guy Berger Posted July 27, 2006 Report Share Posted July 27, 2006 I'm probably in the minority, but I like Murray's Steps more than Ming. Guy Quote Link to comment Share on other sites More sharing options...
randyhersom Posted May 1, 2007 Report Share Posted May 1, 2007 Decided to find this and up it due to the 17 David Murray Black Saints that just appeared on eMusic. I already have Ming and am headed for The Hill and The Healers this evening. I do have mixed feelings, but am ready to explore some more. DeJohnette's Special Edition and Ming are good stuff, but I didn't get Murray much when he first started recording. Quote Link to comment Share on other sites More sharing options...
David Ayers Posted May 1, 2007 Report Share Posted May 1, 2007 Decided to find this and up it due to the 17 David Murray Black Saints that just appeared on eMusic. I already have Ming and am headed for The Hill and The Healers this evening. I do have mixed feelings, but am ready to explore some more. DeJohnette's Special Edition and Ming are good stuff, but I didn't get Murray much when he first started recording. Who knew there were 17!? I've got or had quite a few. The Hill and Ming are pretty representative. Didn't go much for The Healers. There are some good octet recordings with Henry Threadgill among others, but you get less solo Murray for your money. Morning Song and Sweet Lovely also good (IIRC). Maybe that's enough? Quote Link to comment Share on other sites More sharing options...
BFrank Posted May 2, 2007 Report Share Posted May 2, 2007 I definitely recommend "Morning Song" Quote Link to comment Share on other sites More sharing options...
Soul Stream Posted May 2, 2007 Report Share Posted May 2, 2007 I was speaking to a well known Coltrane-linked saxophonist who was saying the other day he thought David Murray was a complete white critics darling joke who couldn't play at all. I'm passing no judgement myself as I've never heard his music. Quote Link to comment Share on other sites More sharing options...
RDK Posted May 2, 2007 Report Share Posted May 2, 2007 I went through a period where I really dug Murray and bought bunches of his discs, then I got caught up in the backlash and didn't listen to him much at all. But "white critics darling" or not, the dude can play. You oughta listen to a few of his albums. Some great shit there. Quote Link to comment Share on other sites More sharing options...
David Ayers Posted May 2, 2007 Report Share Posted May 2, 2007 Murray plays 'his' way, and pretty much once you get used to it you might get some sense of limitation. The same is true of a lot of self-taught players I suppose. Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted May 2, 2007 Report Share Posted May 2, 2007 careful - once you start downloading Murray's stuff they will up the price in the middle of a download - at least that's what Murray does when he's hired to play a gig - usually during intermission he asks for more money - Quote Link to comment Share on other sites More sharing options...
Clunky Posted May 2, 2007 Report Share Posted May 2, 2007 I went through a period where I really dug Murray and bought bunches of his discs, then I got caught up in the backlash and didn't listen to him much at all. But "white critics darling" or not, the dude can play. You oughta listen to a few of his albums. Some great shit there. pretty much the same here for me. Rarely listen now .. I'll dig out Ballads for Bass clarinet tonight Quote Link to comment Share on other sites More sharing options...
John L Posted May 2, 2007 Report Share Posted May 2, 2007 I was speaking to a well known Coltrane-linked saxophonist who was saying the other day he thought David Murray was a complete white critics darling joke who couldn't play at all. I'm passing no judgement myself as I've never heard his music. He was championed at one time especially by Stanley Crouch. Quote Link to comment Share on other sites More sharing options...
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