Label: Shifting Paradigm Records, 2026
Personnel - Bryan Murray: tenor saxophone; Adam Linz: bass; Dan Monaghan: drums.
Boasting a catchy sound and enjoying genuine freedom within the structure, saxophonist and composer Bryan Murray leads a supple chord-less jazz trio featuring bassist Adam Linz and longtime associate drummer Dan Monaghan. With friendship and collaboration at the center of Wolf, Murray—who also leads the peculiar avant-garde-meets-country band Bryan and the Haggards, is a member of Moppa Elliott’s Unspeakable Garbage, and has performed with David Byrne and St. Vincent outside the jazz sphere—explores his own music, radiating energy and abandon in a way that keeps listeners fully engaged.
“Bombs” kicks off with hooky, motivic saxophone firepower over agile drums and sturdy bass, channeling David S. Ware and the reed language of Threadgill’s Air over the tight-knit rhythmic web spun by Linz and Monaghan. Post-bop and avant-garde walk hand in hand here, while “Curtain”, delivered with a sensitive balladic touch, brings forth Monaghan’s mallet work and shimmering cymbal washes. There’s pensive lyricism cutting through the open spaces, and Murray’s cautious melody is closely shadowed by Linz.
Evoking childhood memories in West Virginia, “Dirtslide” displays an irreverent, hard-bop-inflected elegance over a full-throttle swing that is briefly suspended to accommodate the conversational interaction between Linz and Monaghan. Tactical bass mobility and crisp drumming dominate until Murray’s return, his playing abounding in ideas, supported by a firmly grounded and energetic rhythm section. The folksy theme of this piece contrasts with the pure modal jazz of “Buell”, a passionate prayer that recalls the spiritual hymns of John Coltrane and Billy Harper.
“Cloud Shapes” is anchored by Linz’s impeccable bass guidance, while Monaghan’s cymbal work and mallets transport us to distant worlds. Murray’s narrative gift is unmistakable here. The title track, “Wolf”, achieves an air of mystery through a simple yet relentless bass ostinato. Deliberately measured, it unfolds in a lugubrious 3/4, while the closer, “Fill Taker”, embraces avant-garde elasticity, with Murray’s authoritative presence enhanced by well-delineated lines and motifs over a vibrant rhythmic foundation.
This is stirring, serious sax-bass-drums work, resulting in a contemporary jazz album well worth digging into.
Favorite Tracks:
01 - Bombs ► 03 - Dirtslide ► 05 - Buell ► 08 - Fill Taker