Label: Intakt Records, 2022

Personnel - David Murray: tenor saxophone, bass clarinet; Brad Jones: bass; Hamid Drake: drums.

David Murray is a fiery legendary saxophonist who worked with countless bands of varying sizes. Here, he’s seen at the front of the Brave New World Trio, whose elan takes the form of a powerhouse concoction of familiar and fresh sounds. Flanked by bassist Brad Jones and drummer Hamid Drake, Murray wrote seven of the eight pieces on the record. The exception is a renegade interpretation of Sly & The Family Stone’s R&B hit “If You Want Me to Stay”, which will certainly make your body move back and forth. All tracks were recorded in Europe, immediately after the Covid lockdown.

The opener, “Seriana Promethea”, gave the album its title and unfolds with lively bass clarinet phrases that pop over a riveting funky groove. Bassist and drummer are glued here with an in-the-pocket instinct, but on the next number, “Necktar”, they sit in a joyful and robust rock-like progression with occasional bass pedals. Tenor-madness improvisatory tact joins the party, and hard-swinging fragments help to invigorate the dynamics. Besides the volcanic lead playing by Murray (he goes Eastern places with sequences of half-tone-infused runs), we have Drake and Jones proffering statements with brilliant discretion and no loss of balance.

After the pair of opening tunes knock the breath out of the listener, the rest of the record just keeps punching. Examples are the upbeat “Switchin’ in the Kitchen”, which serves well the contrasting ferocity and side-stepping phraseology of the bandleader with its Latin charm; “Anita et Annita”, a sultry rumba guided by the tightness of the rhythm team with occasional swinging articulation; and the closer, “Am Gone Get Some”, a solid burner full of wit and outside venture.

“Metouka Sheli (Ballad for Adrienne)” casts a spell with the microtonal magnetism of a weeping bowed bass and the moderate vibratos of the saxophone, whereas “Rainbows for Julia”, dedicated to Murray’s daughter-in-law, is a popish song with eloquent jazz improvisation. It feels a little extended, though.

If you like your avant-garde jazz accessible, with lots of great melody and groove, this is a great addition. There are many things to like here.

Favorite Tracks:
01 - Seriana Promethea ► 02 - Necktar ► 05 - Switchin’ in the Kitchen

Label: Intakt Records, 2022

Personnel - Dave Gisler: guitar; Raffaele Bossard: bass; Lionel Friedli: drums; David Murray: tenor saxophone; Jaimie Branch: trumpet.

The extroverted Swiss trio led by guitarist Dave Gisler is powerfully augmented here with the wealth of experience and blaze brought by saxophonist David Murray and the creative musical sensibilities of trumpeter Jaimie Branch. Even probing other moods, the stylistic predominance on the trio’s third outing, See You Out There, can be specified as acute avant-jazz meets raw-boned punk rock.

The boisterous opener, “Bastards on the Run”, ensures an explosive start. Played at a blistering tempo, the piece shows off an aggressive and pliable rhythm section - composed of bassist Raffaele Bossard and drummer Lionel Friedli - paving the ground for concurrent spontaneous incursions of guitar, saxophone and trumpet. A cacophonous noise delirium comes out of the speakers at full force, inundating the surroundings with ferocious energy. Other punkier tracks include “Medical Emergency”, which, inspired by true Covid events, revels in horn unisons, muscular drumming, and fiery solos from guitar and tenor; and “What Goes Up…”, whose pummeling rhythmic drive and loud guitar strumming are in a position to defy The Sex Pistols. This number, together with the closing 3/4 bluesy cut “Better Don’t Fuck with the Drunken Sailor”, originally appeared on the 2020 album Zurich Concert, which also featured Branch.

“Can You Hear Me” and “Get a Doener” have strong improvisational flairs. The former, with unaggressive chordal work and sharp trumpet notes pointing to the sky, becomes heavier, then darker and then percussive; the latter, squeezing a hip-hop feel out of its rhythmic fragmentation, has Gisler and Murray engaged in an uproarious dialogue. At odds with these ambiences yet with distinct natures, we have the eerily atmospheric title track and “The Vision”, whose irresistible theme plays like a spiritual hymn. Over the course of the tune I just mentioned, one finds melodious trumpet lines set against a fuzz-painted wall of noise, an inside/outside guitar improvisation delivered with hammer-ons and resolute phrases, and Murray’s volcanic blows over a prodding krautrock rhythm. This captivating album is a squall of musical intensity and puissant improvisation.

Favorite Tracks:
01 - Bastards on the Run ► 04 - The Vision ► 06 - Medical Emergency