Time: 42:13
Size: 96.6 MB
Styles: Free jazz
Year: 2011
Art: Front
[3:20] 1. Rendezvous The Opening
[8:31] 2. Hotel Le Prince Movement 1
[3:04] 3. Theme On A Dream
[3:36] 4. Bring It On
[4:13] 5. How Sensitive
[3:59] 6. Theme On A Dream: II. 80's Downtown Movement 2
[3:24] 7. Theme On A Dream: III. Who's That Ringing Movement 3 2
[7:09] 8. Hotel Le Prince Movement 2
[2:45] 9. Yes We Can
[2:08] 10. Rendezvous The Ending
Bass Guitar – Jamaaladeen Tacuma; Drums – Ranzell Merrit; Guitar – Mingus Murray; Keyboards [Recomposing] – Paul Urbanek; Tenor Saxophone, Bass Clarinet – David Murray. Recorded February 4 / 5, 2009 at Studio Magnetica, Paris. Mixed and mastered at Next Generation Studios, Vienna.
Berlin's Jazzwerkstatt label is similarly celebrating dreams with this partnership between the great American saxophonist and bass clarinetist David Murray, and sometime Ornette Coleman alter ego on bass guitar, Jamaaladeen Tacuma. In this case, the dreams belong to black America, embracing 1963 Martin Luther King, and Barack Obama's campaign mantra, Yes We Can. The latter sentiment reflects this session's early-2009 recording date, just three months after Obama's election, and before the harsh political realities had kicked in. But the music retains its eager, rough-hewn dynamism (Jazzwerkstatt sessions often sound like minimally premeditated works-in-progress) through some very sparky, post-bop themes, passages of Joe Zawinul-influenced synth-driven world-funk, and some awesome sax playing from Murray. Technology is used to mirror fast, improvised lines with the sonorities of other instruments – the way in which keyboard sounds slipstream Murray's tumbling horn flights is particularly absorbing. Brooding, backbeat-powered bass-guitar vamps and ghostly electric-guitar shimmerings trigger boiling tenor-sax eruptions (the saxophonist's son, Mingus Murray, is the impressive guitarist). Elsewhere, coolly-swinging episodes, such as Hotel Le Prince, give way to Weather Reportish passages; free-sax ascents squeal over rock-music bass licks; and the poet Amiri Baraka appears for a brief recital. The improv-echoing effect is overused, but there's more strong melody on this recording than in many avant-funk sessions, and Murray is as formidable as ever. ~John Fordham
Berlin's Jazzwerkstatt label is similarly celebrating dreams with this partnership between the great American saxophonist and bass clarinetist David Murray, and sometime Ornette Coleman alter ego on bass guitar, Jamaaladeen Tacuma. In this case, the dreams belong to black America, embracing 1963 Martin Luther King, and Barack Obama's campaign mantra, Yes We Can. The latter sentiment reflects this session's early-2009 recording date, just three months after Obama's election, and before the harsh political realities had kicked in. But the music retains its eager, rough-hewn dynamism (Jazzwerkstatt sessions often sound like minimally premeditated works-in-progress) through some very sparky, post-bop themes, passages of Joe Zawinul-influenced synth-driven world-funk, and some awesome sax playing from Murray. Technology is used to mirror fast, improvised lines with the sonorities of other instruments – the way in which keyboard sounds slipstream Murray's tumbling horn flights is particularly absorbing. Brooding, backbeat-powered bass-guitar vamps and ghostly electric-guitar shimmerings trigger boiling tenor-sax eruptions (the saxophonist's son, Mingus Murray, is the impressive guitarist). Elsewhere, coolly-swinging episodes, such as Hotel Le Prince, give way to Weather Reportish passages; free-sax ascents squeal over rock-music bass licks; and the poet Amiri Baraka appears for a brief recital. The improv-echoing effect is overused, but there's more strong melody on this recording than in many avant-funk sessions, and Murray is as formidable as ever. ~John Fordham
Rendezvous Suite
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