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The Write Stuff - Last Year's Winning Review
"When I die, I don't want to go to heaven - too many extremists - I want to go to jazz." It's a lame joke, and a pretty restrained piece of social commentary, given the current climate, but when David Murray mentions this half way through The Creole Project's set on the penultimate night of the London Jazz Festival, there's an extra irony. He's already spent the best part of an hour proving just how much of an extremist he himself remains. Murray's approach still crackles with the incendiary explorations of his apprenticeship in the loft scene of 70s New York. From the moment he raises the tenor for his first solo, he's way out there, summoning post-Ayler upper-register shrieks, and low honks and burps that illustrate exactly why collaborations with Pharaoh Sanders have proven so memorable. This current project follows a daring recipe: take heavy Afro-funk, throw in percussion and vocals from Guadeloupan gwo ka masters, Klod Kiavue and Francois Ladrezeau, sprinkle sizzling tenor pyrotechnics over the top and cook up a storm. On the live stage, it has an irresistible energy. This synthesis of free-jazz bluster and world music lyricism even achieves a genuinely moving heaviness on a slow African blues, with an elastic bassline from The Art Ensemble of Chicago's Jaribu Shahid, and Rasul Siddick's punchy trumpet exhortations. Murray translates the song's title as 'Three Days Without Food = The Blues' and the gwo ka masters' mournful vocals leave you in no doubt that it's the truth. But it's on the show-stopping dance-floor filler 'Gwotet' that Murray really shines, with a solo so full of authentic fire that it transcends any notion of mere technique. This is direct, soulful communication and clear proof of why he's considered by many to be the leading tenor player of his generation. Daniel Spicer
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