Octet Plays Trane
David Murray's octet has been one of his most successful outlets, emphasizing the tenor saxophonist's deep roots in all jazz traditions and combining ferocious swing with complex contrapuntal charts and explosive improvisation. Murray wrote the arrangements for this tribute and the repertoire touches on several points inJohn Coltrane's rapid musical evolution. "Lazy Bird" (from 1957'sBlue Train) has roots in hard bop and "India"--from 1961--is an exotic mix of throbbing rhythm, flute, and bass clarinet. Murray bridges time brilliantly in "Giant Steps" and also places some special written demands on the band, orchestrating Coltrane's own legendary solo as a backdrop for the soloists. Unlike many saxophonists, Murray has never mimicked the Coltrane sound, opting for the grittier, sonic tradition ofColeman Hawkins,Ben Webster, andSonny Rollinswhile constructing his style on post-Coltrane models likeAlbert Ayler,Pharoah Sanders, andArchie Shepp. That contributes to the distinctiveness of the lyrical "Naima," his rough-hewn tenor beautifully set amidstJames Spaulding's flute and D.D. Jackson's shimmering piano. Elsewhere, Murray's booting tenor drives adventurous, leaping phrasing, and he's just as effective on bass clarinet. Trombonist Craig Harris brings suave bluster, matchless diction, and surprising highs to his solos. There's also solid work from the rest of this new edition of the octet, including trumpeters Ravi Best and Rassul Siddik, bassist Jaribu Shahid, and drummer Mark Johnson. While the emphasis is on the best-known tunes, this music has its own strong personality, making it the most fitting kind of tribute to Coltrane. --Stuart Broomer