Diw Records

Harold Mabern was nearing his 57th birthday around the time of the two 1993 studio sessions that provided the music for this Japanese release; he's clearly in a mood to celebrate, as the CD begins with a driving hard bop original, "Look on the Bright Side," powered by his aggressive risk-taking playing and fueled by a lower key solo by young bassist Christian McBride and a series of powerful drum breaks by seasoned veteran Jack DeJohnette. Although Mabern's arrangement of John Coltrane's "Moment's Notice" is enjoyable, it is because the rhythm simulates a jaunty stroll while the leader unleashes some pyrotechnics.

Since his emergence onto the New York scene in 1959, pianist Harold Mabern has become one of the few true living jazz stylists on the piano. Having played with everyone from Lionel Hampton to Miles Davis, Sonny Rollins, Wes Montgomery, and Lee Morgan, Mabern has the experience and the depth of knowledge sufficient to be called a master. There is no one on the scene who sounds like him, and his sense of lyricism, rhythm, time, and the entire range of dynamics in his playing attract other players as well as listeners. The Leading Man, issued in 1993, is considered a classic, both for its selection of material and the performances of the various ensembles Mabern assembled for the date…

Maya With Love reunites the powerful trio that Harold Mabern assembled in 1997 to record his Mabern's Grooveyard album. Like that recording, this current offering makes the most of the talents of all three players to produce music that is a whirling stream of power. The percussive nature of Mabern's playing is highlighted on the boogie-woogie style of "Boogie for Al McShawn," while the young lion Christian McBride steps out from the background with some impressive bowing on "Lament." Tony Reedus provides a rhythmic framework to hang the whole work on with his impressive and intricate percussion work…

Harold Mabern was nearing his 57th birthday around the time of the two 1993 studio sessions that provided the music for this Japanese release; he's clearly in a mood to celebrate, as the CD begins with a driving hard bop original, "Look on the Bright Side," powered by his aggressive risk-taking playing and fueled by a lower key solo by young bassist Christian McBride and a series of powerful drum breaks by seasoned veteran Jack DeJohnette. Although Mabern's arrangement of John Coltrane's "Moment's Notice" is enjoyable, it is because the rhythm simulates a jaunty stroll while the leader unleashes some pyrotechnics.

David Murray, doubling on tenor and bass clarinet, interacts with drummer Jack Dejohnette and (on two of the seven selections) bassist Fred Hopkins for a set of originals by Murray, DeJohnette and Butch Morris. The duo/trio explore a variety of moods with Murray's extroverted and advanced solos generally serving as the lead voice. Although an avant-garde set, this Japanese import has its mellow and melodic moments before the fire takes over again.

Die-hard fans of David Murray's avant-garde work should be forewarned. While elements of the artist's wild, swirling approach to the tenor crop up throughout, The Tip is primarily a down home, deeply groovy funk record. Those who are familiar with Murray's remarkable recording history might be taken aback. This is the realm of mid-'60s Blue Note albums, not of outer limits exploration, and Murray recalls Maceo Parker here as often as he does Albert Ayler. But Murray's playing has always been soulful and rhythmically inclined, and the jams he turns out on the opening cover of Sly Stone's "Sex Machine" will challenge even the staunchest of critics…

During the 1980’s tenor saxophonist and bass clarinet player David Murray made dozens of recordings for a variety of labels, but few match the strength and wealth of ideas displayed on this one. This is a thrilling and consistently well played album where Murray sticks to tenor saxophone in the company of James "Blood" Ulmer on guitar, Fred Hopkins on bass and Sunny Murray on drums. "Red Car" opens the album in a confident manner featuring Murray’s swaggering saxophone with hints of rhythm and blues leading a brawny and self assured manner. "Long Goodbye" by Butch Morris is a slow and haunting musical painting of loss with Murray accenting the sadness with wails of high pitched saxophone…

It may be unfair to compare this recording to the seminal album recorded on ESP almost 35 years earlier, but such comparisons are hard to resist. In truth, the group – now with Amiri Baraka (formerly LeRoi Jones) assuming an expanded role and bassist Reggie Workman substituting for the late Lewis Worell – sounds as fresh and, yes, revolutionary as it did back in the heyday of 1960s radicalism…