The Destroyer Dean Murray

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…

A major early release by tenorist Murray, 3D Family appeared originally on Hat Hut records as a double LP before eventually being re-released on disc by hat ART. Murray performs here in a live context with one of his very strongest rhythm sections: the intensely musical South African bassist Johnny Dyani and veteran master drummer Andrew Cyrille. The program consists of all Murray compositions, weaving between burners, funky dances, and soulful ballads…

Enjoying great success in music, film, television, and the stage, Dean Martin was less an entertainer than an icon, the eternal essence of cool. A member of the legendary Rat Pack, he lived and died the high life of booze, broads and bright lights, always projecting a sense of utter detachment and serenity; along with Frank Sinatra, Sammy Davis, Jr. and the other chosen few who breathed the same rarefied air, Martin – highball and cigarette always firmly in hand – embodied the glorious excess of a world long gone, a world without rules or consequences.

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…

This set proves two things about Charlie Parker. One, every note he ever played is worth hearing. Yes, the sound is awful and only Bird's solos are recorded, but after nearly 15 years, this set remains one of my favorites. Two, Bird never played the same note twice. There is a series of solos from In the Mood for Love and every one is completely different. This set is highly recommended for all who ever enjoyed hearing Bird play.

Includes the following albums - Pretty Baby, Sleep Warm, A Winter Romance, This Time I'm Swinging, Dino Italian, Love Songs, Cha Cha Cha De Amour, Free Style, Dino Latino.