David Murray Quartet: Francesca
Intakt Records

Decades after David Murray burst onto the scene, Francesca shows that the incendiary fire for which he's famously known still burns. Currently boasting a staggering discography of more than a hundred records, the tenor saxophonist had Black Saint Records and DIW as outlets years ago and now has a comfortable home on Intakt. Albums he issued as a solo artist, octet and big band leader, and World Saxophone Quartet member brought him deserved attention years ago, and the quartet featured on Francesca should do the same. Whereas Murray was the young lion to Oliver Lake, Hamiet Bluiett, and Julius Hemphill in the WSQ, he's now the seasoned mentor to the terrific Marta Sanchez on piano, Luke Stewart on bass, and Russell Carter on drums.

Laid down at Hardstudios in Switzerland after a European tour, Francesca makes a compelling case that this quartet is one he should definitely keep going. There's strong chemistry throughout the eight performances, and Murray's charges adapt to the stylistic left-turns the leader regularly throws their way. He's the dominant soloist, naturally, but when the others are featured, they capitalize. An interesting balance is struck when Sanchez and Stewart provide a stabilizing ground for the volcanic fury unleashed by Murray and Carter. As the leader roars, her block chords act as a calming centre, yet when it's her time to solo, she takes eager flight too. Murray is aware of each member's value. Of Sanchez, he notes the flair and sensitivity that someone schooled in classical and jazz brings to the quartet, Stewart's bow articulation and capacity for swing, and Carter's precision and power. The leader himself blows with the same torrential force as ever and doesn't hesitate to leave a given track's theme behind to wail freely when the moment strikes.

Titled after his partner, “Francesca” entices the moment Murray delivers its rhapsodic theme and the tune glides breezily in waltz time. With Sanchez buoying him harmonically, joy pours from his horn as the leader attacks the material from all directions and with characteristic volubility; at such moments, it's best to get out of the way and let Murray roar. At eleven minutes, the opener offers ample room for soloing, and consistent with that Stewart follows the saxophonist with an aggressive statement and Sanchez a sparkling turn that's equally lyrical and elegant. Also a loving portrait though this one named for a beloved dog, “Ninno” opens in Latin-funk mode with Murray braying the radiant theme before abruptly shifting into traditional swing. The tune's identity established, he unleashes one of those trademark Murray solos that venture into the tenor's upper register and grows ever wilder as it develops. Following that, Sanchez swings powerfully, sprinkling as she does incandescent chords and Monkish runs to stoke the fire. Carter responds to her with an explosive solo that never loses the rhythmic plot, as it were, before rallying the troops to take the track out.

When Murray steps aside and Sanchez solos mightily on “Am Gone Get Some,” the swinging result suggests Stewart and Carter would make fine trio partners were she ever casting about for new ones. Elsewhere, the tumultuous “Come and Go” enters like a full-force gale with the quartet here riding a careening 5/4 groove for all its worth, the uplifting “Free Mingus” finds the group infusing its playing with traces of gospel and R&B, and “Cycles and Seasons” caps the set with a head-twisting number that fluidly alternates between funky 7/4 and low-down 4/4 metres. Murray coaxes a deep and froggy tone from the bass clarinet, which is featured on “Shenzhen” and on the album's sole non-original, Don Pullen's “Richard's Tune.” With Carter concentrating on toms and Stewart a mantra-like figure, the former is understandably exotic for a number so titled, but it's more notable for its serenity and soulful sway. Written in homage to AACM founder Muhal Richard Abrams, the latter features a nice duo intro by Murray and Sanchez before all four dig into its bright waltz pulse.

How wonderful it is to hear the saxophonist in such fine form fifty years on from his earliest records. That Murray is still capable of playing with such indefatigable energy is itself remarkable but that he's assembled a quartet that so splendidly suits him is also cause for celebration.

June 2024