In explaining his recent musical explorations outside of jazz, master of the saxophone David Murray explained that, "It comes mostly out of being bored in New York. How many times can you play the Vanguard? There's got to be something more out there."
That "something else" was on vibrant display last night in the form of the traditional music of Guade-loupe known as gwo ka. With a lineup of two gwo ka drummers thrown in with guitar, bass, drums and horns, Murray and his band offered up a unique gumbo of traditional and modern flavors during their two-and-a-half hour set in Spaulding Auditorium.
But before Murray's band would take the stage, the fruits of his collaboration with the Barbary Coast Jazz Ensemble were revealed to the world in the premiere of the Hopkins Center-commissioned piece "Like a Kiss that Never Ends." Murray's composition featured a tango beat, with his saxophone playing a legato melody that was eventually doubled by the trumpet section. That melody was then handed over to the able pipes of Aimee Barnes '04. Singing in Spanish, the chanteuse wowed the audience in matching Murray's rich tones, filling the room with her warm, strong alto. Murray and the rest of the band came back in playing the original theme to wrap up the piece. I have a feeling this piece will have a life beyond Spaulding.
For the rest of the show, Murray played with his traveling band, and all of the musicians proved to be Murray's equal in their musical expertise. Trumpet player Hugh Ragin often improved simultaneously improvised with Murray, and what could have sounded like messy noise, the two complimented each other in a game of "Can you top this?"
Hamid Drake proved to be a precise yet highly expressive drummer who could solo all over his set and still keep a beat going at the same time. Jaribu Shahid's bass grooves laid a funky foundation upon which Murray and company could build in their solos, and his own solos were just as impressive. Young-gun guitarist Herve Samb was on par with his elders, with a style that was equal parts B. B. King, Eddie Hazel and Duke Robillard.
Though what made last night's show so distinctive were gwo ka drummers Klod Kiauve and Philippe Makaia. Their ability to weave traditional gwo ka beats into Murray's more modern take on the genre was a delight to hear. It was a statement that defied musical categorization and asserted that music is music, and combinations of musical traditions can be a beautiful thing. They made the kind of music that could inspire more Western musicians to look beyond their borders and broaden the horizons of their audiences.
But in the end, the night really did belong to Murray. He danced all over the range of his instrument, hitting squealing high notes and deep low notes. His horn was a siren one moment and a foghorn the next. And even while showering the audience with a waterfall of notes, he made sure each note counted. He was almost as fun to watch as he was to listen to, moving like the music was flowing through him and out of his horn like an electrical charge.
Last night was certainly not typical jazz fare. It was not like any kind of jazz normally seen in this country. But it was exciting and fresh -- a bridging of not only musical styles but also of cultures.
