No career in jazz during the past 30 years has proven more consistently unpredictable and rewarding than that of David Murray. When he first showed up in New York—a 20-year-old student on furlough from Pomona College, playing "Flowers for Albert" in Stanley Crouch's Bowery loft—he had two big things going for him. First, he didn't sound like anyone, certainly not Albert Ayler, though one could imagine that Ayler's example encouraged his propensity for the split-tones and squeals of the so-called hidden register. The classic Texas tenor Buddy Tate, who also favored upper-register cries, once advised young musicians to find their own sound, which isn't only easier said than done but almost impossible to do. The sound is you and not something out there... More >>>