{"id":2459,"date":"2018-11-10T12:01:14","date_gmt":"2018-11-10T11:01:14","guid":{"rendered":"http:\/\/www.murielgrossmann.com\/?page_id=2459"},"modified":"2018-12-21T18:08:07","modified_gmt":"2018-12-21T17:08:07","slug":"album-notes-golden-rule","status":"publish","type":"page","link":"https:\/\/murielgrossmann.com\/?page_id=2459","title":{"rendered":"Album Notes Golden Rule"},"content":{"rendered":"

ALBUM<\/span> NOTES<\/span><\/span><\/strong><\/p>\n

                      \u2018Music is not mate\u00adri\u00adal, Music is Spi\u00adri\u00adtu\u00adal\u2019. With this one line from what may be his ear\u00adliest poem[1]<\/span>, Sun Ra sets befo\u00adre our minds what our ears and heart know to be true: music is a power, a force, and a mys\u00adtery that can chan\u00adge our way of being, our way of kno\u00adwing. Music is spi\u00adri\u00adtu\u00adal. And while the roots of jazz grew from spi\u00adri\u00adtu\u00adal tra\u00addi\u00adti\u00adons, it was the music of Sun Ra from the 1950s and espe\u00adci\u00adal\u00adly John Coltrane\u2019s recor\u00addings from the mid-1960s that defi\u00adned spi\u00adri\u00adtu\u00adal jazz as we know it today. Modal, impro\u00advi\u00adsa\u00adtio\u00adnal, medi\u00adta\u00adti\u00adve, testi\u00adfy\u00ading, dro\u00adning, poly\u00adrhyth\u00admic and bla\u00adzing, spi\u00adri\u00adtu\u00adal jazz opens the mind to com\u00adple\u00adxi\u00adty that is simp\u00adle and sim\u00adpli\u00adci\u00adty that is complex.<\/span><\/p>\n

                Spi\u00adri\u00adtu\u00adal jazz has a long line of mas\u00adter prac\u00adti\u00adtio\u00adners, from Coltrane\u2019s con\u00adtem\u00adpo\u00adr\u00ada\u00adri\u00ades inclu\u00adding Albert Ayler, Ornet\u00adte Cole\u00adman, Cecil Tay\u00adlor, Yusef Lateef and Pha\u00adro\u00adah San\u00adders, to con\u00adtem\u00adpo\u00adra\u00adry artists like Nat Birch\u00adall and Shaba\u00adka Hut\u00adchings. Muri\u00adel Grossman\u2019s immersi\u00adon in the powers and tra\u00addi\u00adti\u00adons of this par\u00adti\u00adcu\u00adlar cur\u00adrent of jazz has been deve\u00adlo\u00adping through her last seve\u00adral albums and here in \u2018Gol\u00adden Rule\u2019<\/strong> she and her band draw deep on the musi\u00adcal prac\u00adti\u00adces that evo\u00adke the transcendent.<\/span><\/p>\n

                        Muri\u00adel Gross\u00adman was born in Paris to Aus\u00adtri\u00adan par\u00adents and grew up in Vien\u00adna whe\u00adre she star\u00adted clas\u00adsi\u00adcal stu\u00addies on flu\u00adte at age 5. When she swit\u00adched to saxo\u00adpho\u00adne and jazz at age 21, she says she lear\u00adned most\u00adly from lis\u00adtening to records. She also cre\u00addits Ger\u00adman jazz pia\u00adnist Joa\u00adchim K\u00fchn, with whom she later stu\u00addi\u00aded, as having a gre\u00adat impact on her musi\u00adcal direc\u00adtions. Her sources of inspi\u00adra\u00adti\u00adon are wide and include a ran\u00adge of jazz giants from saxo\u00adpho\u00adnists such as Eddie Lock\u00adjaw Davis to gui\u00adta\u00adrists like Grant Green. Howe\u00adver, the sym\u00adbio\u00adsis of sounds that she crea\u00adtes on this album \u2013 with Ser\u00adbi\u00adan gui\u00adta\u00adrist Rado\u00admir Milo\u00adj\u00adko\u00advic, Aus\u00adtri\u00adan bas\u00adsist Gina Schwarz, and Ser\u00adbi\u00adan drum\u00admer and per\u00adcus\u00adsio\u00adnist Uros Sta\u00admen\u00adko\u00advic \u2013 remains most clo\u00adse\u00adly ali\u00adgned with the works of Coltrane.<\/span><\/p>\n

                     The spi\u00adrit in sound which this group crea\u00adtes will be rea\u00adli\u00adsed in dif\u00adfe\u00adrent ways for each lis\u00adte\u00adner. Per\u00adso\u00adnal\u00adly, I\u2019m hoo\u00adked from the micro\u00adto\u00adna\u00adli\u00adties which open the first track and whisper of the insights and illu\u00admi\u00adna\u00adti\u00adons to come; within a few seconds the gui\u00adtar, bass and drums have con\u00adju\u00adred a shim\u00adme\u00adring land\u00adscape across which the sopra\u00adno saxo\u00adpho\u00adne sets off, as if on a quest, or a jour\u00adney of dis\u00adco\u00advery. On every track, Milojkovic\u2019s poin\u00adtil\u00adli\u00adstic gui\u00adtar work is spellb\u00adin\u00adding. The\u00adre is also a kind of \u2018hid\u00adden mys\u00adtic\u2019, as Gross\u00adman descri\u00adbes it, to each num\u00adber, the result of judi\u00adcious, almost sub\u00adli\u00admi\u00adnal, dro\u00adne instru\u00admen\u00adta\u00adti\u00adon that rewards repea\u00adted lis\u00adtening. The\u00adre are deep pools of peace and reflec\u00adtion as in the slow and medi\u00adta\u00adti\u00adve \u2018Direc\u00adtion\u2019, with Gross\u00adman on tenor and a pro\u00adbing bass solo by Schwarz. And always, abo\u00adve, below, around, the\u00adre is the spi\u00adrit of Coltrane.<\/span><\/p>\n

                         The album title \u2018Gol\u00adden Rule<\/strong>\u2019 signals a com\u00admit\u00adment to recipro\u00adci\u00adty and respect: \u2018do unto others as you would have them do unto you\u2019. This basic pre\u00admi\u00adse of social harm\u00ado\u00adny and human digni\u00adty is com\u00admon to both reli\u00adgious tra\u00addi\u00adti\u00adons and huma\u00adnist prin\u00adci\u00adples, and it is this belief in our abili\u00adty to crea\u00adte coope\u00adra\u00adtively and to live in peace that under\u00adlies the beau\u00adtiful sounds of this album.<\/span>
\n<\/span><\/em>__________________________________________________________________________________
\n<\/span>[1] \u2018The Negle\u00adc\u00adted Pla\u00adne of Wis\u00addom\u2019 first appeared in a Saturn Records pro\u00ads\u00adpec\u00adtus in 1965 or 66, but pos\u00adsi\u00adbly dates from 1955, accor\u00adding to James L. Wolf and Hart\u00admut Geer\u00adken in their edi\u00adted book of Sun Ra\u2019s poet\u00adry and pro\u00adse, \u2018The Imme\u00ada\u00adsura\u00adble Equa\u00adti\u00adon\u2019 (Wai\u00adta\u00adwhile, 2005), p. 250.
\n <\/span>Micha\u00adel Jack\u00adlin (@jazzozmentis)<\/span><\/em>
\n<\/span><\/p>\n


\nREVIEWS<\/span><\/strong>
\n<\/a><\/p>\n

JAZZQUAD<\/span>, Bela\u00adrus Sep\/2018 by Leo\u00adnid Aus\u00adkern visit the page here<\/span><\/a><\/strong><\/span>
\n<\/span><\/p>\n

                        Muri\u00adel Gross\u00admann \u2014 GOLDEN<\/span> RULE<\/span><\/strong> The fourth acquain\u00adtance with the music of Aus\u00adtri\u00adan saxo\u00adpho\u00adnist and com\u00adpo\u00adser Muri\u00adel Gross\u00admann, who is living in Spain. Wit\u00adhout detrac\u00adting from the merits of Muriel\u2019s works that I heard and wro\u00adte about ear\u00adlier (EARTH<\/span> TONES<\/span><\/strong> (2015), NATURAL<\/span> TIME<\/span><\/strong> (2016), MOMENTUM<\/span><\/strong> (2017), I con\u00adsider her new pro\u00adject Gol\u00adden Rule to be the crea\u00adti\u00adve pin\u00adna\u00adcle of this talen\u00adted jazz lady and her stron\u00adgest work up to this date.<\/span><\/p>\n

                  Also Gol\u00adden Rule was recor\u00added like the last three albums by Muriel\u2019s Aus\u00adtro-Ser\u00adbi\u00adan quar\u00adtet with gui\u00adta\u00adrist Rado\u00admir Milo\u00adj\u00adko\u00advic<\/strong>, bas\u00adsist Gina Schwarz<\/strong> and drum\u00admer Uros Sta\u00admen\u00adko\u00advic<\/strong>. The album is published in two ver\u00adsi\u00adons \u2013 2x12\u2019 LP<\/span> and CD<\/span>, which is due to appear by the end of the year with a slight\u00adly redu\u00adced com\u00adpo\u00adsi\u00adti\u00adon Tran\u00ade\u00ading In<\/em><\/strong> (wit\u00adhout a four-minu\u00adte intro). The Cd dif\u00adfers also in the design of the cover. In our review, the cover of the vinyl album is repro\u00addu\u00adced. The album is very solid in terms of dura\u00adti\u00adon: more than eigh\u00adty minu\u00adtes of sound, only seven tracks all tog\u00ade\u00adther. The lon\u00adgest, Tran\u00ade\u00ading In<\/em><\/strong> (almost nine\u00adteen minu\u00adtes of sound), took the who\u00adle side of one of the vinyl records. But the point, of cour\u00adse, is not the length, but the qua\u00adli\u00adty of the music.<\/span><\/p>\n

                     I have never heard Muri\u00adel Gross\u00admann have so much expres\u00adsi\u00adon and inspi\u00adra\u00adti\u00adon in her play\u00ading on both her instru\u00adments, on the sopra\u00adno saxo\u00adpho\u00adne (as in the start\u00ading pie\u00adce of Gol\u00adden Rule<\/em><\/strong>), and on the tenor saxo\u00adpho\u00adne (as in the next Core<\/em><\/strong>). Muriel\u2019s long, unu\u00adsual\u00adly emo\u00adtio\u00adnal impro\u00advi\u00adsa\u00adti\u00adons are fol\u00adlo\u00adwed by Milo\u00adj\u00adko\u00advic<\/em>\u2019s ans\u00adwe\u00adring and ela\u00adbo\u00adra\u00adting gui\u00adtar solo, then to give way to a new, equal\u00adly expres\u00adsi\u00adve and tech\u00adni\u00adcal\u00adly diver\u00adse saxo\u00adpho\u00adne solo. Muri\u00adel plays in this album as if it is the last time in her life! All this action takes place against the back\u00adground of fle\u00adxi\u00adble poly\u00adrhyth\u00admic con\u00ads\u00adtruc\u00adtions crea\u00adted by the rhythm group (in my opi\u00adni\u00adon, this album beca\u00adme the most striking per\u00adfor\u00admance for Sta\u00admen\u00adko\u00advic<\/em>). When in the pie\u00adce Pro\u00admi\u00adse<\/em><\/strong> or in the final, medi\u00adta\u00adti\u00adve com\u00adpo\u00adsi\u00adti\u00adon Light<\/em><\/strong>, the tem\u00adpo beco\u00admes some\u00adwhat more mode\u00adra\u00adte, this does not affect the qua\u00adli\u00adty of the per\u00adfor\u00admance. In Direc\u00adtion<\/em><\/strong>, Grossmann\u2019s saxo\u00adpho\u00adne impro\u00advi\u00adsa\u00adti\u00adons are well recei\u00adved in an excel\u00adlent dou\u00adble bass solo by Gina Schwarz<\/em>. And from the point of view of gui\u00adtar work, the top of Milo\u00adj\u00adko\u00advic<\/em>, for my tas\u00adte, is in the com\u00adpo\u00adsi\u00adti\u00adon Tra\u00adne<\/em><\/strong>.<\/span><\/p>\n

                          It is worth remem\u00adbe\u00adring, that Muri\u00adel con\u00adsiders as one of her main tea\u00adchers, the famous Ger\u00adman free jazz pia\u00adnist Joa\u00adchim K\u00fchn. Per\u00adhaps the extra\u00ador\u00addi\u00adna\u00adry free\u00addom of expres\u00adsi\u00adon reig\u00adning in GOLDEN<\/span> RULE<\/span><\/strong> is, to a cer\u00adtain ext\u00adent, due to its influence. Well, and, final\u00adly, the main source of inspi\u00adra\u00adti\u00adon, the eter\u00adnal light of many Jazz gene\u00adra\u00adti\u00adons alre\u00ada\u00addy \u2014 John Col\u00adtra\u00adne. It is not by chan\u00adce that one of the pie\u00adces of Gross\u00admann in this album is named after him, and the name of the other is the neo\u00adlo\u00adgism of Tran\u00ade\u00ading In (lite\u00adral\u00adly: \u201cInha\u00adling\u201d). Tra\u00adne, espe\u00adci\u00adal\u00adly the late Tra\u00adne, regard\u00aded music as a kind of sacred, spi\u00adri\u00adtu\u00adal act. Fol\u00adlo\u00adwing him, Muri\u00adel Gross\u00adman aspi\u00adres to the same spi\u00adri\u00adtua\u00adli\u00adty in her music, and \u2014 damn it! \u2014 She\u2019s gre\u00adat at it!<\/span><\/p>\n

                                 The liner notes aut\u00adhor Micha\u00adel Jack\u00adlin explains the title of the \u201cGol\u00adden Rule\u201d album by the famous bibli\u00adcal (and world\u00adly) maxim: \u201cTre\u00adat others as you would like them to tre\u00adat you\u201d. It\u2019s hard to argue with that. But with refe\u00adrence to the work of Muri\u00adel Gross\u00admann, a dif\u00adfe\u00adrent inter\u00adpre\u00adta\u00adti\u00adon can be made here: \u201cGo your own way. per\u00adfect yours\u00adelf, set yours\u00adelf more and more hig\u00adher tasks.\u201d The new album of Gross\u00admann, in my opi\u00adni\u00adon, is a mas\u00adter\u00adpie\u00adce reflec\u00adting exact\u00adly such an approach. Leo\u00adnid Auskern<\/em><\/span><\/p>\n

\n<\/p>

DOWNBEAT<\/span>, USA<\/span>, Dec 2018, p. 64 by Andrew Jones <\/span><\/strong><\/header>\n
\n

****<\/span><\/p>\n

                  The phra\u00adse \u201cspi\u00adri\u00adtu\u00adal jazz\u201d packs a pro\u00admi\u00adse and a thre\u00adat. It plays into a mytho\u00adlo\u00adgy about the exis\u00adtence of a jazz that total\u00adly tran\u00ads\u00adcends com\u00admer\u00adcial and mate\u00adri\u00adal con\u00adcerns. It also threa\u00adtens the prepon\u00adderance of someone explai\u00adning how they\u2019re spi\u00adri\u00adtu\u00adal, but not reli\u00adgious. On her new album, saxo\u00adpho\u00adnist Muri\u00adel Gross\u00admann avo\u00adids both the\u00adse traps. Gol\u00adden Rule con\u00adveys medi\u00adta\u00adti\u00adve tran\u00adqui\u00adli\u00adty and ecsta\u00adtic joy wit\u00adhout ever sound\u00ading over\u00adly pious. Most of the time, it\u2019s also a lot of fun.<\/span><\/p>\n

                  A cho\u00adrus of instru\u00adments dro\u00adne behind a num\u00adber of tracks on GOLDEN<\/span> RULE<\/span><\/strong>, but Grossmann\u2019s per\u00adfor\u00admance real\u00adly is what makes it excep\u00adtio\u00adnal. Crisp drum and bass lines start off the stel\u00adlar \u201cDirec\u00adtion<\/em><\/strong>\u201d as a gui\u00adtar comps hyp\u00adno\u00adti\u00adcal\u00adly and Gross\u00admann show\u00adca\u00adses her abili\u00adty to get the best of a tune melo\u00addi\u00adcal\u00adly. She plays a solo so lyri\u00adcal every bar feels like a dis\u00adcrete com\u00adpo\u00adsi\u00adti\u00adon. Bas\u00adsist Gina Schwarz fol\u00adlows with simi\u00adlar\u00adly inven\u00adti\u00adve solo, the swir\u00adling dro\u00adne below len\u00adding depth and color.<\/span><\/p>\n

               Gol\u00adden Rule proud\u00adly wears John Coltrane\u2019s influence, and \u201cTran\u00ade\u00ading In<\/strong>\u201d <\/em>demons\u00adtra\u00adtes Grossmann\u2019s pro\u00adwess on the sopra\u00adno saxo\u00adpho\u00adne. Schwarz under\u00adpins the song with the spellb\u00adin\u00adding bass line that chan\u00adges its pat\u00adtern to gre\u00adat effect when gui\u00adta\u00adrist Rado\u00admir Milo\u00adj\u00adko\u00advic takes a knot\u00adty, soulful solo. The tight\u00adness this group has built in its four years of play\u00ading shar\u00adpens its brisk take on the composition.<\/span><\/p>\n

                      The prac\u00adti\u00adce of medi\u00adta\u00adti\u00adon deep\u00adly shar\u00adpens Gol\u00adden Rule. The dro\u00adnes under\u00adly\u00ading its tracks heigh\u00adten the ten\u00adsi\u00adon on cer\u00adtain offe\u00adrings, but feel mono\u00adto\u00adno\u00adus after a while. For\u00adt\u00adu\u00adna\u00adte\u00adly, the dyna\u00admism of its soloists and the quartet\u2019s tele\u00adki\u00adne\u00adtic per\u00adfor\u00admance deli\u00advers the album\u2019s aim: pro\u00advi\u00adding a lis\u00adtening expe\u00adri\u00adence akin to tran\u00ads\u00adcen\u00addence. Andrew Jones<\/em><\/span><\/p>\n

 <\/p>\n

UKVIBE<\/span>, UK<\/span>, 26th Nov 2018 by Mike Gates visit the page here<\/a><\/span><\/span><\/strong><\/span><\/p>\n

              The ques\u00adti\u00adon: What would you say defi\u00adnes \u201cspi\u00adri\u00adtu\u00adal jazz\u201d? A powerful expe\u00adri\u00adence? An evo\u00adca\u00adti\u00adve jour\u00adney? Music that tran\u00ads\u00adcends all time and place? Music that tou\u00adch\u00ades your heart and streng\u00adthens your soul? A sound that is at once explo\u00adra\u00adti\u00adve and free, whilst also giving a satis\u00adfy\u00ading sen\u00adse of belon\u00adging? An incom\u00adpre\u00adhen\u00adsi\u00adble cos\u00admic ener\u00adgy that helps you feel groun\u00added within an ever-chan\u00adging uni\u00adver\u00adse? The ans\u00adwer: Yes. All of this and more. Abo\u00adve all it is a con\u00adnec\u00adtion, with yours\u00adelf, man\u00adkind, and the world around you, a kind of medi\u00adta\u00adti\u00adve awa\u00adke\u00adning, as if to say \u201cAhh yes, this is it\u201d. You can feel it. Your sen\u00adses rea\u00adwa\u00adken and your mind is quiet\u00adly focus\u00adsed. You let it all in, and breathe.<\/span><\/p>\n

                  Few albums tru\u00adly cap\u00adtu\u00adre this spi\u00adrit in such a con\u00adsis\u00adt\u00adent\u00adly start\u00adling and beau\u00adtiful way. This one most defi\u00adni\u00adte\u00adly does. Muri\u00adel Grossmann\u2019s \u201cGol\u00adden Rule\u201d embraces the ground\u00adbrea\u00adking, explo\u00adra\u00adto\u00adry jazz of Sun Ra and John Col\u00adtra\u00adne, gives a very respectful nod to fel\u00adlow con\u00adtem\u00adpo\u00adr\u00ada\u00adri\u00ades Nat Birch\u00adall and Shaba\u00adka Hut\u00adchings, and immer\u00adses its\u00adelf in a swirl of tran\u00ads\u00adcen\u00adden\u00adtal expres\u00adsi\u00adon. Tim\u00ade\u00adl\u00adess and inno\u00adva\u00adti\u00adve, this is one migh\u00adty state\u00adment of a recording.<\/span><\/p>\n

                     Born in Paris to Aus\u00adtri\u00adan par\u00adents, saxo\u00adpho\u00adnist and com\u00adpo\u00adser Muri\u00adel Gross\u00admann grew up in Vien\u00adna, start\u00ading clas\u00adsi\u00adcal stu\u00addies at the age of 5. When she swit\u00adched to saxo\u00adpho\u00adne, dis\u00adco\u00adve\u00adring jazz at the age of 21, her musi\u00adcal direc\u00adtion chan\u00adged. Alt\u00adhough lear\u00adning most\u00adly from lis\u00adtening to records, Gross\u00admann also cre\u00addits Ger\u00adman jazz pia\u00adnist Joa\u00adchim K\u00fchn, with whom she later stu\u00addi\u00aded, as having a gre\u00adat impact on her musi\u00adcal\u00adly. Her sources of inspi\u00adra\u00adti\u00adon are wide, inclu\u00adding a ran\u00adge of jazz giants from saxo\u00adpho\u00adnists such as Eddie \u201cLock\u00adjaw\u201d Davis, to gui\u00adta\u00adrists like Grant Green. It is howe\u00adver, the sym\u00adbio\u00adsis of sounds crea\u00adted on this album, with Ser\u00adbi\u00adan gui\u00adta\u00adrist Rado\u00admir Milo\u00adj\u00adko\u00advic, Aus\u00adtri\u00adan bas\u00adsist Gina Schwarz, and Ser\u00adbi\u00adan drum\u00admer and per\u00adcus\u00adsio\u00adnist Uros Sta\u00admen\u00adko\u00advic, that clo\u00adse\u00adly link the music back to the works of Coltrane.<\/span><\/p>\n

                   There\u2019s an intri\u00adguing sonic palet\u00adte to Grossmann\u2019s music. As the album beg\u00adins, ope\u00adning with the title track, I was imme\u00addia\u00adte\u00adly drawn to the almost whispe\u00adred sounds that move and shim\u00admer, acting as a back\u00addrop to the tune its\u00adelf. Per\u00adhaps my musi\u00adcal adven\u00adtures in life have been less adven\u00adtur\u00adous than I thought, but this is some\u00adthing quite uni\u00adque in the way that the sounds are sen\u00adsi\u00adtively and intel\u00adli\u00adgent\u00adly laye\u00adred. It\u2019s a litt\u00adle like ASMR<\/span> (Auto\u00adno\u00admous Sen\u00adso\u00adry Meri\u00addi\u00adan Respon\u00adse), only in a good way! (I\u2019m not a fan). And it\u2019s a stro\u00adke of musi\u00adcal geni\u00adus, allo\u00adwing the musi\u00adci\u00adans to explo\u00adre and impro\u00advi\u00adse on top of the core of the tune, and the sonic land\u00adscape that lives and brea\u00adthes behind that.<\/span><\/p>\n

                     The initi\u00adal bass-line on \u201cGol\u00adden Rule\u201d to my mind quiet\u00adly echo\u00ades the spo\u00adken words \u201cA Love Supre\u00adme\u201d, as Grossmann\u2019s sax sets off on a new and evol\u00adving jour\u00adney. \u201cCore\u201d con\u00adti\u00adnues in a simi\u00adlar vein, with per\u00adhaps more of a kno\u00adwing glan\u00adce to fel\u00adlow con\u00adtem\u00adpo\u00adra\u00adry Nat Birch\u00adall. A fea\u00adture of the who\u00adle recor\u00adding is the depth of sound, lar\u00adge\u00adly crea\u00adted by the drums and per\u00adcus\u00adsion, hid\u00adden secrets are gra\u00addu\u00adal\u00adly reve\u00ada\u00adled and the more I lis\u00adten, with luscious bass dri\u00adven groo\u00adves fuel\u00adling the fire as a beau\u00adtiful sax shaped Phoe\u00adnix rises from the fla\u00admes, the more I can hear the traces of histo\u00adry pro\u00adpel\u00adling the music for\u00adward into new, unknown territories.<\/span><\/p>\n

                     \u201cPro\u00admi\u00adse\u201d is a tune I can lose mys\u00adelf in time and time again. It somehow speaks to me. This is the beau\u00adty of Grossmann\u2019s com\u00adpo\u00adsi\u00adti\u00adons, but more over, the sen\u00adse of con\u00adnec\u00adted\u00adness I feel with the musi\u00adci\u00adans them\u00adsel\u00adves. It\u2019s as if I\u2019m sha\u00adring their jour\u00adney whilst dis\u00adco\u00adve\u00adring my own. The slower, con\u00adtem\u00adpla\u00adti\u00adve \u201cDirec\u00adtion\u201d is one of tho\u00adse tunes you just don\u2019t want to end. It\u2019s a medi\u00adta\u00adti\u00adon, expres\u00adsi\u00adve and inclu\u00adsi\u00adve, sear\u00adching and expe\u00adri\u00aden\u00adcing, rea\u00adching and gras\u00adping, rela\u00adxing and finding.<\/span><\/p>\n

                  \u201cTran\u00ade\u00ading In\u201d is the lon\u00adgest pie\u00adce on the album. It opens with vibes, per\u00adcus\u00adsion and expe\u00adri\u00admen\u00adtal sounds, remin\u00adding me of Keith Jarrett\u2019s \u201cSpi\u00adrits\u201d. Milojkovic\u2019s gui\u00adtar takes cent\u00adre-place, lea\u00adding the other instru\u00adments on an adven\u00adture into their own con\u00adscious\u00adness. And then it all comes tog\u00ade\u00adther in a spar\u00adk\u00adling burst of light as the band-leader\u2019s sopra\u00adno sings out with an effer\u00adve\u00ads\u00adcent bridge of light. This is exci\u00adting and rich\u00adly rewar\u00adding music.<\/span><\/p>\n

                          \u201cTra\u00adne\u201d is almost trance-like, using mul\u00adti-laye\u00adred saxes to crea\u00adte a won\u00adderful palet\u00adte of sound. The tex\u00adtu\u00adral ope\u00adning gives way to an infec\u00adtious groo\u00adve, with bass, drums and gui\u00adtar all com\u00adbi\u00adning per\u00adfect\u00adly to allow the tenor sax to soar with unbrid\u00adled aban\u00addon. The clo\u00adsing track \u201cLight\u201d is like a homage to what has come befo\u00adre, warm\u00adly cele\u00adbra\u00adting its musi\u00adcal ances\u00adtors in an uplif\u00adting and respectful way, step\u00adping through doors ope\u00adned by pre\u00adde\u00adces\u00adsors and wal\u00adking bold\u00adly into the light.<\/span><\/p>\n

                     For tho\u00adse of you who enjoy your spi\u00adri\u00adtu\u00adal jazz, this album is an abso\u00adlu\u00adte must-have. Muri\u00adel Grossmann\u2019s Quar\u00adtet evo\u00adke the true beau\u00adty, sin\u00adce\u00adri\u00adty and joy of Col\u00adtra\u00adne, whilst suc\u00adcessful\u00adly musi\u00adcal\u00adly sin\u00adging out in their own voice, crea\u00adting new ide\u00adas with a refres\u00adhing ver\u00adve and skill. \u201cGol\u00adden Rule\u201d is quite sim\u00adply an incre\u00addi\u00adble album, inven\u00adti\u00adve, full of cha\u00adrac\u00adter, and to my ears, a musi\u00adcal joy to behold. Mike Gates<\/em><\/span><\/p>\n<\/div>\n

\u21d0<\/a><\/span><\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

ALBUM<\/span> NOTES<\/span>                       \u2018Music is not mate\u00adri\u00adal, Music is Spi\u00adri\u00adtu\u00adal\u2019. With this one line from what may be his ear\u00adliest poem[1], Sun Ra sets befo\u00adre our minds what our ears and heart know to be true: music is a power, a force, and a mys\u00adtery \u2026 Album Notes Gol\u00adden Rule<\/span> weiterlesen<\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":223,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"wp_typography_post_enhancements_disabled":false,"footnotes":""},"class_list":["post-2459","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/murielgrossmann.com\/index.php?rest_route=\/wp\/v2\/pages\/2459","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/murielgrossmann.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/murielgrossmann.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/murielgrossmann.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/murielgrossmann.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2459"}],"version-history":[{"count":8,"href":"https:\/\/murielgrossmann.com\/index.php?rest_route=\/wp\/v2\/pages\/2459\/revisions"}],"predecessor-version":[{"id":2563,"href":"https:\/\/murielgrossmann.com\/index.php?rest_route=\/wp\/v2\/pages\/2459\/revisions\/2563"}],"up":[{"embeddable":true,"href":"https:\/\/murielgrossmann.com\/index.php?rest_route=\/wp\/v2\/pages\/223"}],"wp:attachment":[{"href":"https:\/\/murielgrossmann.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2459"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}