David Murray

by Tom Hull

This article is an unpublished draft.

Born 1955 in California, David Murray fed on church, funk, and the
great saxophonists of the '60s -- Albert Ayler and Paul Gonsalves
were key influences, but sooner or later Murray mastered everyone
while never sounding like anyone else. By 1975 when he moved to New
York avant-jazz had gone underground, and Murray dug deep, recording
prolifically for tiny labels -- 90 as a leader, 90 more as a sideman
(including 20 with the World Saxophone Quartet). Far and away the
greatest tenor saxophonist of his generation, his records are hard
to find and little known -- with the demise of DIW, half of the
records below are out of print.

*Low Class Conspiracy*
(1976, Adelphi)
At twenty-one, Murray moved to New York from California and bulled
his way into the lofts that had become one of the avant-garde's last
refuges. His first studio album was a trio where he yielded a lot of
space to bassist Fred Hopkins, including a solo dedicated to Jimmy
Garrison. But he already shows his trademark chops, especially his
skill at punctuating stratospheric runs with abrupt honks. xx[Stanley
Crouch wrote the liner notes, lionizing Murray in terms he would
soon apply to lesser talents: Murray's swings. I'd say he rocks!]

*Sweet Lovely*
(1979 [1980], Black Saint)
Murray finally found a steady outlet in Italy on Giovanni Bonandrini's
label. His second album there was this bare bones trio, with Fred
Hopkins and Steve McCall setting up obstacle courses for Murray's
fierce saxophone runs. The title comes from a Murray song that didn't
make the cut -- fittingly, as there's nothing sweet or lovely this

(1980, Black Saint)
A startling album when it appeared, recalling Mingus both in its
complex layering and its sheer energy, but pushing further as it
gave vent to some of the most singular musicians of the '80s --
most notably Henry Treadgill, George Lewis, and Murray himself.
Cornettist Butch Morris went on to make a cottage industry out of
conducted improvisations -- conductions, he called them. This is
where he learned his craft.

*Morning Song*
(1983 [1984], Black Saint)
The title track recurs frequently in his oeuvre, but never again
so joyously as in leading off this ebullient album. Other delights
include a meditation on "Body and Soul," a bass clarinet romp
through Fats Waller's "Jitterbug Waltz," and a brief but intense
"Duet" with drummer Ed Blackwell. Neither avant nor diluted --
one of his most accessible albums.

*Sketches of Tokyo*
(1985 [1986], DIW)
The first of many duos with pianists, this one stands out because
Hicks keeps pushing his ideas even when Murray is flying. Two
sets with 

Starts with Hicks solo on Monk, then Murray joins in -- overpowering
at first, but the pianist hangs tough. Piano duo albums are a Murray
staple, but his regular pianists have the edge -- Dave Burrell is
another one.]

*The Hill*
(1986, Black Saint)
Richard Davis and Joe Chambers are more orthodox than Murray's usual
trio-mates -- they complement rather than compete, which lets Murray
relax and expand. He reveals new subtleties in his tricky title cut,
works out a Butch Morris puzzle, takes Ellington's Coltrane, and ends
leisurely on Strayhorn's "Chelsea Bridge." But this isn't standard
fare. Davis plays quite a bit of bass fiddle, especially on the bass
clarinet feature, and Chambers closes on vibes.

*Deep River*
(1988 [1989], DIW)
Murray was already famously prolific, but never more so than during
the January 1988 quartet sessions he recorded in New York for Japan's
DIW label. They split up the surplus into self-evident album titles:
Ballads, Spirituals, Lovers, Tenors. The
first released has a bit of each and two Africa-themed originals that
head elsewhere. They're so consistent they should be wrapped up into
a magnificent box set. With Dave Burrell, who repays every second of
solo time, Fred Hopkins, and Ralph Peterson Jr.

*Tea for Two*
(1990 [1991], Fresh Sound)
This is the most conventional of Murray's piano duos: songbook fare,
all ballads, ably supported, exquisite.

*Shakill's Warrior*
(1991, DIW)
Soul jazz formula takes organ and drums, then adds sax and/or guitar.
Here we get both, but this doesn't settle for the funk guitarist Stanley
Franks delivers on Andrew Cyrille's piece. That's because Don Pullen's
organ goes places only his piano has gone before -- compare "At the
Cafe Central" with his original.

*Ballads for Bass Clarinet*
(1991 [1993], DIW)
Murray adopted the bass clarinet as a second horn in 1979 with the
World Saxophone Quartet, used it on *Ming* in 1980, and brought it
to the fore in 1981's Clarinet Summit. Since then he's used it for
a song or two on most of his albums, but this is his only showcase.
He gets much more out of the instrument than its characteristic
hollow tone, including a clean high register he can soar in and
honk against.

*Real Deal*
(1991 [1992], DIW)
Graves is an innovative drummer with roots in the '60s avant-garde. He
sets the pace and Murray freewheels, at times so caught up in the rhythm
that he just clicks and pops.

*South of the Border*
(1992 [1995], DIW)
Murray's previous big band efforts, starting in 1984 with *Live at
Sweet Basil*, merely diluted him. But looking south for beat and
vibe, conductor Butch Morris weaves the extra horns into seamless
flow. Not that they look very far: the table setter is a Sonny
Rollins calypso.

*Jazzosaurus Rex*
(1993, Red Baron)
The four 1992-93 albums recorded for Bob Thiele's Sony-distributed label
are the closest Murray ever got to a major US label, but the net effect
is that they're relatively easy to find as cutouts. Cut the same day as
*Saxmen*, his quickie survey of the alumni, this one's good for cosmic
relief -- especially the memoir of Miles Davis with Murray noodling
behind the rap.

*The Long Goodbye: A Tribute to Don Pullen*
(1996, DIW)
Four songs by the late, great pianist; two by protégé D.D. Jackson,
who occupies the hot seat; the title cut a dirge by Butch Morris.
Despite some rousing passages, this has a becalming, elegiac feel,
a fitting companion to Pullen's own *Ode to Life*.

(1997, Justin Time)
In moving to France, Murray left the US and moved out into the world.
*Fo Deuk Revue* introduced him to Senegal's griots and rappers. Here
he goes to Gaudeloupe, encountering the ka drums, flutes and vocals at
the other end of the middle passage. Two remarkable reunions followed --
*Yonn-Dé* (2002) and the Pharoah Sanders-fortified *Gwotet* (2004) --
but this is one jazz-world fusion that comes together whole.

*Like a Kiss That Never Ends*
(2000 [2001], Justin Time
More like his Classic Quartet, with longtime mates John Hicks, Ray
Drummond and Andrew Cyrille on board. Classic album too, full of
power but with none of the rough edges of his early quartets.

*Now Is Another Time*
(2001-02 [2003], Justin Time)
Another bridge, a huge band with muy Latinos and no Butch Morris.
Still, Murray stands out -- like Dizzy Gillespie, no band is big
enough to contain him.

Postscript and Disclaimer

I've read reports that Murray's recorded 200-300 records. The
figures above (90 + 90) are all I've been able to verify, but
those numbers are most likely somewhat short. The division
between leader and sideman is somewhat arbitrary. His records
are hard to find. I've gone out of my way to follow him, and
still I've only heard heard 60 + 40 of them. No doubt I've
missed some real good ones. I haven't heard *3D Family* (1978,
Hat Art), which he's kept as the name of his company. I've
missed a bunch of the DIWs -- *Remembrances* (1991) has an
especially strong reputation.

A lot of Murray records didn't miss the above list by much. Here's
a quick rundown, plus a few comments:

*Flowers for Albert: The Complete Concert* (1976, India Navigation)
is the only early live album I've heard. Several others have made
it to CD: *Flowers for Albert* (1977, West Wind); *Live at the Lower
Manhattan Ocean Club* (1977, Indian Navigation); *The London Concert*
(1978, Cadillac).

*Home* (1981, Black Saint) and *Murray's Steps* (1982, Black Saint):
further adventures with the Octet, a group that returns for *Octet
Plays Trane* (1999, Justin Time).

*I Want to Talk About You* (1986, Black Saint): A live trio that ties
this period together.

*Special Quartet* (1990, DIW): With McCoy Tyner and Elvin Jones, not
to mention Fred Hopkins.

*Body and Soul* (1993, Black Saint): Another twist on the Hawkins

*The Tip* and *Jug-a-Lug* (1994, DIW): Two upbeat sets with organ
and electric guitars, one with "Sex Machine."

Other notable DIWs: *Fast Life* (1991), *For Aunt Louise* (1993),
*With Ray Anderson and Anthony Davis* (1994).

Other piano duos: Dave Burrell's *In Concert* (1991, Victo) and
*Windward Passages* (1993, Black Saint) are strongest, followed
closely by Aki Takase's *Blue Monk* (1991, Enja).

Murray has also recorded drum duos with Kahil El'Zabar, but *Love
Outside of Dreams* (1997, Delmark) has something extra -- one of
Fred Hopkins's last performances.

I don't like the strings on *Waltz Again* (2002, Justin Time), but
the saxophone is magnificent.

With 20 albums to date, Murray's longest-running side-project is
the World Saxophone Quartet, formed in 1977 with Julius Hemphill,
Oliver Lake, and Hamiett Bluiett. Hemphill was the main arranger
until illness sidelined him in 1990. His records, with four saxes
and nothing else, follow a purism I've never enjoyed and often
found tedious. The later records are more eclectic, often with
extra musicians as well as whoever they could find for Hemphill's
slot. One of the best is the African drums-enhanced *Selim Sivad:
A Tribute to Miles Davis* (1998, Justin Time).

One of the best sideman albums is Kip Hanrahan's Conjure, *Music
for the Texts of Ishmael Reed* (1983, American Clavé), eventually
followed by *Bad Mouth* (2005, American Clavé).

Also: D.D. Jackson, *Peace-Song* (1994, Justin Time).

Murray has never had a box set, a best-of, a compilation of any
sort. He did get a role in Robert Altman's *Kansas City*, as Ben
Webster. Also played on the Roots, *Illadelph Halflife* (1996,

Other Records

Wildflowers: The New York Loft Jazz Sessions Complete
  (1976, Knitting Factory, 3CD) [U]
collects five LPs, originally Douglas 7045-7049;
Murray appears on three tracks

David Murray: Flowers for Albert: The Complete Concert
  (1976 [1997], India Navigation, 2CD) [U]
  DM (ts), Olu Dara (t, fh), Fred Hopkins (b), Phillip Wilson (d)
reissue includes three additional tracks (+45:47)
Murray was 21 (born 1955-02-19), from Berkeley CA, freshly moved to NYC
where he moved right in to the loft scene.
nb: Penguin Guide lists *Flowers for Albert* as India Navigation 1004 [2CD],
recorded 9/77, with Lawrence Butch Morris, Don Pullen, Fred Hopkins, Stanley
Crouch. this isn't listed in Murray sessionography, but is similar to
West Wind 2039, David Murray and the Low Class Conspiracy: Flowers for
Albert, recorded 1977-08-18, originally 2lp, later 1cd omitting one
song. can't find anything more on IN 2004.

David Murray: Low Class Conspiracy (1976, Adelphi) [B+]
  DM (ts), Fred Hopkins (b), Phillip Wilson (d)
have LP. Murray very impressive on "Dewey's Circle," at least until Hopkins
takes over. "B/T" is also impressive. Hopkins goes solo on "Dedication to
Jimmy Garrison".
Stanley Crouch wrote liner notes: "Each of the players, firstly, is a
swinger, and swing, regardless of style, is the marrow of African-American
Art Music, or Jazz."

World Saxophone Quartet: Point of No Return (1977, Moers 1034) [B]
  DM (ts), Julius Hemphill (as), Oliver Lake (as), Hamiet Bluiett (bs)

David Murray Trio: Sweet Lovely (1979 [1980], Black Saint) [A-]
  DM (ts), Fred Hopkins (b), Steve McCall (d)

James Blood Ulmer: Are You Glad to Be in America? (1980, Artist House) [B+]
have LP; reissued on Rough Trade [1980], DIW [1995]

David Murray Octet: Ming (1980, Black Saint) [A-]
  DM (ts, bcl), Henry Threadgill (as), Olu Dara (t), Butch Morris (cornet),
  George Lewis (tb), Anthony Davis (p), Wilbur Morris (b), Steve McCall (d)
Murray originals: "The Fast Life", "The Hill", "Ming", "Jasvan", "Dewey's
Circle". "Ming" is a rather lovely complex ballad. 

David Murray Octet: Home (1981, Black Saint) [B+]

James Blood Ulmer: Freelancing (1981 [1982], Columbia) [B]
DM on three tracks

David Murray Octet: Murray's Steps (1982 [1983], Black Saint) [B+]
  DM (ts, bcl), Henry Threadgill (as, fl), Bobby Bradford (t),
  Lawrence Butch Morris (cornet), Craig Harris (tb), Curtis Clark (p),
  Wilber Morris (b), Steve McCall (percussion)
"Murray's Steps", "Sweet Lovely", "Sing Song", "Flowers for Albert" --
all Murray compositions. some nice stuff, especially "Sweet Lovely",
but not exceptional.

David Murray Quartet: Morning Song (1983 [1984], Black Saint) [A-]
  DM (ts, bcl), John Hicks (p), Reggie Workman (b), Ed Blackwell (d)
"Morning Song", a Murray original he's done many times; "Body and
Soul" (the standard), "Light Blue Frolic" (Butch Morris), "Jitterbug
Waltz" (Fats Waller), "Off Season", "Duet".
"Body and Soul" starts with melody, unlike Hawkins classic.
Plays bcl on the Waller piece; Air was doing similar things around
this time, but this is even more joyous. "Off Season" sounds like
bcl too, less obviously. "Duet" is definitely sax, just drums for
accompaniment, just 2:14 long, really terrific.

Conjure: Music for the Texts of Ishmael Reed (1983 [1985], American Clavé) [A-]
group led by Kip Hanrahan

Jamaaldeen Tacuma: Renaissance Man (1983, Gramavision) [B]

David Murray Big Band: Live at Sweet Basil, Vol. 1 (1984, Black Saint) [B]

David Murray Big Band: Live at Sweet Basil, Vol. 2
  (1984 [1985], Black Saint) [B]

Kip Hanrahan: Vertical's Currency (1984, American Clavé) [B]

John Hicks/David Murray: Sketches of Tokyo (1985 [1986], DIW) [A-]
  DM (ts, bcl), JH (p)
covers: Epistrophy (Monk), Naima (Coltrane), God Bless the Child; two
Hicks songs (Blues in the Pocket, Sketches of Tokyo), one Murray (New

David Murray Octet: New Life (1985, Black Saint) [B]

David Murray: I Want to Talk About You (1986, Black Saint) [A-]

World Saxophone Quartet: Plays Duke Ellington (1986, Elektra/Nonesuch) [C+]

David Murray Trio: The Hill (1986, Black Saint) [A-]
  DM (ts, bcl), Richard Davis (b), Joe Chambers (d, vibes)
Murray originals: "Santa Barbara and Crenshaw Follies", "The Hill", "Herbie
Miller" (bcl, duet with Davis); Butch Morris' "Fling"; Ellington's "Take
the Coltrane"; Strayhorn's "Chelsea Bridge" (with vibes)

World Saxophone Quartet: Dances and Ballads (1987, Elektra/Nonesuch) [B+]

David Murray Octet: Hope Scope (1987 [1991], Black Saint) [B]

David Murray/Randy Weston: The Healers (1987, Black Saint) [B]

David Murray: Deep River (1988 [1989], DIW) [A]
  DM (ts, bcl), Dave Burrell (p), Fred Hopkins (b), Ralph Peterson Jr (d)
mostly originals, aside from "Jazz (Is Back)" (Butch Morris), "Mr. P.C."
(Coltrane), "Deep River" (traditional)

David Murray: Ballads (1988 [1990], DIW) [A]

David Murray: Spirituals (1988 [1990], DIW) [A-]

David Murray Quartet: Tenors (1988 [1993], DIW) [A-]
  DM (ts), Dave Burrell (p), Fred Hopkins (b), Ralph Peterson Jr (d)
covers: John Coltrane (Equinox), Albert Ayler (Ghosts), Ornette Coleman
(Perfection), Billy Strayhorn (Chelsea Bridge), Sonny Rollins (St. Thomas);
also a Dave Burrell rag (Over Time, adapted from a theme by Punaluu Peter)

David Murray: Ming's Samba (1988 [1989], Portrait) [B+]

David Murray/Dave Burrell/Wilbur Morris/Victor Lewis: Lucky Four
  (1988 [1989], Tutu) [B+]

World Saxophone Quartet: Rhythm and Blues (1988, Elektra/Musician) [B-]

Big Band Charlie Mingus: Live at the Theatre Boulogne-Billancourt Volume 1
  (1988 [1989], Soul Note) [B+]

Big Band Charlie Mingus: Live at the Theatre Boulogne-Billancourt Volume 2
  (1988 [1989], Soul Note) [A-]

Conjure: Cab Calloway Stands In for the Moon (1987-1988, American Clave) [B]

Ralph Peterson: Presents the Fo'tet (1989, Blue Note) [B]

David Murray: Special Quartet (1990 [1991], DIW 843) [A-]

World Saxophone Quartet: Metamorphosis (1990 [1991], Elektra/Nonesuch) [B+]
first album without Hemphill; Arthur Blythe joins as well as non-saxophonists
Melvin Gibbs, Chief Bey, Mar Gueye, Mor Thiam

David Murray/George Arvanitas: Tea for Two (1990 [1991], Fresh Sound) [A]
  DM (ts), George Arvanitas (p)
   1. "Chelsea Bridge"
   2. "Polka Dots and Moonbeams"
   3. "Star Eyes"
   4. "Body and Soul"
   5. "Tea for Two"
   6. "I'm in the Mood for Love"
   7. "Blues for Two"
   8. "La Vie en Rose"

Bobby Battle/David Murray: The Offering (1990 [1994], Mapleshade) [B+]

Andy Hamilton and the Blue Notes: Silvershine (1991, World Circuit) [B+]
2 tracks

David Murray: Shakill's Warrior (1991, DIW) [A]
  DM (ts), Don Pullen (organ), Stanley Franks (g), Andrew Cyrille (d)
   1. "Blues for Savannah" (Murray)
   2. "Song From the Old Country" (Pullen): from *Breakthrough*
   3. "High Priest" (Cyrille): starts with words
   4. "In the Spirit" (Pullen)
   5. "Shakill's Warrior" (Murray)
   6. "At the Cafe Central" (Pullen): from *New Beginnings*
   7. "Black February" (Butch Morris)
   8. "Milano Strut" (Pullen)

David Murray Big Band Conducted by Lawrence "Butch" Morris (1991, DIW 851) [B]

David Murray/Piere Dørge's New Jungle Orchestra: The Jazzpar Prize
  (1991 [1993], Enja) [B+]

McCoy Tyner: 44th Street Suite (1991, Red Baron) [B+]

Dave Burrell/David Murray: In Concert (1991, Victo) [A-]

Aki Takase/David Murray: Blue Monk (1991 [1995], Enja) [A-]

David Murray/James Newton Quintet (1991 [1996], DIW) [B+]

David Murray Quartet: Black and Black (1991, Red Baron) [B+]

David Murray: Ballads for Bass Clarinet (1991 [1993], DIW) [A-]
  DM (bcl), John Hicks (p), Ray Drummond (b), Idris Muhammad (d)
   1. "Waltz to Heaven" (Murray)
   2. "New Life" (Murray)
   3. "Chazz" (Wilbur Morris)
   4. "Portrait of a Black Woman (For Mae Francis Owens)" (Murray)
   5. "Lyons Street" (Muhammad)
   6. "Elegy for Fannie Lou" (Kunle Mwanga)
looks like Murray's first bcl appearance was in 1978-12 on "Steppin'
With the World Saxophone Quartet"; first on his own albums was in
1980, on "Solo Live", then later in 1980 on "Ming", 1981 with
Clarinet Summit

David Murray Quartet + 1: Fast Life (1991, DIW) [A-]

David Murray/Milford Graves: Real Deal (1991 [1992], DIW) [A-]
  DM (ts), MG (d)
   1. "Stated With Peace" (Murray)
   2. "The Third Day" (Murray)
   3. "Luxor" (Murray)
   4. "Under & Over" (Graves)
   5. "Moving About" (Graves)
   6. "Ultimate High Priest" (Graves)
   7. "Essential Soul" (Graves)
   8. "Continuity" (Murray)
sounds like it could bump up a notch

David Murray: South of the Border (1992 [1995], DIW) [A-]

David Murray: MX (1992, Red Baron) [B]

David Murray: Body and Soul (1993, Black Saint) [B+]
  DM (ts), Sonelius Smith (p), Wilber Morris (b), Rashied Ali (d),
    Taana Running (vocal {3})
   1. "Slave Song" (Smith)
   2. "Celebration Dance" (Smith)
   3. "Body and Soul" (Green, Heyman)
   4. "Doni's Song" (Murray)
   5. "Remembering the Chief of St. Mary's (for Bob Barrett)" (Murray)
   6. "Odin" (Murray)
   7. "Cuttin' Corners" (Ali)

Donal Fox/David Murray: Ugly Beauty (1993, Evidence) [B]

David Murray: Saxmen (1993, Red Baron) [B+]
  DM (ts), John Hicks (p), Ray Drummond (b), Andrew Cyrille (d)
   1. "Lester Leaps In": for Lester Young
   2. "St. Thomas": for Sonny Rollins
   3. "Billie's Bounce": for Charlie Parker
   4. "Bright Mississippi" (Monk): for Charlie Rouse
   5. "Broadway" (Bird, McRae, Woode): for Sonny Stitt
   6. "Central Park West": for John Coltrane

David Murray: Jazzosaurus Rex (1993, Red Baron) [A]
  DM (ts), John Hicks (p), Ray Drummond (b), Andrew Cyrille (d)
   1. "Eternal Triangle" (Stitt)
   2. "Chelsea Bridge" (Strayhorn)
   3. "Jazzorsaurus Rex" (Thiele, Osser)
   4. "Mingus in the Poconos" (Murray)
   5. "Dinosaur Park Blues" (Thiele, Osser)
   6. "Ballad for David" (Drummond)
   7. "Now He's Miles Away" (Murray, Hines): narration by G'ar (George Hines)
cut same day as *Saxmen*.

David Murray Quartet: For Aunt Louise (1993 [1995], DIW) [A-]

World Saxophone Quartet with Fontella Bass: Breath of Life
  (1994, Elektra/Nonesuch) [B+]

David Murray: Shakill's 2 (1993 [1994], DIW) [A-]
  DM (ts), Don Pullen (organ), Bill White (g), J.T. Lewis (d)
   1. "The Sixth Sense"
   2. "Blues Somewhere"
   3. "For Cynthia"
   4. "Shakill's II - My Son Mingus in the Poconos"
   5. "Crazy Tales"
   6. "One for the Don"
   7. "1529 Gunn Street"

World Saxophone Quartet: Moving Right Along (1993, Black Saint) [B-]
minus Blythe; plus Eric Person, James Spaulding

David Murray/Dave Burrell: Windward Passages (1993, Black Saint) [A-]

David Murray Quintet With Ray Anderson and Anthony Davis (1994, DIW) [A-]

David Murray: The Tip (1994, DIW) [B+]
  DM (ts, bcl), Robert Erving III (synth, organ), Bobby Broom (g),
    Daryl Thompson (g {1,3,7}), Daryl Jones (b), Toby Williams (d),
    Kahil El'Zabar (percussion, voice {8}), Olu Dara (cornet {2}),
    G'ra (wordist {3})
   1. "Sex Machine"
   2. "Flowers for Albert"
   3. "Removen Veil"
   4. "M.D."
   5. "Kahari Romare"
   6. "The Tip"
   7. "Malinda"
   8. "One World Family"

David Murray: Jug-A-Lug (1994, DIW) [B+]

D.D. Jackson: Peace-Song (1994 [1995], Justin Time) [A-]

David Murray: Live at the Village Vanguard (1995 [2003], 441 Records) [B+]

Jon Jang Sextet: Two Flowers on a Stem (1995 [1996], Soul Note) [B+]

David Murray: Dark Star: The Music of the Grateful Dead (1996, Astor Place) [B]

David Murray: Fo Deuk Revue (1996 [1997], Justin Time) [B+]

David Murray: The Long Goodbye: A Tribute to Don Pullen (1996 [1997], DIW) [A]
  DM (ts), D.D. Jackson (p), Santi Debriano (b), J.T. Lewis (d)
   1. "Gratitude" (Pullen)
   2. "Resting on the Road" (Pullen)
   3. "Out of a Storm" (Jackson)
   4. "El Matador" (Pullen)
   5. "Easy Alice" (Jackson)
   6. "Long Goodbye" (Butch Morris)
   7. "Common Ground" (Pullen)

D.D. Jackson: Paired Down, Vol. 1 (1996 [1997], Justin Time) [B+]

D.D. Jackson: Paired Down, Vol. 2 (1996 [1997], Justin Time) [B+]

The Roots: Illadelph Halflife (1996, DGC) [B+]

Kahil El'Zabar Trio: Love Outside of Dreams (1997 [2002], Delmark) [A-]
  KEZ (d, African d, thumb piano), DM (ts, bcl), Fred Hopkins (b)
   1. "Love Outside of Dreams" (El'Zabar)
   2. "Song for a New South Africa" (Murray)
   3. "Song of Myself" (El'Zabar)
   4. "Nia" (El'Zabar)
   5. "Meditation for the Celestial Warriors" (El'Zabar)
   6. "The Ebullient Duke" (El'Zabar)
   7. "Fred" (El'Zabar)
   8. "One World Family" (El'Zabar, Murray)

David Murray: Creole (1997, Justin Time) [A]

Barbara Dennerlein: Junkanoo (1997, Verve) [B+]

World Saxophone Quartet: Selim Sevad: A Tribute to Miles Davis
  (1997, Justin Time) [A-]

David Murray: Seasons (1998 [1999], Pow Wow) [B+]

David Murray/Fontella Bass: Speaking in Tongues
  (1998 [1999], Enja/Justin Time) [B]

World Saxophone Quartet: M'Bizo (1997-98 [1999], Justin Time) [B+]

Jeri Brown/Leon Thomas: Zaius (1998, Justin Time) [B]

David Murray: Octet Plays Trane (1999 [2000], Justin Time) [A-]

World Saxophone Quartet: Steppenwolf (1999 [2002], Justin Time) [B-]

World Saxophone Quartet: Requiem for Julius (1999, Justin Time) [B-]

David Murray: One World Family (2000, CIMP) [B+]

Kahil El'Zabar: We Is: Live at the Bop Shop (2000 [2004], Delmark) [B+]

David Murray Power Quartet: Like a Kiss That Never Ends
  (2000 [2001], Justin Time) [A]

Jon Jang/David Murray: River of Life (1998-2001 [2002], Asian Improv) [B+]

Abdoulaye N'Diaye: Taoué (2001 [2003], Justin Time) [A-]

James Carter: Live at Baker's Keyboard Lounge
  (2001 [2004], Warner Brothers) [A-]

David Murray & the Gwo-Ka Masters: Yonn-Dé (2002, Justin Time) [A-]

David Murray Latin Big Band: Now Is Another Time
  (2001-02 [2003], Justin Time) [A-']

David Murray 4tet & Strings: Waltz Again (2002 [2005], Justin Time) [B-]

Henry Grimes Trio: Live at the Kerava Jazz Festival (2004 [2005], Ayler) [B+]

David Murray & the Gwo-Ka Masters: Gwotet (2004, Justin Time) [A]

World Saxophone Quartet: Experience (2004, Justin Time) [B+]

Conjure: Bad Mouth (2005 [2006], American Clavé, 2CD) [U]