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Without the featured vocalist, this disc would have been a run-of-the-mill set by David Murray. In fact, the second track is an average instrumental headed by Murray and Sweet Sue Terry. Unfortunately, when Ya Ya Fornier steps in, the interest level drops even further.
The singer is the widow of drummer Vernel Fornier, and apparently a longtime friend of Murray’s who talked the saxophonist into supporting her on this outing. Which would be fine if Mrs. Fornier weren’t so lacking in style as a vocalist. Most of the time she sounds as if she is singing along with the headphones on in her living room, almost noncommittal about the whole affair. The pulse of the disc thereby never rises above that of someone on life support. The material isn’t especially interesting or suited to a singer – any singer, but particularly one who is so lacking in expressiveness.
Percussionist Asson helps a bit on “Chant de la Montange” [sic], but his rhythms on “Armando” are completely inappropriate given what’s going on with the rest of the band. Murray does what he can to contribute, but he, Tabbal and Shahid (normally about the best working rhythm pair in today’s jazz) can only drag this so far out of the morass.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.