Mike Murley and Mark Eisenman: Recent History

Mike Murley and Mark Eisenman are well-recognized jazz musicians known for their considerable talent and contributions to the jazz genre. Their collaborative album Recent History is a testament to this music, showcasing their ability to create a cohesive and engaging musical conversation. Added to this satisfying outing is the internationally acclaimed rhythm section of bassist Neil Swainson and drummer Terry Clarke to complete the quartet.

The make-up of this mainstream session is four Murley/Eisenman duo tracks from the likes of Thelonious Monk and Billy Strayhorn and others, with the remainder quartet versions of seven Murley/Eisenman compositions that capture four of Canada's most respected jazz artists in top form. The opener is Thelonious Monk's "Monk's Dream" and is the Murley/Eisenman format. This number exemplifies the duo's ability to infuse traditional jazz with contemporary influences, which results in a sound that is both familiar and innovative.

The first quartet offering by Mike Murley is the title track, "Recent History," which is a contrafact built on the chord changes to "Yesterdays." From the beginning, the band shows a supple sense of swing thanks to Clarke's innovative drumming and Swainson's big fat tone and pulsating beat. Murley and Eisenman demonstrate marvelous versatility and a harmonic vocabulary that produces clarity of ideas. The duo's musical synergy shows itself in the Billy Strayhorn jazz classic "A Flower is a Lovesome Thing." The interpretation reflects their shared vision and deep appreciation for the jazz tradition. With Eisenman's technical fluency evident, Murley's tenor offering has moments of simple beauty.

The other duo tracks are Arthur Schwartz's "Alone Together" and the rarely heard "Prisoner of Love." In both instances, Murley and Eisenman's musical connection is unmistakable in every note, displaying their mutual respect and admiration for each other's craft. With one exception, "Winter's Tears" by Murley, the other compositions are all contrafacts, including the sprightly " Embrace"("Embraceable You") by Eisenman. Supported by the peerless rhythm section of Swainson and Clarke, Murley's versatile saxophone tones and Eisenman's masterful piano create an appreciation of the music construct. As for the previously noted composition, this quartet outing has a languorous quality, with Murley's tenor taking the spotlight with a sensitive and articulate exploration. Overall, this album confirms these players' exceptional musicianship, and the music is awash in contemporary harmony.

Comments