About this Album — Sudden Impact

ALBUM NOTES

                 Muri­el Grossmann’s thoughts on natu­re and mea­ning of exis­tence through music invol­ve uncom­mon inten­si­ty of expres­si­on. While Gross­mann does dig deeply into herself in the­se explo­ra­ti­ons, her corol­la­ry con­cern is then to com­mu­ni­ca­te as ful­ly as she can, what she is in pro­cess of dis­co­vering. It is as if she, Milo­j­ko­vic and Pel­li­co were speaking, as if their insights were of such a com­pel­ling force that they have to trans­cend ordi­na­ry ways of musi­cal speech and tex­tures to be able to con­vey chal­len­ging self- dis­co­very. As the instru­ments reach into them­sel­ves and across to each other, they embrace the who­le in one sen­se. Much like waves brea­king on top of the sea, con­stant­ly in moti­on, con­stant­ly in chan­ge, effec­ting and being effec­ted by all of its’ parts.

                 Jazz is a collec­tive art — a music of inter­ac­tion, inter­play, give & take, learning to jump off the cliff, to dive, shar­pens the refle­xes, opens the ears, kno­wing its’ collec­tive spi­rit makes you land on your feet. From the ori­gi­nal liner notes of Eli Spell­man

REVIEWS 

                 Saxo­pho­nist of Aus­tri­an ori­gin, Muri­el Gross­mann, is cer­tain­ly a rising star of Euro­pean free jazz. She offers us today a trio with gui­ta­rist Rado­mir Milo­j­ko­vic and bas­sist Che­ma Pel­li­co. Free jazz, of cour­se, but tur­ned away from ener­gy brea­king into intro­s­pec­tive chants, taking shape with the will of free time. Lis­ten­ing, in fact, remains the uni­fy­ing ele­ment of music: each of them take time to lend an ear to play with each other: Lis­ten­ing and reve­rie. The impro­vi­sa­ti­ons are emer­ging in hus­hed envi­ron­ment fel­ted like a pic­tu­re of art, the fuz­zy com­pe­te with the sharp­ness. The sound of alto saxo­pho­ne Muri­el Gross­mann is both full and incisi­ve and ten­der, like the play of the gui­ta­rist, who distills his notes by clus­ters, with a pre­dilec­tion for piz­zi­ca­to that he beads like a neck­lace of pearls. Curious­ly, and against the tide may­be, if this free jazz is a free music through its vital essence – by its spon­ta­neous form and abs­trac­tion of har­mo­nies — it is not by the over­all sound of the trio: each musi­ci­an con­scious­ly avo­ids the cli­chés spe­ci­fic to their instru­ment through the histo­ry of New Thing: no hoar­se cry on saxo­pho­ne, no para­si­te sound on the bass (strings, just the strings), no noi­sy expe­ri­men­tal elec­tric gui­tar. A sort of free jazz…of vel­vet.
Marc Sar­ra­zy, Impro Jazz Maga­zi­ne, Fran­ce, 2010

               The saxo­pho­nist of Aus­tri­an ori­gin living in Ibi­za, Muri­el Gross­mann sha­res an expe­ri­men­tal ses­si­on with the bal­ka­nic gui­ta­rist Rado­mir Milo­j­ko­vic and the legen­da­ry bas­sist Che­ma Pel­li­co — instal­led on the island with the hip­pie atmo­s­phe­re -an exer­cise in abundant com­mu­ni­ca­ti­on, Caving jazz with glo­rious moments. Impro­vi­sed music, rather than instanta­neous, in which dif­fe­rent voices fly­ing in par­al­lel, are built with exqui­si­te poe­tic ten­si­on. It is a shame that out­side the islands of Piti­ue­ses so litt­le know the duc­tili­ty of the inte­gra­ted blo­wer Gross­mann.
Mar­ti Far­ré, Jazz Maga­zi­ne Jac, Bar­ce­lo­na, (nr. 35, Dec 2010/Jan 2011)