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
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)