Representative Albums: "Sunny Murray," "Hard Cores," "We Are Not at the Opera"
Biography
Sunny Murray was one of the early avant-garde's most inventive and influential drummers, doing a great deal to establish the role of the drums in free improvisation. Although Murray could swing as hard as anyone, he often abandoned the drums' traditional timekeeping role. Instead of playing a steady beat, he might punctuate and color behind the soloist's lines, or engage in dialogues with the rest of the ensemble, commenting and conversing with an open-ear sense of give and take. Born James Marcellus Arthur Murray in Idabel, OK, Sunny began drumming at age nine and moved to New York in 1956. At first, he played with traditional artists like Red Allen and Willie "The Lion" Smith, but he soon branched out into more adventurous territory with Jackie McLean and Ted Curson. His big break, however, came when he joined Cecil Taylor's group in 1959, which allowed him to improvise at a far more advanced level. While touring Europe with Taylor, Murray met Albert Ayler, and wound up joining his band in 1964; through 1967, Murray appeared on most of the saxophonist's greatest free jazz sessions. He also worked with Ornette Coleman, Don Cherry, and John Tchicai, and made his first albums as a leader with 1965's Sunny's Time Now (for Jihad) and 1966's Sunny Murray Quintet (for the seminal ESP), the latter of which helped him win Down Beat's New Star award. In 1968, Murray traveled to France, where he played with Archie Shepp and recorded as a leader for Affinity and BYG Actuel; returning to the U.S. in 1971, Murray settled in Philadelphia and formed a group called the Untouchable Factor, which he led off and on through varying lineups. He led a fine quintet in the late '70s and '80s, and surfaced on several dates during the '90s. ~ Steve Huey, All Music Guide
Murray spent his youth in Philadelphia before moving to New York City where he began playing with Cecil Taylor: "We played for about a year, just practicing, studying - we went to workshops with Varèse, did a lot of creative things, just experimenting, without a job" [1] He featured on the influential 1962 concerts in Denmark released as Nefertiti the Beautiful One Has Come.
He was among the first to forgo the drummer's traditional role as timekeeper in favor of purely textural playing. "Murray's aim was to free the soloist completely from the restrictions of time, and to do this he set up a continual hailstorm of percussion ... continuous ringing stickwork on the edge of the cymbals, an irregular staccato barrage on the snare, spasmodic bass drum punctuation and constant, but not metronomic, use of the sock-cymbal" [2]
After his period with Taylor's group, Murray's influence continued as a core part of Albert Ayler's trio who recorded Spiritual Unity: "Sunny Murray and Albert Ayler did not merely break through bar lines, they abolished them altogether." [3]
He later recorded under his own name for ESP-Disk and then when he moved to Europe for BYG Actuel.
