Artrio—one, a new release from saxophonist Alex Murzyn, pianist John Funkhouser, and bassist Terry Burns—resident New Mexicans all—offers a master class in small ensemble jazz and a satisfying reminder of the high quality of the musicians here in New Mexico. They’ll celebrate their work with a CD release party at Q Bar, Friday, October 6. I was honored by their invitation to write the album’s liner notes, which, slightly adapted, also provide this review.

Alex Murzyn, John Funkhouser, Terry Burns
Artrio—one (SongSpeak Music)
A review
Just a few years ago, saxophonist Alex Murzyn, pianist John Funkhouser, and bassist Terry Burns were unknown to one another, living in three different time zones stretching from coast to coast. Settling in the Albuquerque–Santa Fe corridor over the last few years, bringing their excellent chops and impressive street creds, they quickly integrated into the lively jazz scene. Inevitably, they crossed paths. John and Terry, playing together in various musical settings, made a strong musical connection and started working on a duo album. Alex and John, meanwhile, had bonded musically playing a weekly duo gig at Hotel Albuquerque’s QBar, and they invited Terry to join them. Their deepening musical relationship awakened Burns’ long-held but sleeping desire to produce a series of trio recordings to explore the art of this revered jazz format: hence Artrio—one, which includes five trio tracks, plus three of John and Terry’s duo tracks.

This collection of standards (from the likes of Rogers and Hart) and not-so-standards (from the likes of Eric Satie) sets a very high standard for trio sessions (and duo sessions, too). Emotionally articulate, technically adept, and musically fluid, these three guys make excellent use of the space and interplay opportunities that the trio format allows. Their ears are wide open, which comes in handy when undertaking these tunes with only lightly sketched arrangements or, in some cases, none at all. They are always open to suggestion, enjoying a heightened correspondence that allows them to quickly follow or actually anticipate one another, and as a result, the music seems to move forward with one mind, unforced. The three of them follow the music’s lead, with each track unfolding as naturally and as irresistibly as a morning glory at sunrise. It sounds effortless, but it is, of course, the result of decades of work and a kind of swinging spiritual discipline, and you, dear reader, are the beneficiary.

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