Abraham Burton tenor sax
James Hurt piano
Yosuke Inoue bass
Eric McPherson drums
When Louis Hayes called Abraham Burton for a gig about two years ago, the young saxophone player found it easier to rent a tenor than to adapt Hayes´ tenor book to his alto sax. Keeping on experimenting with the larger horn, he soon learned that people didn´t associate him any longer with alto player Jackie McLean but recognized his individual sound and style. With his unique way of approaching tunes, his openness and energy and enormous tone, 29-year-old Abraham Burton quickly established his own identity and voice as a tenor player. For "Cause and Effect", his debut recording on tenor, Abraham Burton has teamed up again with his long-time buddy Eric McPherson, the volcanic drummer who has been Jackie McLean´s drum-flame throughout the 90s and shared the stage with such jazz notables as Benny Carter, Kenny Garrett, Joe Henderson, Bobby Hutcherson, Wynton Marsalis and Roy Hargrove.
Born three months apart, Abraham and Eric were raised and schooled in Manhattan´s Greenwich Village. The youngsters grew up on Sugar Hill Gang, Fat Boys and Run DMC and did breakdancing to make money. Their introduction to jazz came with "Antiquity", a duo recording by Jackie McLean and Michael Carvin who became their teachers. Abraham´s professional career as a musician was initiated with the legendary drummer Arthur Taylor. During his five years with Taylor´s Wailers he took part in the recording of two albums, toured throughout Europe and performed at notable New York clubs. Since this time, he has developed a reputation as a veritable sax player working with such greats as Wynton Marsalis, Milt Jackson, Roy Hargrove, James Carter, Kenny Barron, and Jimmy Smith. As a leader, he made his thundering debut in 1994 and was the roaring highlight of several festivals throughout Europe.
Featuring James Hurt on piano and Yosuke Inoue on bass, the powerful Burton-McPherson Quartet offers music of a now rare kind: highly individual, ecstatic, free-flowing, strong and outbursting. As the New York Times put it: "It´s a return to the sort of full-impact, total-immersion jazz that New York used to have a reputation for incubating."