With his brass project 'Maha Samadhi' free jazz saxophonist Paul Dunmall takes a rare step into the world of composition; the suite is based on episodes from the life of Sri Ramakrishna, 19th century Indian mystic and yogi. The group includes trumpeter Percy Pursglove and drummer Tony Bianco.

Paul's four previous albums on SLAM have defined his Coltrane interests and influences; the choice of the brass project picks up further on his love of everything Coltrane.

Paul writes: "I've been wanting to do a brass project for many years and finally I got the chance.

I've enjoyed writing for it and have had some very positive feedback so maybe this will encourage me to do more writing in the future."

Paul Dunmall: tenor saxophone
Olie Brice: bass
Tony Bianco: drums

Percy Pursglove, Aaron Diaz, Alex Astbury: trumpet
Dave Sear, Josh Tagg: trombone
Josh Palmer, Jo Sweet: tuba
Ed Bennett: conductor

“What stands out here is Mr. Dunmall’s writing for the large brass section, often with several tight lines crisscrossing and moving in interconnected layers. What this most reminds me of is the spirit, power and sound Keith Tippett from the ‘Dedicated to You…’ and the Centipede sessions. He was the featured saxist for Keith Tippett’s Mujician quartet for more than a decade so it does make sense to see or hear that connection...Dunmall’s fire-breathing playing and tone are at their most Trane-like on the title track, burning brightly at the centre of the feisty tentet. Now that Mr. Dunmall’s releases have slowed down to just a handful per year, we can savour each one for a few months until the next chapter appears. - Bruce Lee Gallanter, Downton Music Gallery

“Arrangements for the tunes are often dazzling on their own. "Temple of the Mother’s Presence" for instance begins with beautiful pastel harmonies, while the title tune features rococo layers that add to theme description, rather than swaddling it in unneeded tonalities...Wrapping foghorn-like, post-Trane saxophone drones, augmented by drum rat-tat-tats and double bass pumps into a package decorated with brassy grace notes, the session defines itself as both a salute to Coltrane and a gifted expansion of Trane’s vision, fuelled by 21st Century concepts.” - Ken Waxman, JazzWord

“Dunmall’s solo playing is quite vicious throughout and the wildly ferocious Percy Pursglove on trumpet renders the pair volcanic, as is heard in the opening track, Ecstatic, Unbearable Love...Paul Dunmall’s music generally and indeed his playing lean towards expressing a spirituality and this album is no exception. It draws to a close with echoes of New Orleans street brass, inspiring an emotive entreaty.” - Ken Cheetham, Jazz Views

“The band mixes introductory thick themes with loosely swinging ensemble actions that are reminiscent of vintage Charles Mingus. Warm brass harmonies eventually delve into free form flying and squawks on pieces like "Temple of the Mother’s Presence" and the frenetic feeding frenzy of "In the Cossipore," but the shoes fit well. Brice and Bianco gets some solo time between the long lines on the title track, and Bianco has a way of keeping every jot and tittle together. A fun white knuckler!” - George Harris, Jazz Weekly

“The opening ‘Ecstatic, Unbearable Love’ finds Dunmall rippling through scales and phonics at a furious pace, and sets something of the template for what is to come. He ruminates over strong counterpoint bass on ‘Temple of the Mother’s Presence’, delivers spiritual cries on ‘in the Cossipore Garden’ and is concise and climactic on ‘Infinite Cry’. Trumpeter Percy Pursglove’s microtonal and brittle trumpet solo on the opener is a standout, as is Ollie Brice’s confident supporting brass dialogue. But it is the brass which gives the album its oomph and the spice of an original slant.” - Mike Hobart, Jazzwise

“It’s unclear why Dunmall’s music doesn’t receive more attention. He doesn’t fit into any neat category, a bar to those who prefer to listen by labels. Perhaps it’s that the more albums you produce the fewer get heard, however odd that might sound. He’s an unpretentious figure who doesn’t claim revolutionary status, only to have built on and continued the work of his predecessors. By so doing he has helped establish that free jazz is an abundant resource for creative music...one of the outstanding and most flexible musicians of his generation.” - Colin Green, The Free Jazz Collective