CONCERT REVIEW, Xicu Lluy (Excerpts from Diario de Ibiza, August 26, 2011, title of article: The Power of Fragility) Saxophonist and composer, Muriel Grossmann, born in Paris, of Austrian origin and resident on the island, closed the second evening of the festival organized by the city council of Ibiza with a recital which, by its sheer quality will always be remembered by the many fans who gathered in the heart of the city, the lovers of this music called Jazz. Muriel Grossmann, who received the praise of Jose Miguel Lopez, host of the event, offered five compositions — long, rich in nuances, ranging from the relaxing to authentic explosion of vitality, tensing the muscles to the maximum. This woman — fragile in physique — has an overwhelming force. She must take a lot “Zumosol”. Muriel avoids pigeonholing. She’s no friend of categorizations. Let us use the term free to define their Wednesday’s offering, at least a good part of it. Her performance was extraordinary, sometimes soft, almost spiritual, and sometimes unbridled, forceful. Her gift was AWAKENING (inspired by John Coltrane), WIEN, TRUST (included on the “Birth of the mystery” album), PEACEFUL RIVER and finally ORNETTE, honoring Ornette Coleman. In addition to her usual guitarist Radomir Milojkovic, the artist resorted to two prestigious musicians. The magnificent bassist Robert Landfermann and the colossal drummer Christian Lillinger offered a brilliant performance extolling the language of Muriel Grossmann that already is in a state of grace. The Ibiza public has the privilege of hearing this surprising performer not only on festivals.Xicu LluyImprojazz, France, January 2016, Marc SarrazyAwakening … keeping awake is assured with the bulimic surging play in the title track, which — led by a trepitant rhythmic ostinato — takes place at high speed. After this departure on tenterhooks, “Wien” changes the course by installing a completely mesmerizing slow groove that takes us close to the esthetic Ogun of small formations of Elton Dean and Trevor Watts. Superb. More shaggy, “Trust” revives with a rather ferocious free jazz: with Lillinger, it is full, pulsates and frictions, while the saxophone gets hoarse! The highly Coltrane “Peaceful River” announces without warning the next installment; its serene beauty seems to directly respond to the J.C. ‘s “Welcome”. Last piece: “Ornette”: the reference is assumed for good, clear, but well placed at the end of the disc, sounds like an end to the period of libertarian Muriel Grossmann’s last respects. For now, the saxophonist aesthetics go without detour slides towards that of a certain J.C.Marc Sarrazy