Discography



• Between Earth and Air. Ken Murray, guitar. Featuring guitar works by Australian composers such as Gerard Brophy, Richard Vella, Matthew Hindson, Stuart Greenbaum. 1997, The Classical Recording Company.


• Madrugada. Jeannie Marsh, voice and Ken Murray, guitar. Works from Australia and South America.


• Homenaje. Ken Murray, guitar. Works by Manuel de Falla and his contemporaries. 2002, Lyd 0932.


• Joyride. Ken Murray, guitar and Craig Beard, vibraphone. Pieces by Ralph Towner, Murray and Beard. 2005, Lyd 0933


• Swings and Roundabouts. Ken Murray, guitar. Original works for solo guitar. 2009, Lyd 0934


Press reviews for the CD's:


Melbourne based guitarist Ken Murray‚s recent CD Between Earth and Air is evidence of his success in cajoling Australian composers into action. Matthew Hindson, Stuart Greenbaum, Lesleigh Thompson, and Ingrid Guymer have written short solo works for him, and their appearance on the disc is a reflection of the diversified nature of new music in this country.
Joel Crotty, The Age, April 1998


Murray gave us an effective, efficiently accomplished programme. He impresses because of his familiarity with and control of a wide range of compositional styles and because of the cast-iron assurance of his technical skills.
Clive 0’Connell, The Age, August 1994


What I like so much about the collection (Madrugada CD) is that the 20 items add up to an effective and affecting whole. Binding them together are performances of infectious enthusiasm as though (Jeannie) Marsh and Murray and friends were singing and playing entirely for their own pleasure.
Andrew Ford reviews the CD Madrugada in 24 Hours June 2000


The Performances of Ken and Jeannie are rich, showing the confidence of their high levels of technique, which act as springboards for their imaginative and powerful presentations.
Art Streams, Mar/Apr 2000


This beautifully recorded and presented recital (mercifully free of the plethora of thwacking noises which mar many a recorded guitar recital!) by guitarist Ken Murray, who also provides commendably succinct but informative booklet notes, gives us a fascinating glimpse into the development of Spanish classical guitar music. Murray’s...finger work (is) polished and his control of rhythms impeccable. He brings each piece beautifully to life, obviously understanding the emotional meaning of the relevant music.
John Barns, Libretto Oct-Nov 2003


This is an extremely attractive release in every way. The disc includes a surprising amount of enchanting, unhackneyed Spanish guitar music. If you thought you knew all the best pieces from this repertoire, you must think again. Eschewing the most obvious selections, Ken Murray demonstrates some of the wealth of repertoire in this genre...Fine playing, good recording, attractive cover art, and sensible annotations: most guitar albums are for fans of the guitar; this one’s for music-lovers.
Andrew Ford, 24 Hours June 2003


This is a well-focused collection of pieces grouped around Manuel de Falla, some of his associates, and others of the time...Ken Murray is Australian and researched this area as part of his studies: he is a clean and tidy player with a secure technique and decent tone. This is a very varied repertoire, and an interesting one from those composers who often tend to be just names‚... It is...easy to be positve about this disc because of its no-nonsense approach and clear sincerity...
Stephen Kenyon, Classical Guitar, July 2006


One of Melbourne’s front-rank guitarists, Ken Murray, performed seven pieces, some of which had formed part of his November recitals at the Potter Gallery in the University of Melbourne and at Flinders Lanes Span Galleries. At Glenfern, where everybody is within a few feet of the musicians, he was put to a more serious test but came out at the end with high success, producing a clean and vivid timbre.
Clive O’Connell, The Age 27/01/03


Murray gave expert, well shaped accounts of two pieces by Angel Barrios, parts of Bacarisse’s Petite Suite, and two Sainz de la Maza works...This piece (Falla‚s Homenaje) underlined the performer’s skill in giving prominence to a melody line underpinned by vigorous polyphonic interplay...This was civil, self-regarding and cool music-making, notable for its well-honed edges and muted bravura.
Clive O’Connell, The Age 19/11/02


The highlights of the programme came in Murray‚s solos, especially in the deft rhythmic subtleties of Sainz de la Maza‚s Homenaje a Toulouse Lautrec and an appealing combination of impressionism and virtuosity in the same composer‚s Campanas del Alba
Clive O’Connell, The Age 11/11/02


Lucky Strike is a little jazzy in style with a few Latin American touches here and there. Right from the beginning you are aware just how talented these players are for the notes fly thick and fast in this fine opener....I have equally no doubt that many listeners will love it for its virtuosity and style especially if they enjoy the Latin/Jazz mix of sounds.
Chris Dumigan, Classical Guitar Magazine, June 2006


It would be hard to conceive of a more summery sound than the combination of vibraphone and nylon-string guitar. Even on the hottest days, Ken Murray‚s guitar and Craig Beard‚s vibraphone will seem to create a through breeze, aided no doubt, by the subtle addition of chilled voigner or a G and T.
John Shand, Limelight December 2005


In a well-balanced recital the two players complement each other excellently, nowhere better illustrated than on the opening track, Lucky Strike, with its charmingly winsome melody, and the subtly plaintive Lydia’s Tune.
John Barns, Libretto Oct-Nov 2005