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| Soul of an Angel |
| Billy Harper |
első megjelenés éve: 2000
59 perc |
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| (2000)
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CD |
| 4.290 Ft
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| 1. | Thine Is the Glory
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| 2. | Credence
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| 3. | It Came Upon a Midnight Clear
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| 4. | Let All the Voices Sing
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| 5. | Soul of an Angel
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| 6. | Was It Here...Is It There?
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Jazz / Post-Bop
Billy Harper - Sax (Tenor), Producer
Clarence Seay - Bass
Eddie Henderson - Trumpet
Elliott Federman - Mastering
Francesca Tanksley - Piano
Jack Frisch - Art Direction, Photography, Design
That Billy Harper's tenor saxophone is one of the most distinctive voices in modern jazz is a given. His rich, sonorous post-Coltrane sound is only rivaled by David Murray, and his depth of passionate discourse is matched by no other current day peer. He is also one of the few musician/composer/bandleaders to sport a longtime working ensemble, comprising trumpeter Dr. Eddie Henderson, pianist Francesca Tanksley, bassist Clarence Seay, and drummer Newman Taylor Baker. The music on this recording has religious or spiritual subtexts but not at the expense at the power and glory of what is essentially a style that only Harper possesses: literate, majestic, swelling, heavy, expansive and extensive, slightly on the edge, swinging, and always thoroughly visceral. A slow, serene trumpet solo and powerhouse free tenor starts the 13 1/2 minute "Thine Is the Glory," a prelude for 4/4, modal, soulful swing, the leader establishing his vaunted heat and might from the beginning, free coda and slight return to the melody. Tanksley's pianistics are as lyrical as any à la McCoy Tyner. A 6/8 rhythm buoys short, clipped phrases in "Credence" informing lustrous harmonic lines, while the similarly 6/8-paced "It Came Upon a Midnight Clear" is more lilting and all Billy Harper. Clarion, bluesy 2/4 shouting stacatto horns joined by John Clark's singing French horn identifies "Let All the Voices Sing" while a steady, patient waltz pattern similar to "Priestess" on the title cut places Harper in a position where he's tempted to double the time on his solo, but he doesn't. Tanksley's bright, stunningly beautiful modernity and original ideas are quite prevalent prior to a Seay solo with Harper supporting in supple mode then surging ahead with Baker. "Was It Here... Is It There?" is simply an out-and-out hard bopper reminiscent of the Hank Mobley-Lee Morgan combine with Harper and Henderson in perfect union. This is a Rock of Gibraltar solid CD, ranking amongst Harper's very best efforts, leaving nothing on the table, and cementing his status as an admirable figure and one of the very best performers, improvisers, and pure players in the idiom. Highly recommended without reservation, and a strong candidate for Jazz CD of Y2K. ~ Michael G. Nastos, All Music Guide
Billy Harper
Active Decades: '70s, '80s, '90s and '00s
Born: Jan 17, 1943 in Houston, TX
Genre: Jazz
Styles: Modern Creative, Post-Bop, Modal Music
Billy Harper is one of a generation of Coltrane-influenced tenor saxophonists who actually built upon the master's work, rather than simply copy it. Harper is consummately well-rounded, able to play convincingly in any context, from bop to free. His muscular tone, lithe articulation, comprehensive harmonic knowledge, and unflagging energy define him as a saxophonist. He's also possessed of an abundant imagination that connects directly to his blues and gospel roots. Though not as well-known as he might be, Harper is a jazz improviser of significant stature. Harper grew up in Houston, TX. By the age of five he was singing in church and at various choral events. At age 11 he was given a saxophone for Christmas. In the beginning he was mostly self-taught, though he was helped along by his uncle Earl Harper, a former trumpeter who had gone to school with bop trumpeter Kenny Dorham. Dorham's 1950s work was a formative influence. In his teens Harper played in R&B bands, and at the age of 14 formed his own quartet. In the early '60s, Harper studied jazz at North Texas State University, where he became (at that time) the only African-American member of the school's prestigious One O'Clock Lab Band. Harper graduated from NTSU with a Bachelor of Music degree and also did post-graduate work. In 1966 Harper moved to New York. That year, he led an ensemble that was featured on an NBC-TV special, "The Big Apple." Within short time after arriving in New York, Harper started playing with well-known bandleaders. In 1967 he began a long-lasting association with bandleader/arranger Gil Evans. Harper has played with some of jazz's greatest drummers; he served with Blakey's Messengers for two years (1968-1970); he played very briefly with Elvin Jones (1970), and was a member of Max Roach's band in the late '70s. Harper also became a regular member of the Thad JonesMel Lewis Big Band. In the '70s, Harper began recording under his own name for European labels. His album Black Saint (1975) was the first recording issued by the label of the same name; his In Europe (1979) inaugurated the Soul Note label. Harper recorded relatively infrequently in the '80s and '90s, although he maintained an active performing career, mostly as a leader. He's enjoyed a parallel career as a music educator, teaching at Livingston College and Rutgers. He's also received multiple grants from various arts agencies, including two from the National Endowment of the Arts. Harper's Black Saint LP was named Jazz Record of the Year -- Voice Grand Prix, by the Modern Jazz League of Tokyo.
--- Chris Kelsey, All Music Guide |
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