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| 5.281 Ft
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| 1. | I Do Believe
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| 2. | Countdown [A Tribute to John Coltrane]
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| 3. | Dance In The Question
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| 4. | Insight
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| 5. | If One Could Only See
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| 6. | Croquet Ballet
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Jazz / Post-Bop, Hard Bop
Billy Harper (tenor sax)
Newman T. Baker (drums)
Eddie Henderson (trumpet)
Louie Spears (bass)
Francesca Tanksley (piano)
This series of live discs mark the first recordings of what became the regular working quintet of the criminally underrated saxophonist, composer and bandleader Billy Harper. With bassist Louie Spears the new addition to the line-up, three distinct concerts were recorded on Harper's spring, 1991 tour of the Far East and released separately without any duplication of material. Volume One comes from Pusan, Korea on April 27 and while the sound isn't the best -- the bass and drums are muted and lack crispness -- the extremely high quality of the music and interaction between the players more than compensates. Harper's intense opening solo almost rushes the opening "I Do Believe" too much and it takes Eddie Henderson's trumpet to cool things down. The piece doesn't sound so much like a set-opener as a mid-set entry when both the group and the audience have settled into the music. John Coltrane's "Countdown" features Harper's long, blazing lines in duet with drummer Newman T. Baker before piano and bass enter for a taste of the classic Coltrane quartet sound on the closing cadenzas. Pianist Francesca Tanksley's "Dance In The Question" is almost the real starting point -- Henderson and Harper display their near-telepathic harmonic empathy and Baker gets a little lead space over her left-hand riff near the end. "Insight" finds Henderson tossing out long, fast solo lines over light, fluid backing from the rhythm section before Harper ups the intensity quotient with another tenor/drums duo. Yet the group has no problem turning on the tenderness (and dropping a few thrilling trills) for the ballad "If One Could Only See" or tackle a more measured, mid-tempo groove on "Croquet Ballet," another fine display of Harper & Henderson harmonies. On Tour, Vol. 1 shows an impressive musical range, great command of dynamics and is just loaded with really sharp, smart, excellent music once it hits its stride. And it's probably the least exciting of these three discs released from a tour that should have established Billy Harper's quintet as a major group in the jazz world. ~ Don Snowden, 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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