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| If Our Hearts Could Only [Japan version] |
| Billy Harper |
japán
első megjelenés éve: 1998
62 perc |
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| (2001)
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CD |
| 7.005 Ft
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| 1. | The Seventh Day
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| 2. | Time and Time Again
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| 3. | My One and Only Love
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| 4. | Egypt
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| 5. | Speak to Me of Love, Speak to Me of Truth
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| 6. | If One Could Only See
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| 7. | The One Who Makes the Rain Stop
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| 8. | Vernell Lillie's: I Move Silently Throughout This World
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| 9. | World Without End
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Jazz / Post-Bop, Hard Bop
Billy Harper - Sax (Tenor), Producer, Vocals
Allan Tucker - Mastering
Arai Yasunori - Cover Design
Clarence Seay - Guitar (Bass), Bass
Ed Wedberg - Piano Tuner
Eddie Henderson Trumpet
Francesca Tanksley Piano
Jim Anderson Engineer, Mixing
Jimmy Katz Cover Photo
Joe Shatoff Assistant Engineer
John R. Reigart III Assistant Engineer
Kazunori Sugiyama Producer
Newman Baker Drums
Zach Wind Assistant Engineer
Veteran tenor saxophonist Billy Harper's DIW debut is a revelation. Having sung wordless vocals on previous recordings, he makes his actual singing and speaking debut here. Harper displays a rich baritone voice on the standard "My One and Only Love," his own "If One Could Only See" (performed as an instrumental on the 1990 release Destiny Is Yours), and "I Move Silently Through This World," a poem by Vernel Lillie, Harper's high school drama teacher. The other six selections are Harper originals performed by his long-time working group including pianist Francesca Tanskley, bassist Clarence Seay, drummer Newman Taylor Baker, and trumpeter Eddie Henderson on three selections. Long recognized as one of jazz's most distinctive saxophonists, Harper also is a versatile composer. "Egypt" begins with an exotic melody played slowly that segues into up-tempo swing, while "World Without End" begins with some intense free dialogue before shifting into a repeating phrase played by bass and piano. Compositions such as "Time and Time Again" and "The One Who Makes the Rain Stop" have simpler forms, but all of the compositions serve as catalysts for Harper's passionate, soaring tenor sax, Henderson's energetic trumpet, and Tanksley's McCoy Tyner-influenced piano. This is one of 1997's best releases and a wonderful addition to Harper's slender discography. ~ Greg Turner, 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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