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| Blueprints of Jazz, Volume 2 |
| Billy Harper |
| első megjelenés éve: 2008 |
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| (2009)
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CD |
| 4.456 Ft
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| 1. | Africa Revisited
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| 2. | Knowledge of Self
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| 3. | Another Kind of Thoroughbred
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| 4. | Thoughts and Slow Actions
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| 5. | Time and Time Again
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| 6. | Who Here Can Just Our Fates?
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| 7. | Amazing Grace
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| 8. | Cast the First Stone? (...If You Yourself Have No Sins)
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| 9. | Oh... If Only
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Jazz
A long time between recording dates (eight years since his Metropolitan label release Soul of an Angel), many might have wondered what happened to the firebrand tenor saxophonist Billy Harper. But here he is in all his power and glory, playing the progressive jazz and clarion warrior calls that have distinguished him as an individualist, and a performer whose sound is instantly recognizable. The soulful cry, constant flow of ideas, and slightly tart sound has held Harper in good stead, and high regard. This CD showcases a larger ensemble with familiar bandmates like the exceptional pianist Francesca Tanksley, twin bassists Clarence Seay and Louie Spears, drummer Aaron Scott, a new face in jazz in trumpeter Keyon Harrold, and alto saxophonist Charles McNeal. Three tracks feature the recitations of Amiri Baraka which sound a bit muffled and overdubbed, but possess no lack of the fire and brimstone that he normally dishes out. Harper reshapes John Coltrane's modal "Africa" into "Africa Revisited" with a modified melody and harmony, and rhythm and piano motifs the same as the original. Baraka inserts lines from his poem "Where Dat Stuff Come From?," as his pointed commentary asserts African-Americans "did not come here to play basketball, or come in second on American Idol." He also quotes adages and sings snippets of "Swing Low Sweet Chariot" and ""Do You Know What It Means to Miss New Orleans?" "Knowledge of Self" continues Baraka's "Stuff" theme in a jazz history lesson, referring to icons Fletcher Henderson, Duke Ellington, Louis Armstrong, Count Basie, Billie Holiday, Ella Fitzgerald, Coleman Hawkins, and others over a bass groove with short, inquiring bursts from the horns. Words of "Where Does the Music Come From?" are added to "Oh...If Only," a hard bop tune where Harper harkens back to his days with Lee Morgan and Art Blakey. "Another Kind of Thoroughbred" recalls his substantial time with the Gil Evans Orchestra in a blues based staccato theme, and he soulfully sings "Amazing Grace" in an ethereal mood with piano and synthesizer. What makes Harper a true standout is his arranged and composed music, a tricky melding of individualistic counterpoint, singing saxes, sharply accented or thinly veiled lines. The light swing and four-note emphasis during "Who Here Can Judge Our Fates?" and the tick-tock rhythm buoying a decidedly deliberate approach to "Time & Time Again" most accurately represents this signature sound. So does "Cast the First Stone," utilizing strident Coltrane-like sheets of sound with trumpet and alto punctuations in a long jam that slows from 4/4 to 3/4 time in Harper's most involved and intricate charted music. Tanksley's feature "Thoughts & Slow Actions" (with wordless vocals from Harper) puts her in a different light, a contemplative, longing mood where she waxes rhapsodically in a way her chordal comping and driving supportive lines on the other tracks are not displayed. Certainly a celebration for fans of the 65-year-old Harper and a welcome addition to his potent discography, this CD represents him playing at an exceptionally high level, staying true to his spirit, and still making powerful music. ~ 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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