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| 6.141 Ft
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| 1. | N'Daga/Coonu Aduna [Abdou Guite Seck]
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| 2. | Kaolak/N'Wolof [Orchestra Baobob]
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| 3. | Dayourabine/Thiolena [Diamono]
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| 4. | Barambiye/Djarama [Guelewar]
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| 5. | Rice and Fish/Liiti Liiti [Star Number One]
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Jazz / Avant-Garde Jazz
Inspired by his trips to West Africa, specifically Dakar, Senegal, drummer Harris Eisenstadt has merged the disciplines of African band music with the creative improvised discipline to create a new hybrid that is, in essence, the best of both worlds. Using brass instruments and a baritone saxophone, the quintet he has assembled and arranged this music for rambles through village, ritual and dance styles with an edginess that spans continents and bridges cultures in a extraordinarily unique way. The music of the African groups is not so much assimilated, but expanded upon in imaginative ways that emphasize the percussive and harmonic aspects of tribal syncopations and colors. Eisenstadt has chosen an excellent horn section with Taylor Ho Bynum on cornet and flugelhorn, trumpeter Nate Wooley, Mark Taylor on French horn, and baritone saxophonist John Sinton. Together they create a wonderful wind turbine of power, layering many sounds and counterpoint lines to act as a full-blown orchestra, playing music that sports a 50/50 balance between written and spontaneous composition. The source material is very intriguing, as Eisenstadt adapts Orchestra Baobab's "Kaolak/N'Wolof" into chorale-like horn shouts, galloping rhythms, free jazz, tick-tock and reggae-ish beats, singing lines, and an actual solo from Wooley. While Star Number One's "Rice & Fish/Liiti Liiti" evokes images of a chase scene, it is also cartoonish and hilarious, then serious in the vein of the Art Ensemble of Chicago, dense, filled with sweet and sour sounds that are alternately Asian, African, Latin, light, R&B-like, and herky jerky. Humor is also the key to "Dayourabine/Thiolena," a piece that must be so much fun to play, copping Captain Kangaroo themes with inebriated New Orleans street strut. Abdou Guite Seck wrote "N'daga/Coonu Aduna," but Eisenstadt adapts it into a distended circus march with a frantic race to the finish line and plenty of interplay feeding off acute listening by the bandmembers as they explore a fully functioning dynamic range from reverent to outrageous. The somber and funereal "Barambiye/Djarama" turns celebratory, followed by multiple segments of near booglaoo groove, repeat minimalist lines, and dance oriented moves. While solos are kept to an absolute minimum (or perhaps, they are all soloing together?) the abject interplay of this ensemble is unrestrained and joyous, much more so than many similar groups that pride themselves on unabashed improvisation. Eisenstadt's vision for this music, the arrangements he has certainly painstaking produced, and how this incredible band executes them to the max, results in some fabulous, truly original music that deserves many repeat listenings. Guewel (the Wolof term for griot story tellers or hereditary musicians) is an essential modern recording that deserves all the accolades one can bestow, and is highly recommended to all progressive jazz and world music listeners without reservation. ~ Michael G. Nastos, All Music Guide
Harris Eisenstadt
Decades Active: 2000
Genre: Jazz
Styles: Avant-Garde Jazz, Jazz Instrument, Saxophone Jazz
Drummer/percussionist/composer Harris Eisenstadt has performed in a variety of settings, including jazz, creative improvised, and African music ensembles. Born in 1975 in Toronto, Ontario, Canada, he followed in the footsteps of his drummer father, but was athletically inclined, playing baseball and hockey. Though his parents administered a public relations agency, Eisenstadt gravitated toward music, playing the drum kit in the basement of the Upper Canada College at age ten, where he also graduated some years later. His early influences were Led Zeppelin's John Bonham, and jazz drummers Tony Williams, Elvin Jones, Tony Oxley, and John Stevens. As an advanced student, he took lessons with Toronto composer David Mott, moved to New York City where he was tutored by Barry Altschul, worked with the Knitting Factory, earned his B.A. cum laude in literature and music from Maine's Colby College in 1988, and received his Masters in Fine Arts via African-American improvisational music on scholarship from the California Institute of the Arts in 2001. While in Los Angeles, he worked with Kola -- the Kreative Orchestra of Los Angeles, collaborated with Adam Rudolph, and teamed with Rudolph and Sam Rivers for the CD Vista. He has worked with a startling array of top-notch musicians, including Yusef Lateef, Vinny Golia, Elton Dean, James Newton, Tony Malaby, Bennie Maupin, Wayne Horvitz, Nels Cline, Marty Ehrlich, Urban Bushwomen, and many more. Eisenstadt lived in Gambia for a few months, has since performed with traditional West African dance troupes from 1999-2003, and in Northern California accompanied poet laureate Al Young alongside the Ralph Jones/Kenn Cox combo. In the theater world, he has been an accompanist to Macbeth, a one-man adaptation of Shakespeare's tragedy starring Tony award-winner Stephen Dillane, and performed in the 2005 world premiere of Anne LeBaron's opera Wet in Los Angeles Eisenstadt has received many awards and commissions including a Meet the Composer Global Connections Grant in 2006, American Composers Forum Subito Grants in 2004 & 2005, and the Durfee Foundation Grant in 2004. He was SOCAN composer-in-residence for the Sonic Courage Festival -- June 2006 -- in Halifax, Canada. Working with Wadada Leo Smith at Cal Arts, he was in ensembles with musicians from Bali, Gambia, Ghana, Morocco, Iran, and Senegal, and contributed to movie scores for major and independent motion pictures such as Perfect Film, Work, The Wedding Crashers, The Hebrew Hammer, and Dahmer. Eisenstadt moved to Jersey City, NJ, then to Brooklyn, N.Y. where his career has taken off. His recordings include Fight or Flight from the New Sonic label in 2002. He was with the Ahisma Orchestra for their Nine Winds release in 2004, as well as his own projects Jalolu from the CIMP label and The Soul and Gone featuring improvised music from the 482 label. The All Seeing Eye on the Poo-Bah label was issued in 2007, followed by Guewel playing creative adaptations of African pop tunes, and his opus to his native land Canada Day, both issued on Clean Feed records in 2009. ~ Michael G. Nastos, All Music Guide |
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