For his fourth recording as a leader Harris uses the Taylor AB-1 acoustic bass guitar, unique for its softer tone than an acoustic bass, and absence of twang from an electric bass guitar. Harris wields it beautifully on these seven compositions, six are his originals. Longtime combomate Marty... [+] Expand

For his fourth recording as a leader Harris uses the Taylor AB-1 acoustic bass guitar, unique for its softer tone than an acoustic bass, and absence of twang from an electric bass guitar. Harris wields it beautifully on these seven compositions, six are his originals. Longtime combomate Marty Ehrlich is here exclusively on alto sax, Steve Nelson continues to establish his single minded concept on vibes, while trombonist Art Baron and drummer Billy Drummond round out this most extraordinary band. The music is solidly based in the modern mainstream, while the depth, passion and high musicianship present should be clear and evident. Harris's jazz has a wonderful melodicism that is further heightened by Ehrlich's singing tone, which has only a trace of tartness or sarcasm. The band collectively soars on the first two easy swinging numbers "Decision Point" and "Sway Low," the 11+ minute former with Nelson's pulsing vibes supporting Ehrlich and Baron's swooping melody lines, the latter with a tick tock rhythm from Drummond shifting meters of 3 & 4 inspiring another finely hued melody. "Cool Pursuit" also has the signature qualities Harris writes, this time the vibes run contrary lines to the unison horns, then all juxtapose at length. Hotter on "Followthrough" Drummond responds to the horns, then some chatty counterpoint occurs. There is some attentive listen happening between the participants. "Hand By Hand" has a caravan like feel in 6/4 introduced by Harris where you more readily hear the bass guitar's soul, as he uses a snippet of a melody leading into countermelodies, patient rhythmic building blocks and Nelson's shimmering vibes. The very slow "Only Then" is both evocative and invocative, while Duke Ellington's "The Mooch" is fueled by jungle rhythms that lead into darker tones, Baron's plunged trombone line 180 degrees to Ehrlich's melody and some stop-start rhythm section antics, a truly faithful rendering. If this is your first exposure to Harris's music, pick up on his other recordings as well. They all showcase one of the more original composers and performers in the music today, deserving much wider recognition. ~ Michael G. Nastos, All Music Guide [-] Collapse

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