Winard Harper - Come Into The Light (2003)

There's certainly been no shortage of artistic statements about the September 11 attacks and their aftermath, and there'll no doubt be more. Few of those are as concise or as engaging as the one made by master drummer Winard Harper and his sextet on Come Into the Light. "911" is but one of the gems on this uncompromisingly excellent live recording (the first at Cecil Brooks III's New Jersey club). Saxophonist Brian Horton sets the tone on his brief introduction, which Harper follows up even more ominously, paving the way for trumpeter Patrick Rickman to launch a blistering attack of his own. Thereafter, the music represents the bedlam and uncertainty that followed the historic day's cataclysm, with both Horton and pianist Jeb Patton weaving tortured cries into Harper's authoritative trap breaks. While Harper is unquestionably the leader, the CD's feel is truly collaborative throughout, from compositional credits-"911" is Rickman's, Horton submits the funky "Specimen A" and Patton provides the Tommy Flanagan tribute "T.F."-to the seamless interplay on the Latin-bop workout "Float Like a Butterfly" and the Tadd Dameron staple "If You Could See Me Now." Another classic, "Corner Pocket," gets a similar treatment, with Horton and Patton again trading quicksilver expressions, all behind another fluid opening solo by Rickman. The rest of the rhythm section-bassist Ameen Saleem and percussionist Alioune Faye-help Harper lay down a solid yet swaggering swing foundation, and the front line keeps their solos mostly lean and mean. This is the unmistakable sound of a top-flight band that has come into its own and is capable of going just about anywhere musically. ~ by Michael Edwards, JazzTimes.com. 

Savant Records, SCD 2058, 2004
Recorded 26th & 27th December, 2003 Live at Cecil's, West Orange, New Jersey

Musicians:
Winard Harper - Drums, Percussion, Balafon
Patrick Rickman - Trumpet
Brian Horton - Soprano & Tenor Saxophones
Jeb Patton - Piano (#4-7,9,10)
Kelvin Sholar - Piano (#2,3,8,11-13)
Ameen Saleem - Bass
Alioune Faye - Djembe, Percussion, Sabar 

Tracks:
01. Spoken Intro by Cecil Brooks III (0:42)
02. Float Like A Butterfly {Winard Harper} (7:00)
03. Little Sunflower {Freddie Hubbard} (5:24)
04. Divine Intervention {Winard Harper} (4:37)
05. If You Could See Me Now {Tadd Dameron, Carl Sigman} (7:56)
06. 911 {Patrick Rickman} (5:08)
07. T.F. {Jeb Patton} (5:35)
08. Specimen A {Brian Horton} (3:50)
09. Polka Dots And Moonbeams {Johnny Burke, James Van Heusen} (5:47)
10. Corner Pocket {Freddie Green, Donald Wolf} (6:44)
11. Come Into The Light [Intro] {Winard Harper} (2:40)
12. Come Into The Light {Winard Harper} (6:13)
13. Korinthis {Winard Harper} (6:39) 

Total Time: 68:15 

Credits:
Producer - Cecil Brooks III
Executive Producer - Joe Fields
Engineer - Don Braden
Assistant Engineer - James Dellatacoma
Photography - R. Andrew Lepley
Design - Keiji Obata
Liner Notes - Laurence Donohue Greene 

Note:
Original CD was poorly compiled, tracks ended with the start of the next track.
Remedy rip to WAV, trim, remove excess applause, optimize, re-encode FLAC > tag.

Jon Faddis - Teranga (2006)

After an extended layoff from studio recording, trumpeter Jon Faddis returns with Teranga. Taking its name from the Senegalese word for "hospitality," the album is an inspired and straightforward post-bop album and features Faddis in top form. Often driven by thick, acoustic basslines via Kiyoshi Kitagawa, Faddis' compositions are lush, visceral, and funky pieces that reveal the often-flashy trumpeter's more enigmatic and thoughtful inclinations. Longtime fans shouldn't fear, though, as Faddis' sparkling tone and trademark monumental range remain intact and are showcased throughout. Besides his superb backing ensemble that includes pianist David Hazeltine and drummer Dion Parson, Faddis has also brought along such sympathetic collaborators as Senegalese percussionists Abdou M'Boup and Alioune Faye as well as baritone saxophonist Gary Smulyan, trumpeter Clark Terry, and others. ~ by Matt Collar, AMG. 

KOCH Records, KOC-CD-9969, 2006
Recorded 6th-7th September, 2005 at Bennett Studios, Englewood, New Jersey 

Personnel:
Jon Faddis - Trumpet, Flugelhorn, Vocals, Arranger
David Hazeltine - Piano (#1-6,8,9)
Kiyoshi Kitagawa - Bass (#1-6,8,9)
Dion Parson - Drums (#1-6,8,9) 

Guests:
Frank Wess - Alto Flute (#4)
Abdou Mboup - Djembe, Talking Drum (#4)
Alioune Faye - Sabor (#4)
Clark Terry - Flugelhorn, Vocals (#6)
Russell Malone - Guitar (#6,7)
Gary Smulyan - Baritone Saxophone (#9) 

Tracks:
1. The Hunters & Gatherers {Jon Faddis} (6:38)
2. Hey, Lalo! {Jon Faddis} (5:37)
3. Waltz For My Fathers & Brothers {Jon Faddis} (5:17)
4. Teranga {Jon Faddis} (12:08)
5. The Courtship {Benny Carter} (6:34)
6. The Fibble-Ow Blues {Jon Faddis} (6:35)
7. Laurelyn {Jon Faddis} (5:56)
8. Transitions {Jon Faddis} (2:25)
9. The Baron {Jon Faddis} (4:55) 

Total Time: 56:11 

Credits:
Producer, Design, Packaging - Jon Faddis
Engineer, Mixing - Brian Dozoretz
Mastering - Adam Ayan
Design, Packaging - Michelle Lukianovich
Design, Packaging, Photography - John Abbott
A&R - David Wilkes
Public Relations - Gio Melchiorre
Liner Notes - Neil Tesser

Teranga

Winard Harper Sextet - Make It Happen (2006)

Veteran drummer Winard Harper (who has played with Dexter Gordon, Johnny Griffin, Betty Carter, Ray Bryant, Abdullah Ibrahim, Pharoah Sanders, Clifford Jordan and others) gives us two albums in one on Make It Happen. The first is percussion-heavy. The opening tracks, for example, present an approach to ensemble sound that recalls Mosaic-era Jazz Messengers (carefully arranged multiple-horn lines over a busy, insistent rhythm section). The best compositions echo episodes in the Mingus lineage (notably Dave Holland's excellent mid-'80s groups). These elements can be traced back to a common ancestor in Duke Ellington, and you can't have better roots than that. These musical elements are held together by a genuinely novel mix of Afro-Cuban and unhyphenated African percussion. The percussion draws upon the more familiar Latin rhythms known to jazz audiences since Dizzy Gillespie invited Mario Bauza into his band (witness the flawless Latin jazz marriage in Harper's treatment of Charlie Parker's "Segment"), but also other West African elements which are distinct from the more familiar Yoruba heritage: most notably the invigorating Senegalese talking drum passages on "Children of the World." Three nearly all-percussion numbers are a special treat, especially the title track, from Wycliffe Gordon's didgeridoo prelude to its organ-drenched finale over a Brazilianesque rhythm. The other album is a relatively crammed set of decidedly mainstream allegro ma non troppo jazz; more than a few numbers have to be faded out long before they've worn out their welcome to make room for the others. The locus of inspiration for this second part fluctuates between the '50s ("I've Never Been in Love Before") and '60s ("Chronic Mistakes", the bass/alto duet "Tamisha"), and the added percussion is either inaudible or unobtrusive (and always appreciated, when you can hear it). It manifests the same great Duke-ish approach to group sound. Harper assembles a spirited ensemble, augmented on the best tracks by an idiosyncratic band of supplementary percussionists, who play with a palpable joy and solidarity. The percussionists, beginning with Harper, lead the pack; trumpeter Josh Evans' brassy (as opposed to airy) tone recalls Lester Bowie (and ultimately, Rex Stewart) and deserves special mention, but then so too do guests Antonio Hart (alto sax) and Lawrence Clark (tenor sax). I could listen to the numbers on the percussion-heavy part again and again. As for the cuts on the "second" album, they offer fewer reasons to return for more (with the exception of "Divine Surveillance, which has a certain gravitas). If the balance between the two had been struck more decisively in favor of the first, this would be a stronger overall release, and there is no doubt in my mind that these players could have sustained the passion of the percussion-based group over nearly eighty minutes. As it is, the unflagging excellence of the compositions, arrangements and soloing (that's just about everything on a jazz record, isn't it?), added to the evident camaraderie of the players throughout, make for a strong and joyful entry under the "soulful/mainstream heading. ~ by Jeff Dayton Johnson, AAJ. 

Piadrum Records, PIADRUM-0602, 2006
Recorded 8th January & 3rd April, 2006 at Bennett Studios, Englewood, New Jersey 

Musicians:
Winard Harper - Drums, Balafon (#2,15)
Josh Evans - Trumpet
Wycliffe Gordon - Trombone (#4,7,14), Didgeridoo (#4)
Antonio Hart - Alto Saxophone (#3,5,6)
Lawrence Clark - Tenor Saxophone
Stacy Dillard - Tenor Saxophone (#1,12)
Sean Higgins - Piano (#1,9,12)
T. W. Sample - Piano, Synthesizer
Ameen Saleem - Acoustic Bass
Kevin Jones - Congas, Drum [Jamba], Shaker, Triangle
Alioune Faye - Drum [Sabar], Drum [Jamba], Djembe
Abdou M'Boup - Talking Drum (tama) (#2,15), Vocals (#15)
Jeremy Jones - Tambourine, Cowbell, Drum [Dundun] 

Tracks:
01. Segment {Charlie Parker} (4:12)
02. Children Of The World {Winard Harper} (5:51)
03. Morning Glow {Onaje Allan Gumbs} (6:05)
04. Make It Happen {Winard Harper} (6:37)
05. Tamisha {Winard Harper} (6:45)
06. I've Never Been In Love Before {Frank Loesser} (6:48)
07. Get It! Get It! {Wycliffe Gordon} (4:01)
08. Not One Chance {Winard Harper} (5:14)
09. Reflection {Ray Bryant} (4:18)
10. Divine Surveillance {Winard Harper} (6:02)
11. Lourana {Lawrence J. Clark} (3:31)
12. Chronic Mistakes {Winard Harper} (3:52)
13. Bangbangboomboombapbap {Winard Harper} (2:07)
14. After Hours {Avery Parrish} (6:25)
15. The Prayer {Winard Harper} (5:40) 

Total Time: 77:28 

Credits:
Producer - Winard Harper
Audio Engineer - Dae Bennett
Art Direction, Design, Photography - Janis Wilkins