Tom Harrell

[Durium]

Tom Harrell belongs to the top of the jazz trumpet players in the world and the audience in the Porgy en Bess Jazz Club in Terneuzen could state that last weekend. When Tom starts to play his trumpet, he becomes a new person.

The Jazz Orchestra of the Concertgebouw, directed by Henk Meutgeert, accompanied the star on the trumpet, who played with icons like Stan Kenton, Horace Silver, Phil Woods and Woody Herman at an artistic and professional high level. Henk Meutgeert suggested to rename the Porgy en Bess Jazz Club "The Bimhuis along the Scheldt", refering to the Amsterdam Bimhuis where the orchestra has its monthly concerts.

Tom Harrell in concert with the Jazz Orchestra of the Concertgebouw

Durium

[fasstrack]

It's been a few years since I caught Tom, and I'm due. Last time was with Charles MacPherson here in NY. He was in good form, as was everyone.

I never heard the Orchestra, but have hung and played with two memebers, Simon Rigter, and Peter Beets in their native Den Haag. Both are excellent players.

Must've been nice, and I'm sure they played some of Tom's charts.

[Durium]

They did .......

Keep (it) Swinging

Durium

[Mark Stryker]

I've been sharing this with a few folks, so I thought I would post. This Harrell solo on “Darn That Dream" is one of the more remarkable things I’ve heard in a long time. The pure melodic content, natural lyric flow and uncliched but accurate way he winds through the changes here is just off the charts. You can really hear the influence of Chet Baker taken to an incredibly high plane of invention. Also entertaining to watch Wayne Escoffery's facial expressions as he listens to the solo unfold.

Which Chet did Tom pick up on? This one I think, especially the first two A sections of his solo after the head.

http://www.youtube.com/watch?v=_myoWFa4Mz4

Edited March 1, 2013 by Mark Stryker

[alankin]

Mark, your links aren't working. Here is the one for Tom Harrell's "Darn That Dream" --

And here's the Chet Baker:

http://youtu.be/_myoWFa4Mz4

Edited March 1, 2013 by alankin

[Mark Stryker]

Hmm, thanks. Very weird. I just replaced my links and now they do appear to work, at least for me. But they're still just showing up as URLs and not as embedded videos. Anybody know why?

Edited March 1, 2013 by Mark Stryker

[fasstrack]

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out.

As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Edited March 1, 2013 by fasstrack

[alankin]

Hmm, thanks. Very weird. I just replaced my links and now they do appear to work, at least for me. But they're still just showing up as URLs and not as embedded videos. Anybody know why?

I think you have to use one of these forms to have it embedded: "www.youtube.com/embed/shortcut" or "youtu.be/shortcut". The latter URL is generated when you click the "share" button on the video.

Edited March 1, 2013 by alankin

[Joe]

Been catching up recently with Harrell's Highnote discs of the last few years. VERY impressive stuff: Harrell's compositions almost never fail to offer something of interest, and hes assembled a pretty crackling quintet. NUMBER 5, the latest release by this group, features different combinations and re-combinations of Harrell, Wayne Escoffery (ts), Danny Grissett (keys), Ugonna Okegwo (b) & Johnathan Blake (d). But THE TIME OF THE SUN from 2011 is, IMO, the best of these recitals I've heard thus far. Overall, or in every dimension, Harrell may just now be making the finest music of his career.

[Mark Stryker]

Fass -- to be clear, I think Tom comes out of a lot of trumpeters, but there's a purity of melody here that I particularly associate with Chet. I also wouldn't say that solo could have been played by a lot of those older trumpeters -- not literally. The great thing about is the distinctivenss of Tom's own voice, absolutely contemporary but clearly rooted.

Speaking of others though, the little double-time grace-note figure at the start of the final bridge is a warm wink at Clifford Brown.

[robertoart]

Hmm, thanks. Very weird. I just replaced my links and now they do appear to work, at least for me. But they're still just showing up as URLs and not as embedded videos. Anybody know why?

My links in other threads are not always embedding either.

I know not why.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Fasstrack, you need to work on your v-i changes.

[fasstrack]

I agree. But he's put all his influences in a funnel and it comes out him. He's mostly compared to Chet for the lyricism, but he can go in so many different directions harmonically: pure bebop (like the discussed solo), pentatonics, taking it out a little. He responds to the situation and is equipped to do anything.

When he first came on the scene in NY--I heard gim first in '77---he tended to spit out notes more and was more derivative: his influences (especially Woody Shaw and Freddie H.) were easy to hear. With the years of experience and maturity--and chops problems in the '90s that forced him to adapt his approach--the self-editing brought out his melodic side much more. He became someone you can pick out right away by sound and approach.

Fass -- to be clear, I think Tom comes out of a lot of trumpeters, but there's a purity of melody here that I particularly associate with Chet. I also wouldn't say that solo could have been played by a lot of those older trumpeters -- not literally. The great thing about is the distinctivenss of Tom's own voice, absolutely contemporary but clearly rooted.

Speaking of others though, the little double-time grace-note figure at the start of the final bridge is a warm wink at Clifford Brown.

Well, I'm having technical difficulties today! The first two paragraphs here are my response, followed by Marks's original post. Confused? So am I

Edited March 1, 2013 by fasstrack

[fasstrack]

Been catching up recently with Harrell's Highnote discs of the last few years. VERY impressive stuff: Harrell's compositions almost never fail to offer something of interest, and hes assembled a pretty crackling quintet. NUMBER 5, the latest release by this group, features different combinations and re-combinations of Harrell, Wayne Escoffery (ts), Danny Grissett (keys), Ugonna Okegwo (b) & Johnathan Blake (d). But THE TIME OF THE SUN from 2011 is, IMO, the best of these recitals I've heard thus far. Overall, or in every dimension, Harrell may just now be making the finest music of his career.

Interesting. I felt he was sort of leveling off---but in a nice way. I loved his earlier compositions (like The Water's Edge, Rapture, Open Air, Sail Away). Wasn't crazy about the last two on RCA (Paradise and Wise Children). I like the High Note stuff, but it seems there's a sameness to the recordings and I don't find the melodies as memorable as earlier ones. His playing is fine---also kind of leveled off. I'm speaking as a long time admirer who's followed TH closely and learned a lot of those tunes.

>Hmm, thanks. Very weird. I just replaced my links and now they do appear to work, at least for me. But they're still just showing up as URLs and not as embedded videos. Anybody know why?

My links in other threads are not always embedding either.

I know not why.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Yes, that's a beautiful solo. I hear more than Chet. It's like a summation of the history of bebop trumpet-especially the lyrical, poetic side. That solo could have been played by more than one of the 40s-50s masters, e.g. Fats, Red Rodney, Howard McGhee, or-yes-Chet. Tom studied them all and puts his poetic sense on the vocabulary. And solos like that come out. As an aside Tom has been posting like a chatterbox on FB lately. As often as 3 times a day. Anyone else notice this? It threw me at first b/c of the social isolation brought on by his condition. But it makes sense. It's a way of communicating in the privacy of his home, where he's maybe more relaxed. It's great to see anyway.

Fasstrack, you need to work on your v-i changes.

[robertoart]

I agree. But he's put all his influences in a funnel and it comes out him. He's mostly compared to Chet for the lyricism, but he can go in so many different directions harmonically: pure bebop (like the discussed solo), pentatonics, taking it out a little. He responds to the situation and is equipped to do anything.

>When he first came on the scene in NY--I heard gim first in '77---he tended to spit out notes more and was more derivative: his influences (especially Woody Shaw and Freddie H.) were easy to hear. With the years of experience and maturity--and chops problems in the '90s that forced him to adapt his approach--the self-editing brought out his melodic side much more. He became someone you can pick out right away by sound and approach.

Fass -- to be clear, I think Tom comes out of a lot of trumpeters, but there's a purity of melody here that I particularly associate with Chet. I also wouldn't say that solo could have been played by a lot of those older trumpeters -- not literally. The great thing about is the distinctivenss of Tom's own voice, absolutely contemporary but clearly rooted.

Speaking of others though, the little double-time grace-note figure at the start of the final bridge is a warm wink at Clifford Brown.

Well, I'm having technical difficulties today! The first two paragraphs here are my response, followed by Marks's original post. Confused? So am I

I thought you had made a wordy reply, so I was a bit disappointed when I realised it was 1 paragraph × 5

[fasstrack]

When I post by cellphone I get error messages that it's not posting, so I send it again. I deleted the 'overage'.

Now I'm writing from a computer and I tried to answer Joe and it looks like I'm responding to everyone. Confusing.

[CJ Shearn]

I wonder when that group will do a live album, I've only really heard "Light On" but it's fantastic, a lot of real intriguing compositions.

Edited March 1, 2013 by CJ Shearn

[fasstrack]

I believe Roman Nights is live. Maybe not.

I wonder when that group will do a live album, I've only really heard "Light On" but it's fantastic, a lot of real intriguing compositions.

This is getting wacky.

I said I believe Roman Nights is live. Could be wrong though.

[robertoart]

Hmm, thanks. Very weird. I just replaced my links and now they do appear to work, at least for me. But they're still just showing up as URLs and not as embedded videos. Anybody know why?

It looks like to embed video - you click on the 'specialBBcode' icon to the immediate left of the 'font' drop down menu.

When you click on the 'specialBBcode' icon follow the 'please select' drop down menu - and click 'media'.

In the screen that pops up, paste your url link in the square marked 'media URL' then make your post, and video will show up instead of just the url link.

There may be an easier way, but this is now working for me.

Edited March 1, 2013 by freelancer

[Joe]

Yes, it could be that Harrell has settled into a groove. I confess to not being as familiar with the earlier leader dates, part of that being my aversion to some of other players on those records. And the RCA records seemed too much an attempt to glitz him up. But the Highnotes has definitely made me want to reassess my listening with respect to his entire body of work.

[fasstrack]

I recommend Stories, Passages, Form, Sail Away. His first leader date back in '75, Aurora, had great stuff on it. Second, Play of Light, also had beautiful playing, good tunes, great band. I did like Labyrinth on RCA a lot. He really stretched on that one writing-wise. His solo on Hot Licks on the Sidewalk is a gem.

Then there's the sideman stuff from the '70s on. I'd be writing for hours if I don't settle for a few highlights: Ronnie Cuber, The Eleventh Day of Aquarius; Harold Danko, Coincidence; Bob Berg, New Birth; Rein De Graaf, New York Jazz, Larry Vuckavich, City Sounds, Village Voices; Look to the Sky (two trumpet date w/John McNeil); Paul Robinson, Old Friends, New Friends;---the entire Silver'n series. Enough for now.

BTW, nothing wrong with settling into a groove. It's just that I used to look forward to every Harrell recording. What's he thinking about now? Could hardly wait. Now it's more: oh, another Tom Harrell CD. That's nice. Consistency has two sides, I guess.

Edited March 1, 2013 by fasstrack

[fasstrack]

I listened again to that Darn that Dream solo. What a gem, like a loving, poetic commentary on the history of bebop trumpet. Harrell students who want to compare/contrast can refer to two previous recorded versions of the tune: Labyrinth (dueting with himself on piano); and, going back to '77, Bob Mover: On the Move.

BTW, has anyone noticed how much Tom has been posting to FB lately? Once or twice daily on all sorts of subjects. It threw me at first, in view of his clam-like demeanor on gigs, etc. Didn't seem the chatterbox type, and in interviews always lamented the social isolation his condition led to. But it's great that he found a low-pressure way of interacting with all the people who want to tell him how much his music means to them.

[Mark Stryker]

There's a transcription here: Not all the rhythms are accurate but it's pretty close. http://zimk.blogspot.pt/2013/01/darn-that-solo.html

[fasstrack]

I couldn't view it from my cell phone. But it's nice that it was transcribed. Thanks.

[fasstrack]

Latest FB post from Tom: Chet Baker got him his first gig in NY. Early '70s at Stryker's, w/Bob Berg, and Joe Jones Jr. Group was called Jazz Express. I'm enjoying these glances back at jazz history. Keep 'em coming Tom!

And Joe, if you're interested the entire albums of Aurora and Sail Away are on youtube. Also a beautiful unaccompanied take on Joyspring from Helen Merrill's Brownie CD (dedicated to Clifford Brown).

Edited March 5, 2013 by fasstrack

[fasstrack]

Naturally, in Bb, not concert. Trumpet players think no one but them would be interested......

There's a transcription here: Not all the rhythms are accurate but it's pretty close. http://zimk.blogspot.pt/2013/01/darn-that-solo.html