Joe Harriott Quintet - Abstract / Southern Horizons / Free Form

2 CD set

This 1961 date recorded in England shows altoist and composer Joe Harriott in full command. Harriott was, like his contemporary Eric Dolphy, a consummate stylist whose tonal and harmonic inquiries led him off the left-hand path of mainstream jazzers. Harriott was interested in how mode and interval, when stretched to their limits by extended harmonics, could create "impressions" of lyricism and melody, without actually engaging them. The reason for this was simple, and a listen to any of the seven originals here -- the cover of "Oleo" is a throwaway -- will attest to it. But "Pictures," "Idioms," and "Tonal" -- constructed by harmony and rhythm, mode, and interval -- could be used to invert standard notions in that space and leave room for musicians or listeners to create their own impressions of what that sound world might be. Rhythmically, the quintet was also interesting, in that they allowed the standard notions of jazz time to fade into freer constructs that undid rhythm altogether -- check out the percussion on "Shadows" and try to find a time signature anywhere, though the ensemble has no trouble playing or keeping together during Harriott's raw, bluesed-out solo. Drummers Bobby Orr and Paul Seamen (who alternated) were both amazing. Pianist Pat Smythe was the driving force in the rhythm section, creating very large chords and pulsing them along modal lines to keep everyone focused. Trumpeter Shake Keane was the perfect lyrical foil for Harriott, in that his smooth, high-register approach contrasted brightly with Harriott's gospel and guttersnipe honk, and bassist Coleridge Goode was the technician of atmosphere for this band. Abstract is wonderful; it shows that the Brits were taking the new jazz of the early '60s and placing a spin on it because they had a few players like Joe Harriott. Here is a musician deserving of a wide reappraisal. Let's hope he gets it.

AllMusic Review by Thom Jurek
 

The music on Southern Horizons is a good late bop set culled from two EPs made for pioneer jazz producer Denis Preston's Lansdowne Series. Bassist Coleridge Goode and drummer Bobby Orr are already part of what would become Harriott's finest group. Though both pianist Harry South and trumpeter Hank Shaw would quit once the saxophonist entered his experimental period, here Shaw at least makes for an excellent foil for Harriott on a mixture of originals—by Harriott and South—and standards. Shaw was a truly and undersung British bebop practitioner and his trumpet lines are strong, bright and fluently executed. Booker Little might be a point of comparison, though not of influence. Harriott, himself, seems to pack so many ideas into each sixteen or thirty-two bar solo that comparison with Charlie Parker is inevitable. Frank Holder's bongo playing is major asset on the title track and on "Caravan"—I never thought I'd ever describe bongos as 'an asset' but credit where due. And yet, the record is let down by some of its material, notably the tunes by South—"Southern Horizons," "Jumpin' With Joe" and "Liggin.'" Nor does South's piano playing inspire this writer to plaudits. The frantic attack of "Still Goofin'" and the walking blues of "Count Twelve" are better by far and actually seem to carry the weight of the performances of Harriott and Shaw, whilst "Tuesday Morning Swing" does just what its title promises. Of the standards, "Caravan" is good, if a little predictable, whilst "You Go To my Head" is lovely ballad delivered with great tenderness. Best of all, is an intelligent arrangement of Horace Silver's "Senor Blues," which actually succeeds in sounding fresh and original.

Duncan Heining - All About Jazz

The few recordings of Jamaican born saxophonist Joe Harriott have been hard to come by since they were initially released in the early '60s. One of the most famous is Free Form, recorded in London and released in 1960. Comparable to Ornette Coleman's recordings of the period, these eight pieces incorporate Harriott's hard bop influence, cutting through adventurous compositions including "Abstract," "Straight Lines," and "Impression." When listening to Free Form (or early Coleman for that matter) with a 21st century perspective, it's hard to imagine that this music was often considered intolerable upon release. It's unfortunate that Harriott and trumpeter/flügelhornist Shane Keane missed out on being as widely lauded as Coleman and Don Cherry finally became. In 1999 tenor saxophonist Ken Vandermark attempted to spotlight that ill-fated situation by releasing a disc of Harriott compositions, including three from Free Form, on his 1999 release Straight Lines.

AllMusic Review by Al Campbell