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Harvie Swartz has been around. Not long after the onset of the jazz fusion
movement when groups like Weather Report were in their chart-topping prime,
he and a few others knew there was a place for a different kind of energy in
jazz, yet without sacrificing its basic values. With this realization, Swartz
moved forward with these ideas with co-conspirators of like minds such as:
Mike Stern, Pat Metheny, Pat Martino, John Abercrombie, John Scofield and
later Wayne Krantz and became known as the bassist for cutting edge
guitarists. One who understood what they were seeking because he was himself
seeking; not a forcing together of Jazz and Rock but a true melding, not just
of notes but conceptually and honestly because all of these artists had a
background in these and many other styles and needed outlets in which to
develop.
Seventh Avenue South was one of those outlets. Owned by the Brecker brothers,
Seventh Ave became ground zero for emerging super groups such as Jaco's Word
of Mouth group and the original Brecker Brothers group as well as the place
where such unusual collaborations such as Mike Stern and Bill Frisell would
occur. Other clubs where these regular experiments occured were the 55 Grand,
55 Bar, Fat Tuesdays etc. But being the ever-striving and open-minded artist
and musical journeyman he is, Harvie recently became involved with the many
types of latin-jazz, showing once again we age and become set in our ways and
ideas only if we fail to expand, innovate, stay flexible, keep an open mind
and continue to challenge ourselves.
Also a composer, Swartz finds that part of his strength in that area comes
from his background as a pianist, having started out earning a degree in
piano and composition at the Berklee College of Music. When he took up the
bass, he brought with him all the harmonic and rhythmic concepts that were
intrinsic to the keyboard training and added the lustrous tone, formidable
technique and lyrical soloing approach that have become his trademark. His
further adventures in the world of music led to his development as a
bandleader and producer. Harvie Swartz arrived in New York in 1973 to work
with Mike Abene. This led to work with Thad Jones and Mel Lewis, Gil Evans,
Chet Baker, Lee Konitz, John Abercrombie, Al Cohn, Zoot Sims and many other
jazz masters. His desire to create a more personal music led to his
collaborations with David Friedman and this in turn, yielded the legendary
and innovative Double Image CD which was recorded on Enja and ECM. Double
Image went on to perform internationally at prestigious festivals, receiving
critical kudos with each appearance. During this time Swartz also played in
the Steve Kuhn Quartet which recorded three CDs for ECM and many of his
compositions were featured on these recordings.
After playing a short stint with Stan Getz, Swartz decided to make his first
solo effort using music he had been working on for the past year and a half.
A master tape was sent to Gramma-Vision Records; a contract was signed, and
Underneath it All, Harvie's first release as a leader, made its debut. Two
more releases followed; Urban Earth and Smart Moves. All received critical
acclaim and climbed the radio charts -- in fact, Urban Earth was #3 on Radio
& Records and stayed on the charts for three months as well as charting on
Billboard . A period of great creativity and activity followed; Harvie,
guitarist Mike Stern (who was with Miles Davis at the time) and drummer
Victor Lewis formed a trio which played regular gigs in New York City. Harvie
was also doing gigs with Jim Hall, and it was at around this time that he
started his remarkable association with Sheila Jordan. In the setting of bass
and vocals, this duet produced 10 CDs over a 14 year period. The sensitivity,
intricacy and dynamism of this duo mesmerized audiences worldwide and
re-established Sheila Jordan as a world-class jazz singer while re-enforcing
Swartz's reputation as an original accompanist/improviser.
Harvie next recorded the landmark CD, In a Different Light. This project
included Mike Stern, John Scofield, Mick Goodrick, Leni Stern, Gene
Bertoncini, Winard Harper and Leon Parker (his first recording). A
combination of duets, trios and quartets, all the music was recorded live to
two-track and no headphones were used during the sessions. Village
Voicewriter, Gary Giddins singled out In a Different Light as one of the Best
of 1990.
A favorite recording partner by guitarists; Harvie recorded with the
two-guitar led quartet of John Abercrombie and Mick Goodrick as well as with
Mick Goodrick on his release Biorythms and Mike Stern's What It Is. In the
nineties Swartz felt himself to be at a crossroads, restless and searching
for a new musical challenge, "I felt that I needed to grow and learn before I
would be ready to make any more CDs as a leader." Thus followed deep study
into Afro-Cuban and Latin music with trips to Cuba and sessions there with
local masters. After an intense period of synthesis, Swartz emerged even
stronger as both a composer and producer. The result can be heard in the band
Eye Contact which utilizes all of Harvie's experience and artistry. Eye
Contact has the melodic and harmonic sophistication of jazz and the
extraordinary rhythmic intensity of Latin music. This Band has been playing
clubs in New York City and appeared at he JVC Jazz Festival in 1998 and
subsequently at festivals in the Northeast to standing ovations. Eye
Contact's new CD was released in November 1999 on Bembe Records. Harvie has
also been a member of Juan Carlos Formell's Band (New Music of Cuba) and
appears on Songs From a Little Blue House on Wicklow Records along with
Horacio Hernandez and Mario Rivera and Nestor Sanchez. For the past two years
Harvie has been playing in Virginia Mayhew's band which usually has Allison
Miller on drums, Ingrid Jensen on trumpet, and pianists Kenny Barron, Bruce
Barth, or Renato Chicco. He is also is featured on Pete Yellin's CD Mellow
Soul with Chick Corea as well as Chris Washburne's new CD Nuyorican Nights in
which Harvie composed and arranged the title cut. In addition to his
performance career, Harvie Swartz has also been an active jazz educator since
1984. He holds the Jazz bass instructor position at the Manhattan School of
Music for both undergraduate and graduate divisions. He has been a guest
lecturer at The Cologne Hochshule, McGill University, Berklee College of
Music, the Eisler School in Berlin, The Eastman School of Music, The New
School and many other colleges and universities worldwide. Mr. Swartz has
also been the recipient of major grants from the NEA, NYSCA, and ASCAP and
Meet the Composer.
Within the media, Harvie Swartz has been a featured guest on NPR's "All
Things Considered" and "Fresh Air." He can be seen and heard on videos with
Toots Thielmanns, Pat Martino, Sheila Jordan. He has written the themes for
the documentaries "Trumpet Kings," "Piano Legends," and "John Coltrane."
Harvie called from his car on the way to a gig in New York.
