Toronto-born drummer, composer Harris Eisenstadt is headquartered in the fertile artistic environs of New York City, and each new release divulges his thirst for ingenuity. He's emerged as an important voice within progressive jazz circles while gathering the crème de la crème of artists to help support his visions. Thus, Golden State is a polyrhythmic presentation that unites jazz and an ultra-modern chamber perspective, featuring poll-winning flautist Nicole Mitchell and bassoonist Sara Schoenbeck. Recorded in California, the album title refers to Eisenstadt's residency at CalArts in 2012 and other factors that led to this engagement. Eisenstadt's compositions ...read more
Celebrated for his musicality and leadership, drummer Harris Eisenstadt is a modernist who dispels preconceived notions that a drummers' primary function is to keep time, and prop the frontline along with a bassist. With this 2013 instilment of his September Trio, he ingrains organic textures and a touchy feely loose groove modus operandi when not engaging his band-mates in structured unison choruses. Eisenstadt also imparts his clever call and response mechanisms when jabbing with tenor saxophonist Ellery Eskelin and pianist Angelica Sanchez. Even without a bsssist, the band manages to project a spacious environment, at times tinged with bluesy and ...read more
In a jazz setting, the traditional role for a bassist is to keep time, and in effect be the glue that holds a composition--and essentially the jazz unit--together. Maybe that is the reason is why drummer Harris Eisenstadt chose to construct his September Trio sans bassist. Aptly named, The Destructive Element follows the September Trio of Eisenstadt, pianist Angelica Sanchez and tenor saxophonist Ellery Eskelin's eponymous Clean Feed Records debut from 2011.It's not that the music here is disorganized or chaotic. No, Eisenstadt is a skilled and gifted composer who can arrange music for small ensembles, like his ...read more
As well as three current working (and touring) ensembles, a busy recording schedule and a flourishing teaching career, Toronto, Canada-born percussionist/composer Harris Eisenstadt is also a family man. Now settled in New York City, it's been a busy year, with four recordings-September Trio (Clean Feed, 2011), Canada Day III (Songlines, 2012), Canada Day II (Songlines, 2011), Canada Day Octet (482 Music, 2012)-all released within the last twelve months or so; a release schedule rivaled only by guitarist Bill Frisell and pianist Chick Corea.All About Jazz: You have three working ensembles: a quintet, a trio and also a new ...read more
The third installment in drummer Harris Eisenstadt's Canada Day adventure follows the same winning formula as established by Canada Day (Clean Feed, 2008) and Canada Day II (Songlines, 2011),carving out a distinctive niche on the contemporary jazz borderlands, with a nod to the '60s Blue Note territory of pianist Andrew Hill and reedmen Sam Rivers and Eric Dolphy. Recorded after touring, the band has thoroughly internalized the program, which has a harder edge than its predecessors, achieving a perfect balance between thoughtful arrangements and space for individuals to shine.Even with when restricted to a quintet, Eisenstadt deploys an ...read more
Drummer/composer Harris Eisenstadt has developed into one of the most imaginative writers on the scene for larger ensembles. On Canada Day Octet, he presents the latest installment following on from such larger scale works as All Seeing Eye + Octets (Poo-bah, 2007), and the wonderful Woodblock Prints (No Business, 2010). But this time, the difference is that at the core of his eight-strong group are the members of his regular working band, Canada Day, familiar with both his materials and methods. The expanded lineup affords more scope for richer harmonies and added layers of counterpoint, as well as extending the ...read more
Drummer Harris Eisenstadt has gained steam on the progressive jazz front, largely due to his complex and harmonically variant compositions amid glittering support from like-minded musicians who often lead solo careers as well. His Canada Day band reemerges with a strong program, seeded in multidimensional jazz-tinged spinoffs, featuring free form segments, intricately executed structural components and other factors.Bassist Garth Stevenson launches The Magician of Lublin," with a creaky and cranky arco bass riff, segueing the band into a crisp, yet restrained mid-tempo swing vamp. Here, vibraphonist Chris Dingman takes charge via his softly resonating lines, followed by the ...read more
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