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Joe Harriott: Free Form & Abstract Revisited
by Stefano Merighi
La serie “revisited" della ezz-thetics, prodotta da Werner Uehlinger, ha raggiunto ormai un cospicuo numero di CD, tale da costituire un effettivo e riassuntivo corpo sonoro, a disposizione per ri-sistematizzare la storia del jazz d'avanguardia degli anni Sessanta del secolo scorso. Certe edizioni però sono più importanti di altre, nel senso che meritavano sul serio una ristampa (molti titoli invece continuano ad esseere facilmente reperibili nelle edizioni originali...). È il caso di queste due opere del sassofonista Joe ...
read moreJoe Harriott: Swings High
by Chris May
Like many players who are primarily thought of as “experimental" and/or “free form"—and virtually all of the best of them--the Jamaican-born, later London-based alto saxophonist Joe Harriott was also a master of straight four/four jazz and Great American Songbook balladry. Yet in 2022, Harriott (1928-1973) is almost exclusively remembered either for his adventures in Indo-jazz fusion with the violinist John Mayer and, separately, guitarist Amancio D'Silva, or his own harmolodic-esque, but not Ornette Coleman-beholden, albums such as Free Form (Jazzland, ...
read moreJoe Harriott: Free Form & Abstract Revisited
by Mark Corroto
Call it partisanship or maybe musical chauvinism, but North American audiences have traditionally had little appreciation for jazz musicians from the United Kingdom or, for that matter, Europe. Rewind back to 1961, and explain why Americans were not hip to the Joe Harriott Quintet? His two releases, Free Form, released in 1961, and Abstract, in 1963, if released by an American artist would have been held in the same regard as the music of Sonny Rollins or Ornette Coleman. That ...
read moreJoe Harriott Quintet: Free Form & Abstract Revisited
by Chris May
A tiny island, Jamaica has punched far above its weight musically. Dub and reggae are the primary manifestations, but the island has also produced a disproportionately large number of notable jazz musicians, many of whom left during the late 1940s and 1950s to relocate to Britain, Jamaica's so-called mother country during the colonial era. Alto saxophonist Joe Harriott moved to London in 1951. Other early arrivals included flautist Harold McNair, tenor saxophonist Wilton Gaynair, trumpeters Dizzy Reece and Eddie Thornton, ...
read moreColeridge Goode: 100 Not Out!
by Duncan Heining
To celebrate the 100th birthday of Jamaican-born bassist Coleridge Goode, All About Jazz publishes Duncan Heining's 2012 interview with Goode. A remarkable man and musician, the bassist connects aspects of British jazz from the 1930s through the war years and on through the fifties, sixties and seventies. He played with Caribbean-born and black British jazz pioneers like guitarists Lauderic Caton and Laurie Deniz, with violinist Stéphane Grappelli and bandleaders Tito Burns and Johnny Claes. His most significant and innovative work ...
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