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In the global jazz community, drummer Harris Eisenstadt has spiraled to prominence via his technical capacities and insightful compositional prowess via large and small ensembles. His musicality supersedes that of most drummers, where he takes a holistic approach to variable tangents and architectures. With his September trio, armed with an equally prominent support system, Eisenstadt charts the mood or biorhythms of September, 2010, capturing and propagating a broad plane of sentiment, executed at either slow or medium-tempo processions.
"September 1," the album opener, elicits meditations of a late-night vibe, treated by a tepid breeze. Here, tenor sax titan Ellery Eskelin incorporates semi-free blues choruses atop the leader's sensitive drumming, spiced with a motivational type force. Angelica Sanchez' cyclical and sometimes fragmented piano phrasings offer a circular perimeter indented with jagged edges.
The trio generates a lightly buoyant plot that may emanate from an inspirational fact or idea, with Eisenstadt dancing and darting across the kit to accentuate Eskelin's yearning notes amid a spirited discussion. "September 1" is an impressionistic piece, funneled through the looking glass of art.
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me. Try as I might, I was never able to achieve a high enough level of competency to perform at the level I was first and subsequently exposed to. Regardless, I was hooked on jazz and remain so to this day.