187

Harris Eisenstadt: The All Seeing Eye + Octets

Kurt Gottschalk By

Sign in to view read count
Harris Eisenstadt: The All Seeing Eye + Octets
It's a bold few decisions Harris Eisenstadt makes The All-Seeing Eye + Octets. He starts it off by covering the whole of Wayne Shorter's The All Seeing Eye (Blue Note, 1965), but arranges it for new instrumentation and then pairs that with two suites of his own. It's the sort of thing you'd better know you can pull off if you're going to try.

Fortunately, Eisenstadt does. He reworks Shorter's septet considerably. The original Blue Note session was an all-star, horn-driven band: Shorter and James Spaulding on saxophones, Freddie Hubbard on trumpet and flugelhorn and Grachan Moncur III on trombone (with brother Alan Shorter joining in on flugelhorn for the final piece, his own composition "Mephistopheles ), backed by pianist Herbie Hancock, bassist Ron Carter and drummer Joe Chambers.

It is very much a composed suite, and so individual voices don't stand to be acknowledged the way a reworking of, say, John Coltrane's Ascension (Impulse!, 1965) or Eric Dolphy's Out to Lunch (Blue Note, 1964) might demand. But Eisenstadt takes his arrangement further from the original by setting it for two clarinets, bassoon, trumpet, vibes and drums. Interestingly, the trumpet is the only instrument that remains from the front line. In the notes for the original album Shorter is quoted as saying that Hubbard "was essential...for those top notes in ensemble passages. The trumpet retains a leading role here, voiced by Daniel Rosenbloom.

Eisenstadt's take, however, doesn't stray too far from Shorter's own recording. It clocks in at about ten minutes under the original and the woodwinds and vibes give it a different tone, but the feeling remains the same. It's a well-done, reverential take on 1960s open jazz composition.

Having assembled a group to record in Los Angeles, Eisenstadt didn't want to leave it at the one project, so, the drummer arranged two big band suites of his own—"Without Roots and "What We Were Told, each running just over fifteen minutes. And, just as Shorter added another horn to close out his record, Eisenstadt adds a second trumpet for his. The playing is, perhaps, a little more lively, the pieces unsurprisingly more modern, but they work well with the first half of the disc. A bold move, yes, but one that speaks well for Eisenstadt as a composer and bandleader.

Track Listing

The All-Seeing Eye; Genesis; Chaos; Face of the Deep; Mephistopheles; Without Roots I; Without Roots II; Without Roots III; What We Were Told I; What We Were Told II; What We Were Told III.

Personnel

Harris Eisenstadt: drums; Daniel Rosenboom: trumpet; Sara Schoenbeck: bassoon; Brian Walsh: clarinet (1, 3), bass clarinet (2, 4-11); Andrew Plask: clarinet (2, 4-11), bass clarinet (1, 3); Chris Dingman: vibraphone; Scott Walton: acoustic bass; Aaron Smith: trumpet (6-11); Marc Lowenstein: conductor (6-11).

Album information

Title: The All Seeing Eye + Octets | Year Released: 2007 | Record Label: Poo-Bah Records

Post a comment about this album

Tags

View events near New York City
Jazz Near New York City
Events Guide | Venue Guide | Get App | More...

Shop Amazon

More

All About Jazz needs your support

Donate
All About Jazz & Jazz Near You were built to promote jazz music: both recorded and live events. We rely primarily on venues, festivals and musicians to promote their events through our platform. With club closures, shelter in place and an uncertain future, we've pivoted our platform to collect, promote and broadcast livestream concerts to support our jazz musician friends. This is a significant but neccesary effort that will help musicians now, and in the future. You can help offset the cost of this essential undertaking by making a donation today. In return, we'll deliver an ad-free experience (which includes hiding the bottom right video ad). Thank you.

Get more of a good thing

Our weekly newsletter highlights our top stories and includes your local jazz events calendar.