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When I go to hear saxophone wizard Eddie Harris, I love to watch him from the middle of the room on back. You don't have to sit too far away--25 or 30 feet works fine--before his fingers seem to stop still on even the fastest passages, as if they had become the appendages of a fantastically musical statue. Harris looks as if he's hardly playing because, like the best-trained classical saxophonists, he enjoys such economy of motion in his technique; and you won't find much wasted energy in the rest of his often overlooked musical ethos either. Harris employs this same pinpoint targeting in his choice of notes and the contours of his improvisations, and also in his clipped phrasing: he usually sounds as if he's played one note less (rather than two notes more) than needed. You can hear economy even in his instantly recognizable tone, which is focused and narrow, containing always a trace of the yearning falsetto love cry that distinguishes the soul music of the 60s, yet proving surprisingly versatile on everything from the funkiest vamp to the tenderest ballad. Harris's majestic virtuosity and unerring (if unorthodox) swing often get lost in the shuffle of his hit 1969 recording Compared to What, but he remains one of the great treasures among living saxophonists. He'll appear in the Jazz Institute of Chicago's tribute to his former teacher, the legendary Chicago bandmaster Captain Walter Dyett, who in a three-decade tenure at DuSable High School shaped the saxophone sounds of (among others) Von Freeman, Johnny Griffin, Clifford Jordan, Gene Ammons, Joseph Jarman, and Henry Threadgill. In addition Dyett taught and influenced Nat King Cole, Dinah Washington, trombonist Julian Priester, bassists Wilbur Ware and Richard Davis, and all of those joining Harris for this concert: altoist Jimmy Ellis, trumpeter Paul Serrano, pianist Jodie Christian, bassist Betty Dupree, and drummer Wilbur Campbell. Saturday, 8 PM, DuSable Museum of African American History, 740 E. 56th Pl.; 947-0600.

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