JAN HARBECK QUARTET - The Sound, The Rhythm
STUNT RECORDS STUCD 19022
Jan Harbeck (ts); Henrik Gunde (p); Eske Norrelykke (b); Anders Holm, Morton Aero(d); Jan zum Vohrde (as)
The Village Recording, Denmark - November 7th& 8th 2018
Harbeck’s quartet is in the laid back, slow ballads and blues style throughout this programme. As in his title he is mainly concerned with the sound of his instrument and the rhythm of his quartet. The opening selection Lighter shades is a slowly flowing exercise for tenor sax and piano, the leader’s instrument soft focus and rhapsodic meshed together with his pianist’s more percussive but ultimately gentle sound. It is a slow but hypnotic ballad for two with the rhythm section providing unobtrusive support in the background. Johnny Come Lately ups the tempo slightly but it is still an exercise for easy swing and melody. Harbeck’s main inspiration, as he recalls in the liner notes, was Ben Webster and there is a lot of Ben to be heard in this selection. Four compositions are by Webster and they are simple blues lines that suit Harbeck’s style ideally. On two, he is joined by both drummers who work well together to integrate into the music as Harbeck fashions breathy tenor lines. As he does again on Blues Cresendo, a medium tempo romp for tenor sax and rhythm.
On I’d Be There, a quiet ballad by Webster, Harbeck links up with Jan zum Vohrde on alto sax and the two swap choruses against a free- flowing rhythm. Most of this session focuses on breathy, Webster style tenor sax and the chime like quality of pianist Gunde. These two have worked together frequently and it shows in their playing. There are no fireworks here and not much up tempo but an enjoyable set of ballads and blues by a highly compatible quartet.
Reviewed by Derek Ansell
STUNT RECORDS STUCD 19022
Jan Harbeck (ts); Henrik Gunde (p); Eske Norrelykke (b); Anders Holm, Morton Aero(d); Jan zum Vohrde (as)
The Village Recording, Denmark - November 7th& 8th 2018
Harbeck’s quartet is in the laid back, slow ballads and blues style throughout this programme. As in his title he is mainly concerned with the sound of his instrument and the rhythm of his quartet. The opening selection Lighter shades is a slowly flowing exercise for tenor sax and piano, the leader’s instrument soft focus and rhapsodic meshed together with his pianist’s more percussive but ultimately gentle sound. It is a slow but hypnotic ballad for two with the rhythm section providing unobtrusive support in the background. Johnny Come Lately ups the tempo slightly but it is still an exercise for easy swing and melody. Harbeck’s main inspiration, as he recalls in the liner notes, was Ben Webster and there is a lot of Ben to be heard in this selection. Four compositions are by Webster and they are simple blues lines that suit Harbeck’s style ideally. On two, he is joined by both drummers who work well together to integrate into the music as Harbeck fashions breathy tenor lines. As he does again on Blues Cresendo, a medium tempo romp for tenor sax and rhythm.
On I’d Be There, a quiet ballad by Webster, Harbeck links up with Jan zum Vohrde on alto sax and the two swap choruses against a free- flowing rhythm. Most of this session focuses on breathy, Webster style tenor sax and the chime like quality of pianist Gunde. These two have worked together frequently and it shows in their playing. There are no fireworks here and not much up tempo but an enjoyable set of ballads and blues by a highly compatible quartet.
Reviewed by Derek Ansell
