JOE HARRIOTT - Chronology: Live 1968 - 69
Jazz in Britain JIB 09 M CD
Tracks 1 -5:
Joe Harriott - alto; Kenny Wheeler - trumpet & flugelhorn; Pat Smythe - piano; Ron Mathewson - bass; Bill Eyden - drums
Recorded 4.9.68
Tracks 6,7:
Harry South Big Band
Recorded 23.7. 69
Joe Harriott has been cast in many roles in the story of UK jazz: hero, survivor, unrecognised innovator, neglected artist, victim of racism, forgotten genius, freeform pioneer, questing spirit. Truth in each one. Any recordings of Harriott should be valued. Michael Garrick who played with and recorded with Harriott on many occasions noted that Harriott was one of those people who transmutes their inner turmoil into the external form and order of their art.
Harriott did not have an easy life and was not able to pursue a single path with arrow straight certainty. In searching through his recorded work, you will find many parts that seem like deviations. What, however, is certain that wherever, or whatever, he played his real musical integrity shines through. On this album Harriott plays with Kenny Wheeler and, on two tracks, the Harry South Big Band where his solo time is limited.
The Horace Silver piece ‘Psychedelic Sally’ introduces the piano of Pat Smythe. Smythe is as deserving of wider recognition as Harriott. He is one of those improvising players who involves you in his musical thought processes because he is thinking fresh thoughts, evading cliches.
The last two tracks of the album were recorded by the Harry South Big Band. Harriott emerges from the ensemble to play a searing cascading solo on ‘My Man’s Gone Now’.
‘Chronology’ is, of course, an Ornettr Coleman piece from ‘The Shape of Jazz to Come’. Harriott was often compared to Coleman because both were innovators, in fact they were quite different: Coleman was individualistic, less likely to compromise, whereas Harriott was prepared to work in a variety of situations that informed his eventual vision. Kenny Wheeler’s approach is nothing like Don Cherry, he structures his solo conventionally. Pat Smythe, as he does throughout the session, finds his own mode. Harriott starts tentatively but soon the notes are pouring out with that unique powerful, astringent tone.
The most daring track Is Harriott’s own theme ‘Shadows’. It is startling. It first appeared on the album ‘’Abstract’. This is Harriott at his most innovative, most intense and driven. The theme states the challenge and conventions are ditched for freedom. Wheeler and Smythe find their idiosyncratic ways forward.
The tapes for the first five tracks were sourced from the Ron Mathewson tape archive. You can hear clearly why Mathewson would want to save this work. The powerful bass playing is both musical, supportive and adds depth to the session.
The tragedy of Harriott is that he was not really recognised for his achievements. Michael Garrick wrote’ I love him even more since he died in anguish at the Wessex Radio Therapy Unit in 1971.
Nothing can make up for the neglect and incomprehension that Harriott experienced for most of his life. Albums like this allow us to glimpse Harriott’s musical daring and remind us what was lost.
Once again, thanks are due to Jazz in Britain for interrogating the archives to produce such worthwhile music from the past that enables us to have a more comprehensive picture of Harriott’s work.
NOTE The audio has been specially remastered for CD in response to listener demand. This was one of Jazz in Britain’s first releases. It was originally a vinyl only release which sold out almost immediately.
Reviewed by Jack Kenny
Jazz in Britain JIB 09 M CD
Tracks 1 -5:
Joe Harriott - alto; Kenny Wheeler - trumpet & flugelhorn; Pat Smythe - piano; Ron Mathewson - bass; Bill Eyden - drums
Recorded 4.9.68
Tracks 6,7:
Harry South Big Band
Recorded 23.7. 69
Joe Harriott has been cast in many roles in the story of UK jazz: hero, survivor, unrecognised innovator, neglected artist, victim of racism, forgotten genius, freeform pioneer, questing spirit. Truth in each one. Any recordings of Harriott should be valued. Michael Garrick who played with and recorded with Harriott on many occasions noted that Harriott was one of those people who transmutes their inner turmoil into the external form and order of their art.
Harriott did not have an easy life and was not able to pursue a single path with arrow straight certainty. In searching through his recorded work, you will find many parts that seem like deviations. What, however, is certain that wherever, or whatever, he played his real musical integrity shines through. On this album Harriott plays with Kenny Wheeler and, on two tracks, the Harry South Big Band where his solo time is limited.
The Horace Silver piece ‘Psychedelic Sally’ introduces the piano of Pat Smythe. Smythe is as deserving of wider recognition as Harriott. He is one of those improvising players who involves you in his musical thought processes because he is thinking fresh thoughts, evading cliches.
The last two tracks of the album were recorded by the Harry South Big Band. Harriott emerges from the ensemble to play a searing cascading solo on ‘My Man’s Gone Now’.
‘Chronology’ is, of course, an Ornettr Coleman piece from ‘The Shape of Jazz to Come’. Harriott was often compared to Coleman because both were innovators, in fact they were quite different: Coleman was individualistic, less likely to compromise, whereas Harriott was prepared to work in a variety of situations that informed his eventual vision. Kenny Wheeler’s approach is nothing like Don Cherry, he structures his solo conventionally. Pat Smythe, as he does throughout the session, finds his own mode. Harriott starts tentatively but soon the notes are pouring out with that unique powerful, astringent tone.
The most daring track Is Harriott’s own theme ‘Shadows’. It is startling. It first appeared on the album ‘’Abstract’. This is Harriott at his most innovative, most intense and driven. The theme states the challenge and conventions are ditched for freedom. Wheeler and Smythe find their idiosyncratic ways forward.
The tapes for the first five tracks were sourced from the Ron Mathewson tape archive. You can hear clearly why Mathewson would want to save this work. The powerful bass playing is both musical, supportive and adds depth to the session.
The tragedy of Harriott is that he was not really recognised for his achievements. Michael Garrick wrote’ I love him even more since he died in anguish at the Wessex Radio Therapy Unit in 1971.
Nothing can make up for the neglect and incomprehension that Harriott experienced for most of his life. Albums like this allow us to glimpse Harriott’s musical daring and remind us what was lost.
Once again, thanks are due to Jazz in Britain for interrogating the archives to produce such worthwhile music from the past that enables us to have a more comprehensive picture of Harriott’s work.
NOTE The audio has been specially remastered for CD in response to listener demand. This was one of Jazz in Britain’s first releases. It was originally a vinyl only release which sold out almost immediately.
Reviewed by Jack Kenny
