Tom Harrell

[king ubu]

Saw Tom Harrell and his band last night, playing a small club here in Zurich. He had Wayne Escofferey on slightly too quick-fingered tenor, Ugonna Okegwo on bass, and the *great* Jonathan Blake happily caressing and bashing his drums. The pianist, Danny Grissett, I didn't like that much...

Anyway, Harrell is tough to watch. I knew that since I've seen him before, about 5-6 years ago, in a devastating festival appearance with a larger band (trombone and two saxes). Compared to that night, he was in a better mood and turning in some good solos, occasionally. His tunes sound fairly complicated and/or complex, melodically and rhythmically, and of course Escofferey handled all of them easily - he is monstrously competent... I enjoyed him a lot some time ago with the Mingus BB (Stubblefield was still there, that night, but he remained seated and looked very tired, just played one - terrific! - solo), but in this context, alongside Harrell, he sounded too mainstream, too fast, not edgy enough. Anyway, I do assume it's what Harrell needs: a band that plays his stuff, regardless if he has adjusted his microphone, wetted his lip, chosen between flugel and trumpet or whatever, in time before his solo starts... so, the band just *has* to be there, and in comparison to Harrell himself, they sounded too streamline-ish, if that makes sense.

On about half of the tunes, Harrell didn't really get started, he joined the theme presentation too late or missed it entirely, fumbling around after he counted the band off, and offered some disjointed solos, but on a few tunes, he really got going, and that was worth it! He did "Darn that Dream" in duo with Okegwo who laid it out beautifully for Harrell, rolled out a red carpet, but Harrell refused to take it, so Okegwo just continued, smiling, until Harrell finally thought it was his time now, and his sound and what he did with this tune was so stunningly beautiful! His lines are so full of harmonies, he is able to outline the whole song. That was in the second set, and as the band (except for Okegwo) left the stage before it, Harrell left, too, and had to be brought back to the stage by a lady who seems to take care of him. After that, the concert ended on what I assume is an original by Harrell, where he really caught fire, and Blake blew our brains out, really building up a storm, but always very, very musical, always melodic.

In the first set, one of the most astonishing moments was when they did Monk's "Rhyhtm-A-Ning" - Harrell's solos was disjointed in a good way, nicely fitting with the tune, but after 3 or 4 minutes of soloing he either hit a dead spot, or he was in Nirvana, just rhythmically playing the same few notes again and again...

The first set ended with a beautiful rendition of "Autumn Leaves", where Tom was for a long time accompanied by just piano and bass. His sound on flugelhorn is so warm, so soft...

I did ask myself about a few things afterwards, one being why he has the full band with him, the other being why he writes those difficult tunes when his own performance on the standards was so beautiful, while on his own songs, he had trouble getting started or ended his solos in the middle of a chorus... maybe these questions are totally off mark, but still, they went through my head.

So it was an experience of a different kind, but it was very much worth, even though he's a pain to look at, looking as if he was going to bust in tears all of the time. When he has his horn to his lips and is playing and feeling well though, he really opens up and is one of the most beautiful musicians I've yet come to hear.

Here's a nice recent photo:

[robviti]

I did ask myself about a few things afterwards, one being why he has the full band with him, the other being why he writes those difficult tunes when his own performance on the standards was so beautiful, while on his own songs, he had trouble getting started or ended his solos in the middle of a chorus... maybe these questions are totally off mark, but still, they went through my head.

it's helpful to me to separate harrell the composer/arranger from harrell the performer. i think what he hears and puts down on paper is beautiful, intricate, and continually evolving. i don't believe the same can be said of his playing. i've listened to many recordings from the 70s, 80s, and 90s and have really enjoyed his artistry. unfortunately, i haven't come away with the same experience after attending his live performances over the past several years. yes, there are moments of clarity and beauty, but they stand in stark contrast to the sometimes painful periods of disorganization and preoccupation that are caused by his illness and the treatment it requires. it's a tragedy that someone so gifted and so vital should be burdened by a condition that compromises his enormous talents.

[king ubu]

Maybe - I am not familiar with any of his recordings as a leader - his intricate tunes work alright in a studio situation, but it seems from last night's concert he'd be better off playing standards...

He is technically able to pull off his tunes, but it seems like he can't solo over them with anything close to ease - he did achieve that on "Darn that Dream", and probably inspired by it, on the very last tune that followed, too.

But, it occurred to me once or twice, that someone like Woody Shaw - who wrote some nice tunes, himself, too - would have been able to play these more complicated tunes of Harrell's beautifully. Probably that's the tunes he hears, but it's not the ones he playes the best...

[Hot Ptah]

I have experience being around many autistic, schizophrenic, epileptic, and otherwise severely disabled people with neurological problems.

Tom Harrell is brave just to get up on a stage. When I have seen him live I have seen him fighting off the tell-tale signs of a person with a serious neurological problem on the verge of going into a seizure or an out of control agitated episode. I have literally held my breath because I have seen many disabled adults go into blowout episodes moments after behaving just the same as I have observed in Tom onstage. How he keeps it together for the entire concert is beyond me. If he fumbles on some notes--that's nothing--it's amazing that he is literally still standing and still conscious.

Since some nights he is better and is able to play quite well, my perspective is that we have to cut him a lot of slack. He has a very serious illness.

[Eric]

I have experience being around many autistic, schizophrenic, epileptic, and otherwise severely disabled people with neurological problems.

Tom Harrell is brave just to get up on a stage. When I have seen him live I have seen him fighting off the tell-tale signs of a person with a serious neurological problem on the verge of going into a seizure or an out of control agitated episode. I have literally held my breath because I have seen many disabled adults go into blowout episodes moments after behaving just the same as I have observed in Tom onstage. How he keeps it together for the entire concert is beyond me. If he fumbles on some notes--that's nothing--it's amazing that he is literally still standing and still conscious.

Since some nights he is better and is able to play quite well, my perspective is that we have to cut him a lot of slack. He has a very serious illness.

I have seen him three times over the years and find the experience very inspiring.

[sheldonm]

I have also seen him three times (time to get rid of the black leather jacket) and all three times he played well. Two times better than the third where he just seemed very distracted (more than normal for him).

m~

[king ubu]

Mark he did wear a lighter jacket, not a black leather one, so maybe he did get rid of that one?

[Allan Songer]

The pianist, Danny Grissett, I didn't like that much...

Are you KIDDING? Danny Grissett is a great player!! His debut album as a leader on Criss Cross is one of the best releases of the year! I have heard him with Harrell, John Heard, Vincent Herring and the Mingus Big Band and he was ALWAYS stellar. What didn't you like about his playing? I am VERY curious . . .

[fasstrack]

Saw Tom Harrell and his band last night, playing a small club here in Zurich. He had Wayne Escofferey on slightly too quick-fingered tenor, Ugonna Okegwo on bass, and the *great* Jonathan Blake happily caressing and bashing his drums. The pianist, Danny Grissett, I didn't like that much...

Anyway, Harrell is tough to watch. I knew that since I've seen him before, about 5-6 years ago, in a devastating festival appearance with a larger band (trombone and two saxes). Compared to that night, he was in a better mood and turning in some good solos, occasionally. His tunes sound fairly complicated and/or complex, melodically and rhythmically, and of course Escofferey handled all of them easily - he is monstrously competent... I enjoyed him a lot some time ago with the Mingus BB (Stubblefield was still there, that night, but he remained seated and looked very tired, just played one - terrific! - solo), but in this context, alongside Harrell, he sounded too mainstream, too fast, not edgy enough. Anyway, I do assume it's what Harrell needs: a band that plays his stuff, regardless if he has adjusted his microphone, wetted his lip, chosen between flugel and trumpet or whatever, in time before his solo starts... so, the band just *has* to be there, and in comparison to Harrell himself, they sounded too streamline-ish, if that makes sense.

On about half of the tunes, Harrell didn't really get started, he joined the theme presentation too late or missed it entirely, fumbling around after he counted the band off, and offered some disjointed solos, but on a few tunes, he really got going, and that was worth it! He did "Darn that Dream" in duo with Okegwo who laid it out beautifully for Harrell, rolled out a red carpet, but Harrell refused to take it, so Okegwo just continued, smiling, until Harrell finally thought it was his time now, and his sound and what he did with this tune was so stunningly beautiful! His lines are so full of harmonies, he is able to outline the whole song. That was in the second set, and as the band (except for Okegwo) left the stage before it, Harrell left, too, and had to be brought back to the stage by a lady who seems to take care of him. After that, the concert ended on what I assume is an original by Harrell, where he really caught fire, and Blake blew our brains out, really building up a storm, but always very, very musical, always melodic.

In the first set, one of the most astonishing moments was when they did Monk's "Rhyhtm-A-Ning" - Harrell's solos was disjointed in a good way, nicely fitting with the tune, but after 3 or 4 minutes of soloing he either hit a dead spot, or he was in Nirvana, just rhythmically playing the same few notes again and again...

The first set ended with a beautiful rendition of "Autumn Leaves", where Tom was for a long time accompanied by just piano and bass. His sound on flugelhorn is so warm, so soft...

I did ask myself about a few things afterwards, one being why he has the full band with him, the other being why he writes those difficult tunes when his own performance on the standards was so beautiful, while on his own songs, he had trouble getting started or ended his solos in the middle of a chorus... maybe these questions are totally off mark, but still, they went through my head.

So it was an experience of a different kind, but it was very much worth, even though he's a pain to look at, looking as if he was going to bust in tears all of the time. When he has his horn to his lips and is playing and feeling well though, he really opens up and is one of the most beautiful musicians I've yet come to hear.

Here's a nice recent photo:

If this is your honest reflection I can't put it down, BUT: I think you shouldn't be so rough on Tom. You sound frankly like you've come a bit late to the party. That's OK, I suppose. I couldn't tell whether you are a musician or fan, probably fan--which is cool, and you've obviously thought this through somewhat so I'll tell you the following:

I've been following Harrell since the mid-70s when I met him musically and personally (never hung much or played, but from our few very meaningful conversations I got a clear sense of the man---he is thoughtful, caring, and especially hilarious) originally through Bob Mover. Harrell blew everyone away with his trumpet playing then. I mean everyone, especially musicians. We loved him then and now. Ask Phil Woods anytime his opinion of Tom Harrell and be prepared for a heartfelt testimony about a person he adores and considers a giant. He took the best of what was there in the literature from the 40s on and put it in a funnel with his own stuff (a lot of triplets as glue to tie things together, a beautiful melodic sense, the hippest harmony, and perfect structural soloing form) and came up with beautiful, passionate music in so many situations. He seemed to love all of them. I heard him with Ronnie Cuber, Mover, Sam Jones, Mike Nock---just off the top of my head. I know he and Cuber were tearing it up with Bobby Paunetto, playing cumbia and salsa. (Both are on Paunetto's Point---great record). Every trumpet player bowed to him. Even the arrogant Woody Shaw gave it up. (please, no comments on that. I had dealings with him and know whereof I speak. Still love his music, though).

I became aware of his writing somewhere along the line and fell in love with it also. He's a real explorer and writer of memorable melodies. The ones I like and have learned are not complex as you say, but clear as mud. It's all honest, anyway. My favorites remain Open Air; The Water's Edge; Train Shuffle; Sail Away---and the entire album called Stories. They make me feel beautiful and human. I just was cleaning up some and found a composition James Zollar gave me of Tom's from 1972---it's deep.

So having said this and revealing my prejudice and also my knowledge of him I would say that I really have come to admire his courage, but this courage in the face of illness is very overplayed. The schizophrenia thing has become a press angle---and I wish people would shut it out, shut up, look away if his manner bothers them. If they do this they will hear some beautiful music and that's all that should matter. For the record I'm not apologizing for Tom's weird behavior in any way here---it has distressed me too at times through the years, the way you don't want to see someone you revere or love in bad shape. But Tom keeps getting up on the one and keeps creating. And think how much people's perception of him must bother as sensitive a soul as he. But fortunately for us his love of music and desire to honestly go inside, reveal what's there, and communicate on a human level overwhelmes the demons. He's also living proof that music speaks louder than words.

BTW the 'woman who cares for him' is his wife Angela. I know her a bit too. She is really in his corner and a very nice person.

Edited September 26, 2006 by fasstrack

[king ubu]

The pianist, Danny Grissett, I didn't like that much...

Are you KIDDING? Danny Grissett is a great player!! His debut album as a leader on Criss Cross is one of the best releases of the year! I have heard him with Harrell, John Heard, Vincent Herring and the Mingus Big Band and he was ALWAYS stellar. What didn't you like about his playing? I am VERY curious . . .

Hm, he was playing soooooo many notes all of the time... just virtuoso solos with no end. Didn't fit in with Harrell that much. Next to Blake playing terrific solos and reacting and listening all of the time, he was just pale - these same criticisms apply to Escofferey, but he played a very heartfelt solo on "Autumn Leaves", after Harrell had one of his best, beautiful moments.

Maybe I'd have to hear Grissett in a different setting to be able to build an opinion of him - I didn't want to put him down, but that night, in that setting, he simply didn't convince me.

[king ubu]

Saw Tom Harrell and his band last night, playing a small club here in Zurich. He had Wayne Escofferey on slightly too quick-fingered tenor, Ugonna Okegwo on bass, and the *great* Jonathan Blake happily caressing and bashing his drums. The pianist, Danny Grissett, I didn't like that much...

Anyway, Harrell is tough to watch. I knew that since I've seen him before, about 5-6 years ago, in a devastating festival appearance with a larger band (trombone and two saxes). Compared to that night, he was in a better mood and turning in some good solos, occasionally. His tunes sound fairly complicated and/or complex, melodically and rhythmically, and of course Escofferey handled all of them easily - he is monstrously competent... I enjoyed him a lot some time ago with the Mingus BB (Stubblefield was still there, that night, but he remained seated and looked very tired, just played one - terrific! - solo), but in this context, alongside Harrell, he sounded too mainstream, too fast, not edgy enough. Anyway, I do assume it's what Harrell needs: a band that plays his stuff, regardless if he has adjusted his microphone, wetted his lip, chosen between flugel and trumpet or whatever, in time before his solo starts... so, the band just *has* to be there, and in comparison to Harrell himself, they sounded too streamline-ish, if that makes sense.

On about half of the tunes, Harrell didn't really get started, he joined the theme presentation too late or missed it entirely, fumbling around after he counted the band off, and offered some disjointed solos, but on a few tunes, he really got going, and that was worth it! He did "Darn that Dream" in duo with Okegwo who laid it out beautifully for Harrell, rolled out a red carpet, but Harrell refused to take it, so Okegwo just continued, smiling, until Harrell finally thought it was his time now, and his sound and what he did with this tune was so stunningly beautiful! His lines are so full of harmonies, he is able to outline the whole song. That was in the second set, and as the band (except for Okegwo) left the stage before it, Harrell left, too, and had to be brought back to the stage by a lady who seems to take care of him. After that, the concert ended on what I assume is an original by Harrell, where he really caught fire, and Blake blew our brains out, really building up a storm, but always very, very musical, always melodic.

In the first set, one of the most astonishing moments was when they did Monk's "Rhyhtm-A-Ning" - Harrell's solos was disjointed in a good way, nicely fitting with the tune, but after 3 or 4 minutes of soloing he either hit a dead spot, or he was in Nirvana, just rhythmically playing the same few notes again and again...

The first set ended with a beautiful rendition of "Autumn Leaves", where Tom was for a long time accompanied by just piano and bass. His sound on flugelhorn is so warm, so soft...

I did ask myself about a few things afterwards, one being why he has the full band with him, the other being why he writes those difficult tunes when his own performance on the standards was so beautiful, while on his own songs, he had trouble getting started or ended his solos in the middle of a chorus... maybe these questions are totally off mark, but still, they went through my head.

So it was an experience of a different kind, but it was very much worth, even though he's a pain to look at, looking as if he was going to bust in tears all of the time. When he has his horn to his lips and is playing and feeling well though, he really opens up and is one of the most beautiful musicians I've yet come to hear.

Here's a nice recent photo:

If this is your honest reflection I can't put it down, BUT: I think you shouldn't be so rough on Tom. You sound frankly like you've come a bit late to the party. That's OK, I suppose. I couldn't tell whether you are a musician or fan, probably fan--which is cool, and you've obviously thought this through somewhat so I'll tell you the following:

I've been following Harrell since the mid-70s when I met him musically and personally (never hung much or played, but from our few very meaningful conversations I got a clear sense of the man---he is thoughtful, caring, and especially hilarious) originally through Bob Mover. Harrell blew everyone away with his trumpet playing then. I mean everyone, especially musicians. We loved him then and now. Ask Phil Woods anytime his opinion of Tom Harrell and be prepared for a heartfelt testomony about a person he adores and considers a giant. He took the best of what was there in the literature from the 40s on and put it in a funnel with his own stuff (a lot of triplets as glue to tie things together, a beautiful melodic sense, the hippest harmony, and perfect structural soloing form) and came up with beautiful, passionate music in so many situations. He seemed to love all of them. I heard him with Ronnie Cuber, Mover, Sam Jones, Mike Nock---just off the top of my head. I know he and Cuber were tearing it up with Bobby Paunetto, playing cumbia and salsa. (Both are on Paunetto's point---great record). Every trumpet player bowed to him. Even the arrogant Woody Shaw gave it up. (please, no comments on that. I had dealings with him and know whereof I speak. Still love his music, though).

I became aware of his writing somewhere along the line and fell in love with it also. He's a real explorer and writer of memorable melodies. The ones I like and have learned are not complex as you say, but clear as mud. It's all honest, anyway. My favorites remain Open Air; The Water's Edge; Train Shuffle; Sail Away---and the entire album called Stories. They make me feel beautiful and human. I just was cleaning up some and found a composition James Zollar gave me of Tom's from 1972---it's deep.

So having said this and revealing my prejudice and also my knowledge of him I would say that I really have come to admire his courage, but this courage in the face of illness is very overplayed. The schizophrenia thing has become a press angle---and I wish people would shut it out, shut up, look away if his manner bothers them. If they do this they will hear some beautiful music and that's all that should matter. For the record I'm not apologizing for Tom's weird behavior in any way here---it has distressed me too at times through the years, the way you don't want to see someone you revere or love in bad shape. But Tom keeps getting up on the one and keeps creating. And think how much people's perception of him must bother as sensitive a soul as he. But fortunately for us his love of music and desire to honestly go inside, reveal what's there, and communicate on a human level overwhelmes the demons. He's also living proof that music speaks louder than words.

BTW the 'woman who cares for him' is his wife Angela. I know her a bit too. She is really in his corner and a very nice person.

Mainly fan, yes, and born towards the end of the 70s, so obviously I joined late, yes. Nothing I can do for that, and no way anyone can blame me for it, either.

I didn't want to sound as negative as you obviously read my attempt at a review. I have the utmost respect for Tom Harrell, and indeed I do think it's great that he manages to do what he does, to write, to play, to travel. His strange behaviour is not a thing that did bother me too much, but it's just too obvious not to mention. I tell you, the atmosphere in the club he played in (the "Moods", in case you should happen to have been in Zurich) was different from the atmosphere at each other concert I saw there, and that was because the audience felt something about Tom, in whatever way they felt something, and whatever exactly they felt, everybody was aware this was different from all the other nights. And just that alone is not bad, and neither did I want to make it sound bad. It was more a kind of astonishment, that I felt... Anyway, I indeed think it's great that he manages to do what he does, and I admire him for that, and even more so for his music and his trumpet playing.

[fasstrack]

Saw Tom Harrell and his band last night, playing a small club here in Zurich. He had Wayne Escofferey on slightly too quick-fingered tenor, Ugonna Okegwo on bass, and the *great* Jonathan Blake happily caressing and bashing his drums. The pianist, Danny Grissett, I didn't like that much...

Anyway, Harrell is tough to watch. I knew that since I've seen him before, about 5-6 years ago, in a devastating festival appearance with a larger band (trombone and two saxes). Compared to that night, he was in a better mood and turning in some good solos, occasionally. His tunes sound fairly complicated and/or complex, melodically and rhythmically, and of course Escofferey handled all of them easily - he is monstrously competent... I enjoyed him a lot some time ago with the Mingus BB (Stubblefield was still there, that night, but he remained seated and looked very tired, just played one - terrific! - solo), but in this context, alongside Harrell, he sounded too mainstream, too fast, not edgy enough. Anyway, I do assume it's what Harrell needs: a band that plays his stuff, regardless if he has adjusted his microphone, wetted his lip, chosen between flugel and trumpet or whatever, in time before his solo starts... so, the band just *has* to be there, and in comparison to Harrell himself, they sounded too streamline-ish, if that makes sense.

On about half of the tunes, Harrell didn't really get started, he joined the theme presentation too late or missed it entirely, fumbling around after he counted the band off, and offered some disjointed solos, but on a few tunes, he really got going, and that was worth it! He did "Darn that Dream" in duo with Okegwo who laid it out beautifully for Harrell, rolled out a red carpet, but Harrell refused to take it, so Okegwo just continued, smiling, until Harrell finally thought it was his time now, and his sound and what he did with this tune was so stunningly beautiful! His lines are so full of harmonies, he is able to outline the whole song. That was in the second set, and as the band (except for Okegwo) left the stage before it, Harrell left, too, and had to be brought back to the stage by a lady who seems to take care of him. After that, the concert ended on what I assume is an original by Harrell, where he really caught fire, and Blake blew our brains out, really building up a storm, but always very, very musical, always melodic.

In the first set, one of the most astonishing moments was when they did Monk's "Rhyhtm-A-Ning" - Harrell's solos was disjointed in a good way, nicely fitting with the tune, but after 3 or 4 minutes of soloing he either hit a dead spot, or he was in Nirvana, just rhythmically playing the same few notes again and again...

The first set ended with a beautiful rendition of "Autumn Leaves", where Tom was for a long time accompanied by just piano and bass. His sound on flugelhorn is so warm, so soft...

I did ask myself about a few things afterwards, one being why he has the full band with him, the other being why he writes those difficult tunes when his own performance on the standards was so beautiful, while on his own songs, he had trouble getting started or ended his solos in the middle of a chorus... maybe these questions are totally off mark, but still, they went through my head.

So it was an experience of a different kind, but it was very much worth, even though he's a pain to look at, looking as if he was going to bust in tears all of the time. When he has his horn to his lips and is playing and feeling well though, he really opens up and is one of the most beautiful musicians I've yet come to hear.

Here's a nice recent photo:

If this is your honest reflection I can't put it down, BUT: I think you shouldn't be so rough on Tom. You sound frankly like you've come a bit late to the party. That's OK, I suppose. I couldn't tell whether you are a musician or fan, probably fan--which is cool, and you've obviously thought this through somewhat so I'll tell you the following:

I've been following Harrell since the mid-70s when I met him musically and personally (never hung much or played, but from our few very meaningful conversations I got a clear sense of the man---he is thoughtful, caring, and especially hilarious) originally through Bob Mover. Harrell blew everyone away with his trumpet playing then. I mean everyone, especially musicians. We loved him then and now. Ask Phil Woods anytime his opinion of Tom Harrell and be prepared for a heartfelt testomony about a person he adores and considers a giant. He took the best of what was there in the literature from the 40s on and put it in a funnel with his own stuff (a lot of triplets as glue to tie things together, a beautiful melodic sense, the hippest harmony, and perfect structural soloing form) and came up with beautiful, passionate music in so many situations. He seemed to love all of them. I heard him with Ronnie Cuber, Mover, Sam Jones, Mike Nock---just off the top of my head. I know he and Cuber were tearing it up with Bobby Paunetto, playing cumbia and salsa. (Both are on Paunetto's point---great record). Every trumpet player bowed to him. Even the arrogant Woody Shaw gave it up. (please, no comments on that. I had dealings with him and know whereof I speak. Still love his music, though).

I became aware of his writing somewhere along the line and fell in love with it also. He's a real explorer and writer of memorable melodies. The ones I like and have learned are not complex as you say, but clear as mud. It's all honest, anyway. My favorites remain Open Air; The Water's Edge; Train Shuffle; Sail Away---and the entire album called Stories. They make me feel beautiful and human. I just was cleaning up some and found a composition James Zollar gave me of Tom's from 1972---it's deep.

So having said this and revealing my prejudice and also my knowledge of him I would say that I really have come to admire his courage, but this courage in the face of illness is very overplayed. The schizophrenia thing has become a press angle---and I wish people would shut it out, shut up, look away if his manner bothers them. If they do this they will hear some beautiful music and that's all that should matter. For the record I'm not apologizing for Tom's weird behavior in any way here---it has distressed me too at times through the years, the way you don't want to see someone you revere or love in bad shape. But Tom keeps getting up on the one and keeps creating. And think how much people's perception of him must bother as sensitive a soul as he. But fortunately for us his love of music and desire to honestly go inside, reveal what's there, and communicate on a human level overwhelmes the demons. He's also living proof that music speaks louder than words.

BTW the 'woman who cares for him' is his wife Angela. I know her a bit too. She is really in his corner and a very nice person.

Mainly fan, yes, and born towards the end of the 70s, so obviously I joined late, yes. Nothing I can do for that, and no way anyone can blame me for it, either.

I didn't want to sound as negative as you obviously read my attempt at a review. I have the utmost respect for Tom Harrell, and indeed I do think it's great that he manages to do what he does, to write, to play, to travel. His strange behaviour is not a thing that did bother me too much, but it's just too obvious not to mention. I tell you, the atmosphere in the club he played in (the "Moods", in case you should happen to have been in Zurich) was different from the atmosphere at each other concert I saw there, and that was because the audience felt something about Tom, in whatever way they felt something, and whatever exactly they felt, everybody was aware this was different from all the other nights. And just that alone is not bad, and neither did I want to make it sound bad. It was more a kind of astonishment, that I felt... Anyway, I indeed think it's great that he manages to do what he does, and I admire him for that, and even more so for his music and his trumpet playing.

Nah, I didn't think it was unduly negative----just wanted to give the bit of insight I had. Other than that it's just my opinion. I got that you dig Tom from what you wrote. Most people do dig him. He's honest and a great musician---and truth will out. We all know he has a hard time sometimes.

The music speaks loudest.

[kulu se mama]

i wasn't sure wether to post this in this thread or the "little known in print classics," but since this one is newer i thought i would post it here.

i picked up a cd yesterday that i knew nothing about, nor would i have ever known anything about had it not been in the used section.

it's "tres palabras" by larry vuckovich. the band includes tom harrell, pete escovedo, larry grenadier, and eddie marshall. it was released on concord in 1990.

wow! this is a great cd.

it's not even listed in the penguin guide.

it appears to still be in print and tom harrell is terrific throughout.

if you're like me - this cd will come as a total (pleasant) surprise.

[fasstrack]

i wasn't sure wether to post this in this thread or the "little known in print classics," but since this one is newer i thought i would post it here.

i picked up a cd yesterday that i knew nothing about, nor would i have ever known anything about had it not been in the used section.

it's "tres palabras" by larry vuckovich. the band includes tom harrell, pete escovedo, larry grenadier, and eddie marshall. it was released on concord in 1990.

wow! this is a great cd.

it's not even listed in the penguin guide.

it appears to still be in print and tom harrell is terrific throughout.

if you're like me - this cd will come as a total (pleasant) surprise.

Check out City Sounds, Village Noises (or maybe it's the reverse). From '81? Another Vucovich date with Harrell, Marshall, and Charles McPherson in great form. Some of Tom's solos from that are in the first book of his solos by two of Bobby Shew's students.

Another great early date is Mark Levine's Up 'Til Now. Very interesting writing, including some salsa and a ballad feature for Ray Pizzi invoking Hodges and Strays. The title cut is a series of chords, very intersting in their choice, with no melody up front and a gorgeous solo by Tom. He tears it up on this one, from the late 70s, maybe as early as '76.

Edited September 28, 2006 by fasstrack