Understandably, much has been made of Joe Harriott’s freer period of the early 1960s, but here it’s put in context with the inclusion of the slightly earlier Southern Horizons, which was released by Jazzland (JLP37), as was Free Form (JLP49), and six quartet tracks from 1955 (Nixa NJE1003) and 1956 (only later issued on Gearbox in 2011).
The early material shows the influence Charlie Parker had on Harriott’s playing – of course he wasn’t alone in that – and Southern Horizons, whilst still under the shadow of the Americans, was of the highest calibre, as testified by Senor Blues, with strong contributions by all, especially trumpeter Hank Shaw and pianist Harry South. But this was all to change as the distinct transition quickly came, although independently of the new direction Ornette Coleman was taking, to which Harriott’s music was to be compared. Listening now, it’s hard to imagine that it was considered outré in its day, but importantly it was to shape subsequent jazz in the UK.
Although both Abstract and Free Form have been described as essentially ensemble playing (the relationship between the musicians and their interplay was close and followed compositional forms), there are plenty of solos, not only from Harriott but also from pianist Pat Smythe, who with the leader seems to control the direction the music goes, its ebbs and flows.
The variation of abstraction, regular rhythm and conventional changes in each piece is brought together fluently – Formation, Subject and Idioms are perfect examples of this; Shadows has an air of mystery and fragmentation, whereas Modal is straightforward by comparison. Oleo is a wonderfully different take on Rollins’ original.
Each player gives their individual response, Harriott a mixture of emotion – exciting one moment, haunting the next, the blues never far away – and Shake Keane’s horn bright and clear-toned, with rapid-fire runs. Bassist Coleridge Goode maintains the blues-inflected grounding and at times Smythe’s playing takes on the quirkiness and style of Dick Twardzik, noticeably on Formation and Parallel. The drum seat is shared by Bobby Orr or Phil Seamen, the latter duetting with Frank Holder on Compound.
Although some of this has been available as a Proper box set and on Fresh Sounds, it is a welcome addition, essential listening.
Discography
CD1: (1) Subject; Shadows; Oleo; Modal; (2) Tonal; Pictures; Idioms; Compound; (3) Still Goofin’; Count Twelve; Senor Blues; Jumpin’ With Joe; (4) Southern Horizons; Caravan; (3) Liggin’ (78.37)
CD2: (3) You Go To My Head; Tuesday Morning Swing; (5) Formation; Coda; Abstract; Impression; Parallel; Straight Lines; Calypso; Tempo; (6) Just Goofin’; Everything Happens To Me; Just Friends; Joe’s Blues; (7) Blues Original; My Heart Belongs To Daddy (76.51)
Harriott (as) with
(1) Shake Keane (t, flh); Pat Smythe (p); Coleridge Goode (b); Bobby Orr (d). London, 5 October 1962.
(2) Phil Seamen (d) replaces Orr; Frank Holder (bgo). London, 22 November 1961.
(3) Hank Shaw (t); Harry South (p); Goode (b); Orr (d). London, 5 May 1959.
(4) add Holder (bgo). London, April 1960.
(5) Keane (t, flh); Smythe (p); Goode (b); Seamen (d). London, 23 & 30 November 1960.
(6) Max Harris (p); Lennie Bush (b); Seamen (d). London, 24 August 1955.
(7) Johnny Weed (p); Major Holley (b); Seamen (d). London, 6 July 1956.
Poll Winners Records 27320
