Billy Harper

There are two kinds of people.

Those who love Billy Harper,

and those who haven't heard him yet.

– Miles Willis, Jazz Radio Broadcaster

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BILLY HARPER QUINTET THRILLS EUROPEAN AUDIENCES:

Jazzwise

By Kevin Le Gendre

"This one features nobody in particular!” No sooner had the wordspassed Billy Harper’s lips than raucous laughter erupts around Ronnie Scott’s. The tenor saxophonist theatrically lowered his voice to a gruff drawl in imitation of Art Blakey, leader of The Jazz Messengers, of which Harper was a member in the late 1960s. A moment of levity it may be but the reference is hugely significant insofar as it underlines Harper’s role as a living link to one of the key architects of modern jazz.

In a brief Q&A with the audience Harper, a sprightly 82 year-old, also

mentioned his time with Lee Morgan, Max Roach and Thad Jones-Mel Lewis

Orchestra with which he appeared at Ronnie’s back in 1973. But the present is just as valid as the past and this sold-out show gives credence to the claim that Harper is a draw in his own right. Leading a fine multi-generational quintet –pianist Francesca Tanksley, drummer Aaron Scott, double bassist Dezron Douglas and trumpeter Freddie Hendrix – Harper, clad in a long black leather tunic, excels for the intelligent beauty of his improvising while his original material marks him out as a modern day composer deserving of greater recognition.

Mid- and up-tempo pieces such as first set opener ‘Illumination’, and second set closer ‘Insight’, show how he has taken hard bop, with its propulsive swing and bluesy riffing, and given it a wholly personal imprint. Harper’s themes are intensely lyrical, often with a gospel undercurrent that steers clear of righteous cliché. ‘Croquet Ballet’, which he recorded with Morgan, is a noble lament that floats on a 6-beat pulse, eliciting a yearning solo from Harper while ‘Trying To Get Ready’ seriously ups the ante, with a brash, fiery Hendrix loosely in Morgan mode. Houston-born Harper’s improvisations blend a Texas tenor muscularity with a post-Trane agility, yet what he does on ‘Priestess’ is memorable.

Rather than use the deeply romantic theme as a launchpad for harmonic

trickery Harper plays a series of concise, pert melodic variations, volleys of staccato two, three and four note phrases built on small rather than large intervals, and it feels as if he is whispering in our ears, creating a form of spiritual jazz drawn from but nonetheless existing outside of Trane’s sphere.

The result is emotional intimacy born of musical maturity. The sense of

measure also marks ‘Thoughts And Slow Actions’, a sensitive duet between

Harper and Tanksley, which again is a triumph of focus and economy. One of Blakey’s most meaningful edicts – “Don’t hide behind technique!”– may well live in the saxophonist’s subconscious.

Oberösterreichische Nachrichten

- written by Christoph Haunschmid

Concert Review: Charming, Elegant, and Full of Energy

Jazz Legend Billy Harper (left) and Trumpeter Freddie Hendrix

Image: Reinhard Winkler

Brucknerhaus: Billy Harper thrilled the audience with his quintet in a sold-out Middle Hall.

The term legend is often used in jazz. However, few truly deserve this title as much as 82-year-old tenor saxophonist Billy Harper. With his classically arranged quintet, Harper celebrated a tremendous success on Sunday evening in the packed Middle Hall of the Brucknerhaus.

Joining him were Freddie Hendrix on trumpet, Francesca Tanksley on piano, bassist Dezron Douglas, and Aaron Scott on drums. Together, they embody a timeless jazz style rooted in the spirituality and energy of the 1960s, still as powerful and relevant as ever.

In the roughly 90-minute performance, just six pieces found space—each a Harper original, extensively explored by the quintet. The spiritual "Priestess" was truly wonderful, the ballad "Thoughts and Slow Actions" delicate and melancholic, and the closing piece, "Insight," bold and energetic, featuring a fiery drum solo by Aaron Scott. Apart from some initial sound issues, it was a highly successful evening.

Harper is an artist who has nothing left to prove. His tenor saxophone playing is restrained, calm, and elegant. In contrast, trumpeter Freddie Hendrix is virtuosic, crystal-clear, and imaginative—placing him in the ranks of greats like Lee Morgan or Freddie Hubbard. The rhythm section weaves a rich sonic tapestry upon which the brass instruments dance brilliantly. Pianist Francesca Tanksley also shines as a powerful soloist.

Passauer Neue Presse

By Regina Kremsreiter

Until shortly before the concert began, jazz fans waited patiently in front of the box office in the café museum, hoping for remaining tickets for the billy harper quintet concert, which had been sold out for days. No wonder, because it was the first european tour in decades, which took the famous quintet to london, paris, munich, vienna and passau.

Billy Harper is considered a living legend on the tenor saxophone and one of the last great, still active musicians from the heyday of jazz in the 1960s. His musical home is the music of John Coltrane, with a large portion of Texas blues. With his powerful, emotional playing and his charismatic appearance, Harper won the hearts of the audience in the first few minutes. His 82 years were not noticeable for a second.

Full of exuberant energy and virtuosity, he led the quintet, which thrilled the audience with its enormous sound volume. Freddie Hendrix on trumpet, who is one of the most sought-after jazz trumpeters of the present, also made a significant contribution to this. His warm, full tone and exciting improvisations brought the audience to cheers.

Bassist Dezron Douglas, who embodies the sound of the blues excellently, and the witty and creative drummer Aaron Scott also mastered the demanding task of doing justice to Harper's music effortlessly and carefree.

The Munich-raised pianist Francesca Tanksley lives in New York and teaches in Berkley, the most important jazz school in the world. She has been the group's pianist for 40 years. The deep harmony of her interaction with Billy Harper was palpable when the two played Harper's ballad "Thoughts And Slow Actions" in such an intimate and touching way that the audience fell silent for a while.

It should not go unmentioned that the musicians were also blown away by the outstanding mood and special atmosphere at this small club concert.

There will hardly be anyone in the audience who does not remember the energy of this special evening. A great moment for the Café Museum Jazz Club!