Donald Harrison

Playing in front of an invited studio audience, Dr. John is featured with a full-scale jazz ensemble on this 1991 session Funky New Orleans. Alto saxophonist Donald Harrison Jr. is the leader of the date, which allows Dr. John to concentrate not only on piano and vocals but also his guitar playing. A hand full of Mac Rebennack and Harrison originals are mixed with the dirty blues of "Shave em Dry" and a nod to Professor Longhair and Earl King on "Big Chief." Also, two instrumental straight-ahead jazz pieces are explored on "Hu-Ta-Nay" and "Walkin Home." This really isn't a Dr. John recording as much as an honest portrayal of these (mainly) New Orleans musicians in an extremely loose and funky setting. Recommended and available on the budget Metro label.

Trumpet legend Dr. Eddie Henderson celebrates the 50th anniversary of his debut album with a stunning new recording, WITNESS TO HISTORY, reflecting on his musical evolution with pianist George Cables, saxophonist Donald Harrison, bassist Gerald Cannon and drummers Lenny White and Mike Clark.

Alto saxophonist Donald Harrison explores another area of his New Orleans heritage, the music of the Mardi Gras "Indians." His solos are more bluesy and R&B-flavored, while the supporting cast includes Dr. John on piano, along with Cyrus Chestnut, drummer Carl Allen, bassist Phil Bowler, percussionists Bruce Cox and Howard Smiley Ricks, and Harrison's father on vocals.

Donald Harrison - Nouveau Swing (1997) {Impulse! IMPD-209}
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© 1997 Impulse! / GRP Records | IMPD-209
Jazz / Post Bop / Saxophone

On his Impulse! Records debut, Donald Harrison mixes his usual straight-ahead work with rhythmic elements from tropical climates. Albert Wonsey plays appropriate piano on all tracks, though Harrison employs two different rhythm sections, Christian McBride and Carl Allen for the more conventional tunes and Ruben Rogers and Dion Parson for the others. The others include "Bob Marley," twhich borrows its rhythmic feel from such later Marley songs as "Exodus"; "Little Flowers," which also has a Caribbean lilt; "Septembro," the requisite samba; and "Duck's Groove," the requisite New Orleans second-line number.

Donald Harrison - Free To Be (1999) {Impulse! IMPD-283}
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© 1999 Impulse! / GRP Records | IMPD-283
Jazz / Post Bop / Saxophone

On his second album for Impulse!, recorded August 18-September 24, 1998, Donald Harrison continues to proselytize for what he called "nouveau swing" on his first date for the label, even going so far as to sing/rap an explanation of his concept in "Nouveau Swing (Reprise)." Essentially, what he seems to mean by the term is that, within an acoustic quartet setting, he intends to introduce elements of a number of musical genres, for example covering the Meters' funk anthem "Cissy Strut" and having drummer John Lamkin use a reggae feel for "Softly, As in a Morning Sunrise," the Sigmund Romberg standard he previously recorded on For Art's Sake.

Donald Harrison - Spirits Of Congo Square (2000) {Candid CCD 79759 rec 1996}
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© 1996, 2000 Candid | CCD 79759
Jazz / Post Bop / New Orleans Legacy Ensemble / Saxophone

Altoist Donald Harrison's disc utilizes New Orleans parade rhythms on all of the selections, even while most of the solos (until the final three numbers) are more hard bop than New Orleans jazz. John O'Neal verbally pays tribute to the rhythms on the opening "And How That Rhythm." The other selections include an augmented bop blues ("Two Way Pocky Way"), the tricky "Don't Drink the Water," Thelonious Monk's "Bye-Ya," a pair of Freddie Hubbard tunes well worth reviving ("Crisis" and "Bob's Place"), Sonny Rollins' "Oleo," and the catchy "Spirits of Congo Square."

Donald Harrison - Free Style (2002) {Nagel Heyer 2059 rel 2004}
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© 2002, 2004 Nagel Heyer Records | nagel heyer 2059
Jazz / Post Bop / Saxophone

Donald Harrison plays quite well throughout this set, displaying a distinctive tone and a consistently creative style within the genre of straight-ahead jazz. All but the last two selections feature him accompanied by bassist Vicente Archer and drummer John Lamkin, both of whom stay very much in the background, often playing repetitive and somewhat dull figures. Pianist Glenn Patscha is on three numbers without making an impression, while the final two songs have Harrison joined by Ron Carter and Billy Cobham.

This Is Jazz represents the third collaboration for the Harrison/Carter/Cobham trio. Heroes (2004) and New York Cool: Live At The Blue Note (2005) were acclaimed releases, and established a chemistry among these veterans. Their first encounter was on 2002’s Art Of Four.

Donald Harrison, who gained his initial recognition in the 1980s when he was with Art Blakey's Jazz Messengers and co-led a band with Terence Blanchard, has continued growing and evolving ever since that time. Though underrated, he is currently at the peak of his powers. Harrison worked with bassist Ron Carter, drummer Billy Cobham, and pianist James Williams in a 2002 quartet called the Art of Four. He reunites with Carter and Cobham for five selections on Heroes and also engages in three duets with the bassist. This CD is one of Donald Harrison's most rewarding showcases to date and is highly recommended.

The second recording co-led by trumpeter Terence Blanchard and altoist Donald Harrison (both of whom had become stars with Art Blakey's Jazz Messengers) mixes together the influences of New Orleans (they even perform a somber version of "When The Saints Go Marching In"), hard bop and the avant-garde. With pianist Mulgrew Miller, bassist Phil Bowler and the colorful drummer Ralph Peterson, Jr. making strong contributions, the quintet performs spirited renditions of four Blanchard originals, two Harrison songs, "The Saints" and the ballad "When I Fall In Love."