One of the most popular soul jazz albums of all time, and one of the best, although Harris (and trumpeter Benny Bailey) had never played or rehearsed with the Les McCann Trio before, and indeed wasn't even given the music. Perhaps that's what sparked the spontaneous funk coming through clearly on the tape of this show, recorded at the Montreux Festival in 1969. It's actually much more of a showcase for McCann than Harris, although the tenor saxist's contributions are significant. The sole vocal, a version of Gene McDaniels' "Compared to What," remains McCann's signature tune.
This musician is simultaneously world-famous and unknown. The label Atlantic periodically re-released the recording of a very special concert he took part in and everybody who is somehow interested in jazz, even if only on it's fringes, most probably has listened to at least one of the numbers performed by the saxophonist Eddie Harris. On 21 June 1969, he met with singer and pianist Les McCann on stage of the old casino of Montreux to unleash what can only be described as a firework of music, hardly ever experienced by the jazz community before. Situated somewhere between jazz, funk and soul, McCann and Eddie Harris actually create (this is no exaggeration!) something like a new style; and Compared to what, Les McCann´s spectacular song oscillating between black consciousness and the civil rights rhetoric, became the hymn of this movement.
Eddie Harris and Les McCann's Second Movement is the second and last duet recording by Harris and McCann, and the follow-up to their 1969 "live" recording Swiss Movement. It is among the series from Label M which launched its reissue series from the Atlantic Records' archives in November 2000. The tenor saxophonist and the vocalist and pianist display their brand of showmanship and musicality that rivaled such great pairings as Johnny Griffin and Eddie "Lockjaw" Davis, Shirley Scott and Stanley Turrentine, or Sonny Stitt and Gene Ammons. This CD is a soul/jazz funk workout and features great technology that emphasizes one of their best songs, "Shorty Rides Again.
The Atlantic Jazz series continues with this slice of mostly '60s jazz-soul treats. Fittingly, the 11-track disc includes a side by one of the prime progenitors of soul, Ray Charles: He and MJQ vibraphonist, Milt Jackson, stretch out on the canonized "How Long Blues." Further expounding on the soul-jazz trajectory, the collection spotlights work by organist Shirley Scott (the Aretha Franklin hit "Think"), Les McCann and Eddie Harris (their classic Montreux Festival cut "Compared to What"), Yusef Lateef ("Russell and Elliot"), and Hank Crawford ("You're the One"). And there's even a bit of boogaloo-enhanced bossa, compliments of trumpeter Nat Adderley ("Jive Samba"). The soundtrack to your next retro-cool shindig.
Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic.
Features 24 bit remastering and comes with a mini-description. Sweet silver cycles from Eddie Harris – a wonderful late 60s album that features lots of lines on the electrified Varitone saxophone, mixed with cool contributions from a shifting lineup of soulful musicians! The set's one of Eddie's real classics from the Atlantic years – completely inventive, but never in a gimmicky way – and a really great bridge between late 60s modes of funk, jazz, and soul – at the same level he'd serve up more famously in his collaborations with Les McCann! There's a lot of that same energy here, but the vibe is even tighter – and Harris really blows us away with his great arrangements, which get a slight bit of help from Arif Mardin. Other players include Melvin Jackson on bass, Seldon Powell on reeds, and Joe Zawinul on keyboards.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A great later date from Eddie Harris – only a trio set, but one that often has all the full, soulful currents of some of the reedman's 70s material for Atlantic Records! Eddie plays piano and trumpet in addition to his usual tenor – and often does so at the same time, thanks to the magic of overdub – which also allows Harris to vocalize a bit next to his instrumental passages, with this very cool sound that's both an extension of the vocalizations he'd begun with Les McCann, but also some more familiar jazz singing as well.