The All Seeing Eye + Octets
| The All Seeing Eye + Octets | ||||
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| Harris Eisenstadt's studio album | ||||
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| Label (s) | Poo-bah | |||
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CD |
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11 |
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The All Seeing Eye + Octets is a jazz album by Harris Eisenstadt . The recordings, which were made in Los Angeles on July 7, 2006, were released in 2007 on Poo-Bah Records. The All Seeing Eye + Octets is his sixth album under his own name.
background
The album The All Seeing Eye + Octets is Harris Eisenstadt's interpretation of Wayne Shorter's album The All Seeing Eye (Blue Note, 1965). For this purpose, he arranged it for a new instrumentation and then combined it with two of his own suites. The original Blue Note session was an all-star band with Shorter and James Spaulding on saxophones, Freddie Hubbard on trumpet and flugelhorn, and Grachan Moncur III on trombone. Brother Alan Shorter also played the flugelhorn for the last piece, his own composition "Mephistopheles". The winds were supported by a rhythm section made up of pianist Herbie Hancock , bassist Ron Carter and drummer Joe Chambers .
After Eisenstadt put together a group for recording in Los Angeles, he didn't want to leave them on one project, so the drummer arranged two of his own big band suites - "Without Roots" and "What We Were Told", each of which was scarce Take 15 minutes. And as Wayne Shorter added another brass section to complete his record, Eisenstadt added a second trumpet for his production. The game is perhaps a little livelier, the pieces are not surprisingly more modern, wrote Kurt Gottschalk, but they go well with the first half of the disc.
Track list
- Harris Eisenstadt: The All Seeing Eye + Octets
- The All Seeing Eye 7:11
- Genesis 8:26
- Chaos 5:24
- Face of the Deep 5:39
- Mephistopheles 7:00
- Without Roots I 3:54
- Without Roots II 6:04
- Without Roots III 6:31
- What We Were Told I 2:01
- What We Were Told II 5:54
- What We Were Told III 7:50
- The compositions are by Wayne Shorter (1 to 5) and Harris Eisenstadt (6 to 11).
reception
According to Kurt Gottschalk, who reviewed the album in All About Jazz , Eisenstadt revised Shorter's septet recording considerably. It is a very composed suite, and therefore individual voices cannot stand out in the way a revision of John Coltrane's Ascension (Impulse !, 1965) or Eric Dolphy's Out to Lunch (Blue Note, 1964) would require. Eisenstadt's arrangement moved further away from the original by rewriting it for two clarinets, bassoon, trumpet, vibraphone and percussion. Interestingly, the trumpet is the only instrument that remains from the old frontline. The trumpet retains a leading role here, which Daniel Rosenbloom plays. Nevertheless, Eisenstadt's version does not differ too far from Shorter's own recording; Woodwinds and vibraphone give it a different tone, but the feeling remains the same. It is a successful, awesome version of the open jazz composition of the 1960s, says Gottschalk.
Also in All About Jazz , Troy Collins wrote that Eisenstadt had "made a brazen reinterpretation of Wayne Shorter's brooding masterpiece" and was "re-imagining the album's smoldering drama as a seething chamber music concert." Eisenstadt was ambitious and supported the classic album with two long originals -Suites that would combine neoclassical complexity with the emotional immediacy of free jazz and folk forms. Eisenstadt changed the timbres and tone of the original session from 1965 by reorganizing the instrumental palette. Instead of Shorter's deep brass and saxophone, Eisenstadt used a richly colored woodwind trio. The bassoon by Sara Schoenbeck mixes with the clarinets by Andrew Plask and Brian Walsh; Where the original line-up buttered, “fervent expressionism is combined with lyrical precision”. ´
Individual evidence
- ^ A b c Kurt Gottschalk: Harris Eisenstadt: The All Seeing Eye + Octets. AllAbout Jazz, August 18, 2007, accessed May 19, 2020 .
- ^ Troy Collins: Harris Eisenstadt: The All Seeing Eye + Octets. All About Jazz, June 16, 2007, accessed May 15, 2020 .