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23.02.2014
Approximately 23 years ago, Harvie S received a telephone call asking if he would be willing to play bass for a new, young musician performing at the JVC.A  Harvie has always been in demand both here and abroad, and he accepted the offer. The festival went off without a hitch and over the following months, that young musician, pianist Bill Charlap, and Harvie S became friends.A  And as friends and musicians, they did what came naturally, played their instruments, jammed together and explored mutual, musical possibilities. Charlap had introduced Todd Strait (drums) to Harvie and as luck would have it, Harvie had some studio time and suggested they go in and lay down some tracks. Too Late Now is almost an inappropriate title for this Harvie S Trio CD because it is never too late for truly exceptional jazza€¦and that is exactly what this is, exceptional from start to finish.A  It is however, the title song included in the nine tracks of the album. Within the first ten notes of the beginning track, an unbelievably tight, up-tempo Franz Lehar tune, a€?Yours is My Heart Alone,a€? you understand immediately there is something going on beyond piano, bass and drums. Song placement is so important in the ebb and flow of an album, thata€™s why Van Heusena€™s a€?Darn That Dreama€? is a beautiful choice for second position. The sixth spot is one of Harviea€™s own compositions, a€?Take Your Time.a€?A  Anyone that is familiar with Harvie S. An outstanding arrangement of Wayne Shortera€™s a€?Miyakoa€? is stunning with Harvie offering a brilliant solo on bass and Charlap is fantastic throughout.A  John Lewisa€™ a€?Afternoon in Paris,a€? an infrequently performed number is esoteric at first blush, with tasty changes mid-way that has your foot tapping until the ending note. Following his beautifully crafted duet with pianist Kenny Barron, Now Was The Time (High Note, 2009), Cocolamus Bridgefurther cements the extraordinary career of Harvie S.
You dona€™t have to be a bassist to understand how wellA Harvie SA plays, but on the albums Ia€™ve heard him on, the man plays the instrument as if it was the air he breathed.
There is no greater challenge for an established artist than to keep growing and exploring. Dedicated to the memory of his mother, Beatrice, Harviea€™s new Cocolamus Bridge is an enlightening listen start to finish.
Ita€™s always engaging to hear an artist perform his own work, integrating his statements into his group, soloing his messages of emotion, all the while allowing his own band members the freedom to embrace his creativity and share the spotlight.
Discussions regarding what songs to play and a brief rehearsal ensued.A  Then history was made, although they didna€™t realize it at the time.


There are no egos here, just a solid stream of honest interplay between three outstanding musicians.A  And whata€™s even more astounding is the trio sounds like they are seasoned veterans who have been playing together for years, yet their energy and simpatico is so fresh and new. It was, after all, Jordan who all but drove the bassist to play twin to her soaring bebop vocals. Each song is over five minutes in length, with four of them surpassing the seven minute mark, and each of those tracks have the same kind of trusted feeling that one would get after hearing an ECM album. With a list of thirteen CDs under his own tutelage, Harviea€™s newest and 14th release, Cocolamus Bridge, proves to the listener that he brings a wealth of experience to his writing and performance and can be included in the aforementioned whoa€™s who. It is here upon this magnificent introduction, you will come to realize the breath and depth of Harviea€™s amazing talent on the bass. He has an unshakeable sense of swing, a flawless tone and otherworldly dexterity on his instrument.
Perhaps thata€™s the secret.A  In any event, this opener is phenomenal, the best of the CD.
He has courage way beyond the narrow definition of the word, and has a fecund mind that is continually searching for new horizons towards which to stretch, taking with him a bass violin that sings with almost limitless possibilities.
But the song has a Bossa Nova slant, and here, S shows his grasp of the swaggering rhythm, as does the percussionist on the date, James Metcalfe. In other words, ita€™s a trusted brand with a trusted sound, and you take that going in and just listen for the save of being overwhelmed. Other originals on this CD I will leave comment to surprise you witha€¦.a simply rare treat and A-1 CD all the way through. For a example of his amazing technique, just eyeball the video I embedded in a recent review of a Carol Morgan. He imagines lines that make great leaps across the soundscape, darting this way and that, zigzagging and flying in colorful whorls, and sometimes he underlines the harmony with a gravitas that recalls Charlie Haden's thunderously stuttering pizzicato. Like Haden, he makes the strongest showing in the very simplicity of his harmonic approach to the art of the song.


Maybe thata€™s a big-headed claim but S is a musician who just takes command of the bass and turns it into his voice, it is how he speaks musicially but without flash. This guy is the consummate bass player.Before Massachusetts native Harvie S even moved to New York City, Al Cohn, Zoot Sims, Mose Allison and Stan Kenton were already calling on his bass services. Therea€™s a bit of confidence in that playing, but that comes from years of knowing what he is playing, and how he wants to play it.
Since then, he's worked with an even more amazing lineup of jazz stars: Chick Corea, John Scofield, Michael Brecker, Mike Stern and Sheila Jordan. Last year we examined a record he recorded with the elite jazz pianist Kenny Barron more than twenty years earlier, a record that rightly received wide acclaim upon its 2008 release.
That record was a fine representation of Harvie's ability to interface one-on-one with a piano maestro playing standards, much as he's mastered duets with with a top vocalist like Jordan. His next release Cocolamus Bridge, out this past April, shows what he can do in a larger, six piece group performing mostly Harvie S originals. Already, Harvie is stepping beyond the boundaries of jazz in pursuit of a folkish melody played beautifully on an instrument that a scant few outside of Charlie Haden can do this well. Not normally the kind of song you would find near the beginning of the track listing, this song is deliberate, somber and slow tempoed.
But here again, Harvie finds richness in the spacing of the notes and uses circular bass patterns to create a harmony so well defined, it competes with the thematic lines stated by Cortez and Witt without having to be overt about it. Those are the attributes that make Cocolamus Bridge a fine record with which to explore Harvie S as the complete artist.



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