As an old timer, I enjoyed Eddie's playing, never got to see him live. Too bad.

I'm still amazed by Roland Kirk being able to play multiple reed instruments at the same time.

Question for you: Did Miles ever record Freddie Freeloader after his Kind of Blue album? I've been searching, can't find it.

Caravan

Valaida Snow and Her Orchestra playing it here.

Bass Player Wilbur Ware - Latin Quarters

Two major distinguishing factors that make Eddie Harris an innovator had to do with his teacher at DuSable High School in Chicago, and his use of the Varitone Saxophone.

I won't dispute the first point except that it is better said to be a possible contributing factor. I am all for acknowledging good teachers but then you are assuming he was an innovator and I don't follow that too far.

I will dispute the second point.

The varitone was an analog frequency divider which added a suboctave to the sound. Such effects and trickery quickly wear out their welcome.

Why bother, they become an annoyance.

From a musical standpoint, Harris is playing on a single riff the entire piece. It is musical de-evolution, but that was happening in the 60s many places. He then plays Freedom Jazz Dance, without the space between the phrases. The harmony is only implied over a pedal. That is interesting, that may be the area where Harris deserves attention and credit as an innovator.

How great to see my musical mentor, Jodie Christian, mentioned here. Jodie is a truly great pianist, who was one of the founding members of the AACM, the musical collective that, among other things, fostered the Chicago free jazz movement. He became a bebop legend in the Chicago musical community. He stayed in Chicago, which probably was one reason he never got the audience he deserved had he moved to NYC. On the other hand, by staying in Chicago, he became the pianist of choice to a long list of jazz musicians who landed in the Windy City on tour.

I played with him (I'm a bassist) in various places over a twenty year period. He continues to inspire me to this day.

I'm not sure that I'd agree with ∆∆∆'s comments that this piece represents some type of "de-evolution". The tune is simple, yes, only two changes. Blues only follows three changes. There are other things happening musically, rhythmically and otherwise, that aren't a "de-evolution". Having played that tune many times with Jodie, I can tell you for a fact that his playing on this tune, and elsewhere, was highly evolved.

Come On Down, 1970.

There's a drawback to seeing Eddie Harris and Les McCann performing together in a club these days, since a typical 75-minute set is way too short to accommodate the range of their individual talents as musicians, social commentators and humorists. But as the pair proved at Blues Alley last night, their collaborations still have a soulful chemistry and power that outweighs all other considerations.