Gary Bartz (alto sax)
Alex Blake (bass,bass guitar)
Billy Hart (drums)
Sybil Thomas (vocals)
Rene McLean (tenor sax)
Terumasa Hino (trumpet)
Motohiko Hino (drums)
Andy McCloud (bass)
Harry Whitaker (percussion,piano,keyboards,synthesizer)
Steve Grossman (tenor sax)
John Stubblefield (soprano sax)
Paula Bing (flute)
Colette Michaan (alto flute)
Billy Patterson (electric guitar)
Teroo Nakamura (bass)
Jerry Gonzales (congas,bongo)
Buddy Williams (drums)
Crusher Bennett (percussion)
Yvonne Lewis (vocals)
The tattoo on Harry Whitaker\'s forearm (depicted herein) reads \"DMC.\" These are the initials of Defiance Music Corp., Whitaker�s new recording concern, and the tattoo commemorates its inauguration, a kind of emphatic declaration of independence. The arrival of DMC is good news. It signals Harry\'s intention to record and release works from his extensive book of original compositions and arrangements, and to consolidate his control over the material. Harry�s book is the stuff of legend among NY musicians who have performed out of it on gigs, and the public will be much wealthier for having this music and having it produced Harry�s way. This record is one case in point.
Harry is a musical storyteller. Listening to his arrangements seems to evoke a kind of lucid dreaming. In fact, Harry is quite explicit about these aspects of his music. There really is a story line going on with characters in each of his compositions, and in order to get that feeling across, he sculpts exactly to get the dramatic effect he wants. His ensembles are always well cast in that regard. The musicians who work with him understand his music well, and he knows how to bring out their individual character in his arrangements. When he puts it all together, the music fully comes to life with power and impact. This is some serious craft, and this is what has made Harry Whitaker the mastermind behind numerous hit records and cult classics in styles spanning jazz, soul, R&B, funk, and gospel.
Now we are fortunate in that Harry has consented to allow Smalls Records to present this previously unreleased recording made in 1981 and 1982, and that it should turn out to be such a lush and beautifully realized work as it is. This is a superb example from which to appreciate Whitaker�s craft at every level, as composer, arranger, performer, and producer. The talented cast includes the vital and powerful horns of Gary Bartz, Rene McLean, the late John Stubblefield, Terumasa Hino, and Steve Grossman, basses Alex Blake, Andy McCloud, and Teroo Nakamura, and drummers Billy Hart, Buddy Williams, and the late Motohiko Hino. Particularly noteworthy are Whitaker\'s use of voice-as-instrument on \"One Who Sees All Things\" and \"The Afterlife,\" and the use of two basses on \"Fire Sign.\" \"The Afterlife\" is a tour-de-force for 12 musicians featuring the great percussionists Jerry Gonzales and Crusher Bennett, along with flutes and electric guitar, and Whitaker himself on piano, electric piano, and synth.
While we are enjoying this record, Harry is busy in the studio working on new R&B sides, and new jazz under the Defiance Music moniker. Collaborators range from the talented, hard-driving players in Whitaker�s �Plugged Dime� band, Sharel Cassity, Renee Cruz, and Brandon Lewis, to trumpeter Joe Magnarelli, drummer Eric McPherson, rising star vocalists yet to be revealed, and a cast of many others. Luckily for us all, Harry is as prolific as he is talented.
Luke Kaven July 2008
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