Featured Artist: Harvie S CD Title: Texas Rumba Year: 2004 Record Label: Zoho Music Style: Latin Jazz / Latin Funk Musicians: Harvie S (bass); Gregory Rivkin (trumpet); Scott Robert Avidon (tenor & soprano sax); Daniel Kelly (piano); Adam Weber (drums); Renato Thoms (percussion) Review: The music of Harvie S, like that of many of the leading jazz musicians, has been in a state of evolution throughout his career as he has moved from one form to another. His progress may not have been as strikingly evident when he was performing with, say, Barry Miles or Steve Kuhn or when he was exploring the vocal duo form with Sheila Jordan. But it is now...now that he has submerged himself into Latin music, which sometimes makes various uses of bass-line ostinato to build layers of improvisation or to establish trance-like oblivion. His is a relatively fresh perspective upon Latin music, which all too often is described in terms of its polyrhythmic percussiveness, instead of its linear movement outlined by bass work. Combining the multitude of Latin forms with the vocabulary of jazz, Harvie S has catalyzed a personalized approach that remains ever dependent on his energizing bass work. Evidence of his dual-cultural crossover appears immediately on the first track, ³Texas Rumba,² whose spontaneous combustion happens immediately upon the first hearing of its fierce clavé. When pianist Daniel Kelly breaks loose with an exhilarating performance set up by the entire group, attention must be paid. The audience fortunate enough to hear that performance in May 2003 at Sweet Rhythm in New York did more than pay attention; it reveled in the irresistibility of the group¹s music. One characteristic of S¹s recent groups is his highlighting of relatively unknown piano players who are as technically impressive as he and who are in sync with his artistic intentions. For, it seems that S wrote ³Momentáno² with Kelly¹s abilities in mind; it consists entirely of a piano solo based once again on an ostinato metrical pattern that sets up a flowing, delicate performance made possible by Kelly¹s finely attuned senses of touch and texture. As if they were two parts of a larger movements, ³Before² follows almost seamlessly from ³Momentáno,² although with the addition of S¹s contrapuntal interplay with Kelly through track-long swelling dynamics. With Adam Weber surging ahead on drums and Renato Thoms mixing it up on percussion, the group captures the gets-in-your-blood appeal that inspires listeners to dance, or at least not to sit still. The addition of Gregory Rivkin¹s fiery trumpet work, consistent with that of Latin groups like Tito Puente¹s, as well as saxophonist Scott Robert Avidon¹s adaptable voicing, completes the group¹s make-up as a band that depends on bass lines for its primary animating characteristic, rather than percussion. S¹s compositions, as would be expected, balance the usual primacy of the Latin percussion with the quieter assertiveness of the bass in directing a group¹s motion and setting up a tune¹s feel. ³Underneath It All,² in particular, lets it be known that this is a bassist¹s group as S begins the tune with feral atonal bowing before he plucks the melody in unison with Avidon. ³Monk¹s Mood² as well highlights S¹s command of the bass as he solos, extracting insights into the tune through examination of its harmony, playing in double stops, at time in the upper range of the instrument, sounding more like a cello than a bass. And the final solo track, ³Floating,² suggests buoyancy through flowing implications of gravity-less motion through a wordless universal language that refers to genres that can be defined neither as Latin music nor as jazz. Tracks: Texas Rumba, Good News, From Now On, Curved Corners, Blindside, Momentáno, Before, Facil, Monk¹s Mood, Underneath It All, Floating Record Label Website: http://www.zohomusic.com Artist's Website: http://www.harvies.com Reviewed by: Don Williamson Texas Rumba ZOHO Music HARVIE S – BASS SCOTT ROBERT AVIDON – TENOR AND SOPRANO SAXOPHONE GREGORY RIVKIN – TRUMPET DANIEL KELLY – PIANO ADAM WEBER – DRUMS RENATO THOMS – PERCUSSION www.sudden-thoughts.com ......Texas Rumba unfolds through its variety of moods, bassist/leader Harvie S shows himself particularly adept at incorporating all kinds of Latin influences into his music, creating a sometimes-vibrant, sometimes-thoughtful sound that doesn't quite fit into any pre-defined labels on the market today. Sure, it is "Latin jazz," but it is a highly unique one. This is the first release by the NYC-based Zoho Music; it serves as a remarkable mission statement for the fledgling label, an entry that shows committed focus yet isn't afraid to swallow new sounds and stretch boundaries. Because with the disc's fantastic mixture of elements – the interlocking, engaging melodic lines that appear and reappear in riff-like motion, the exhilarating percussive base of Renato Thoms, or the leader's own spontaneous approach to his music, from his clock-like mastery of these unusual rhythms to his brilliant arco work (see the intro to "From Now On") – all of this reminds one of Charles Mingus' highly personalized approach, which would invade whole musical worlds in order to filter them through his own individual attack. Not that Harvie S' music sounds all that much like Mingus music; it's just that the same kind of authoritative, open-minded vision is in evidence on this record. Texas Rumba is most inspiring for the way it moves from one unique aesthetic to another, and yet leaves one with a seamless, unified feel over the long haul. The unity no doubt springs from the bassist's sincere dedication to the vibrancy and variety of Latin sounds available to him, dance-ready grooves that have been criss-crossing the periphery of the jazz world for decades now. As well as his ability (again Mingusian) to assemble a group of musicians doctrinaire enough to learn the specific rules of that idiom, but individual enough to interpret them on their own innovative terms. This combination turns the disc into the wild, consistently engaging ride that it is. There are pieces that center primarily around their percussive base – pianist Daniel Kelly laying down a neat, Nuyorican octave figure while Harvie S, drummer Adam Weber and Thoms settle into a headlong groove full of ostinatos, shifting accents, and an overall propulsive force. On tunes like "Good News" or "Blindside," there seems to be no stopping them – reedsman Avidon and the trumpeter Rivkin contribute short solos, but are mostly there to provide melodic punch and rhythmic counter-poise, their unison riff figures a subtle, energetic presence, something like Basie running for the border. On "Good News," Avidon and Rivkin trade triumphant bars in its final section, but it is mostly just the climactic finish to a rhythmically-sure, raucous ride out. But there are also pieces – most notably "Curved Corners" and "From Now On" – that place those Latin instincts within a more standard, post-bop aesthetic. Here the horn players find a much more central role in the proceedings, but they are still far from typical head-solos-head formulae. Both show off the leader's fine sense of structure, of using melodies to develop a piece logically. The arrangements shift accordingly, different combinations of musicians coming in to back the featured soloist, dynamically scaling back and then building to an appealing climax. This is an interesting, individual music, sincerely appreciative of its influences, but impulsive enough to remain unbeholden to them. This is exactly the kind of freshness apparent on the much-freer, slow-moving closer "Underneath It All." Perhaps the title is appropriate – the composition reveals many of the bassist's sources (from bass-sax unison theme readings to Kelly's urgent piano vamp to the tightly-woven reemergence of background voices at absolutely crucial times) but unleashes them on a much more sprawling, free-wheeling structure than elsewhere on the album. Here, instead of simply trying to investigate one particular avenue of Harvie S' musical map, it attempts to incorporate them all organically, and largely does so successfully. Perhaps it is the presence of a more straightforward jazz feel – the rhythm section, in particular, works like a slightly skewed version of the classic Coltrane quartet – but it seems much less interested in elaborating on one particular style of music than on making up one of its own. Now, it would be hard to say that it is the best track on the album – full-bodied romps like those previously mentioned make a strong case for themselves – but it is certainly the hardest to pin down. Most impressively, despite the slow-motion languor of its unfolding, the excellent solo work of Avidon and Rivkin, Kelly's consistently interesting comping work, and the leader's restless contributions leave one with the sense that it ends entirely too early, despite its being the longest track on the disc. Maybe in reaction, the bassist tacks on a brief solo thought, "Floating" – rather inconsequential by itself, it nevertheless ties together another subtle strain throughout the album, the quick, unaccompanied spots that introduce pieces, segue between them, or offer a sudden meditation on the previous one. The best of these is the solo bass reading of "Monk's Mood," full of double stops, flamenco strumming, and wide vibrato, a hard piece for a bass player to make convincing entirely on his own. When the longtime New York club Sweet Basil announced it was shutting down and reopening as Sweet Rhythm, with a focus on world grooves, those in-the-know understandably lamented the passing of yet another New York jazz institution; despite its high prices, it often featured world-class talent in an intimate setting. But Texas Rumba, recorded live at the new incarnation, shows the move a wise one, enabling broad-minded musicians, who may not fit into any narrow definition of jazz proper, to receive a fair listen. The album is similarly promising for the start of Zoho Music, which seems to have found a specific niche in modern music, and which could go quite far by simply documenting the variety of talent working within it. But the disc is most promising with regards to Harvie S himself – the bassist has a clear conception of where he wants his music to go, and here proves himself capable of finding fellow musicians who will help him take it there. He works like a piston, propelling his companions through the subtle twists and turns of his world-wise compositions, producing a music full of life and intellectual rigor in equal measures. - Charles Walker Editor/Publisher Review from The Jazz Zine www.jazzzine.com I have always equated jazz bass players into two categories: One, the workhorse of the group, analogous to the catcher in baseball. Strong bass players that would fit into that category would be the likes of the late Chubby Jackson, Ray Brown and Milt Hinton. They would supply the power, verve and time that would keep the rest of the group on top of things. The other category is the bassist as the intellectual. These musicians having the capability of probing, searching and exploring new grounds from which to build upon are the innovators of modern music. Gary Peacock, Dave Holland and Charles Mingus, to name a very few, come to mind in this group. Harvie S is a jazz bassist that, for me, fills the shoes of both categories, gracefully, and naturally with the ease of his playing. Added to this mix are his latest ventures into the explorations of Latin Jazz. His first CD New Beginning reviewed by The Jazz Zine, were the seeds that have led up to Texas Rumba Like many other straight ahead players, Harvie has found his niche in the Latin side. Utilizing the excitements and surprises that Latin jazz has, Harvie has built his own new thing around this venue and the results are rewarding for the rest of us. Texas Rumba has that soothing blend of good-natured swing, funk and rhythm to satisfy everyone from the Latino aficionado to the dancehall gyrator. Good News comes out of the gate with some steady Latin bass lines in the Cachao tradition. A nice tight ensemble feeling follows this with some tasty fill-ins by congareo Renate Thoms. Harvie picks it up and lifts us with a lilting bass solo. Daniel Kelly comes on like gangbusters and rocks, explodes chord after chord of some of the most exciting Latin Jazz piano I've heard since first seeing Eddie Palmieri years ago at the old Village Gate. Harvie treats us to a sensually moving bowed bass solo on From Now On. The melody line is memorable with a chamber jazz feeling throughout the piece. Curved Corners is a bluesy encounter with nice work from Scott Robert Avidon on tenor. There is an almost old West Coast feeling to the line penned by Harvie, Blindside. It has that laid back smoothness that virtually flows. Harvie gives us yet another full-bodied solo mixing the richness of jazz and Latin feelings. Following his bass solo, the group breaks into some infectious Afro Cuban rhythms to ride out the rest of the piece. Momentano is a mood piece by the very talented pianist Daniel Kelly. It has that ethereal feeling one gets when viewing mobile art in a gallery. Before seems like an extension to the mood carried forward with Harvie adding his bass lines to the piano. The first few bars of Facil brings me back to the days when I first hung out at the Palladium ballroom across from Birdland and immediately became infected with this music for the rest of my life. Daniel Kelly comes in seduces the piano with some steamy lines. This is my favorite track on this wonderful CD. Harvie treats us to yet another melodic solo filled with clarity until the conga furthers it along. A little taste of Monk follows. Monk's Mood gets a classic treatment from Harvie. The longest and most academic piece of the set is an exploration of colors and timbres almost out of tempo. Underneath it All is a track to come back to time after time for further investigation. This is Harvie's journey piece that demands full attention. The set closes out on another Harvie original, Floating. This piece is a brief bass statement that serves as his salutation to the listener. He seems to be saying to us to come back and see what lies in store for the future of jazz and its close cousin, Latin Music. Texas Rumba Harvie S | Zoho Records Recorded live (as are all great jazz albums), Texas Rumba thunders with adore y la alegría. It is Latin jazz fresh and crisp as spring tomatoes and cilantro. Harvie S is an exceptional bassist, composer, and band leader who has immersed himself in the Latin music pabulum, transforming the style into a innovative and critical entity. Integral to this evolution is his working quintet, who, together, is sharp as razors. Harvie S founded the group Eye Contact to achieve his vision in Latin jazz. That vision is summed up by the bassist's confident comments to writer Mark Holston: "I would like to think that I am helping to bridge a gap from Afro-Cuban to Modern Jazz. I studied with the masters of the music and continue to do so. I am now sort of the distilling vessel for Latin, jazz, funk, Brazilian, African, and free music—all marinated in a heavy dose of self expression." That sounds like a man with a mission. Like the Apostle Paul in his Epistle to the Galatians, Harvie S spends a bit of time establishing his bona fides as a Latin jazz expert and then proceeds to prove them with conviction and dedication. Texas Rumba certainly indicates that his efforts are not necessary. One need only to listen to this disc to readily see that Harvie S has a firm command of the language of Latin jazz. The opening piece (also the title cut) acts as a collision point between New York hard bop and Dizzy's Afro-Cubano bebop. The piece is anchored by Daniel Kelly's piquant pianism, which dances over the complexities of the rhythm section, founded on S' bass playing. Harvie S' compositions are very much in the orchestral vein of Chico O'Farrell, while at the same time retaining an important dance element. The single standard is "Monk's Mood," which is played on the bass, solo. Harvie S' facility is palpable, readily recognized and appreciated. "Underneath it All" finds the bassist on an arco tear that would not respond to medication if it had to. The arco turns into echoed pizzicato with Scott Robert Avidon's saxophone. Harvie S' is showing his avant garde stripes here and they are very effective. The remainder of the recording is of this high quality. This is very fine music that will make very fine listening. For more information, visit Harvie S and Zoho Records on the web. ~ C. Michael Bailey January 2004 From the spin bin Hartford Courant Jeff Rivers January 2004 Bassist Harvie S turns in a first-rate live set on his new Zoho Records CD, "Texas Rumba." The Latin-tinged, eclectic 11-song record ranges from burners such as the title track to "Curved Corners," a moody blues. Pianist Daniel Kelly stands out on the disc that was recorded last spring at Sweet Rhythm in New York. Look for the CD to be released Tuesday. www. ctnow. com Ejazz.com Review of "Texas Rumba" January 2004 By George Carroll I might suggest to the reader that this CD project is a study in musical dynamics in artful form. Harvie S's 'Monk's Mood' endeavors to articulate & stimulate a level of subliminal artistic enjoyment for the listener. It's as though the group has gathered their friends and music lovers to be part of what they've produced.......Namely a contemporary new sound, that's joyous to perceive. If you like musical symmetry, precision, synchronicity, along with a homogeneity of sound........Plus a variety & contrasts of dynamics & special rhythmic effects performed by the virtuosity of this combined group, this CD project is for you. The venue where this CD was recorded, (Sweet Rhythm, Greenwich Village, New York) is the perfect backdrop for the genre that Harvie's group represents. I recently heard an alto summit there with the likes of Sonny Fortune & Gary Bartz on alto, Bill Hart-drums, et al. All in all, this club brings out the best in the experienced jazz musician. Harvie S Texas Rumba www.OasisSalsero "Texas Rumba" Eso fue lo primero que pensé cuando vi la cubierta de este CD. Me vino a la mente la producción "Cowboy Rumba", que hace unos años atrás realizara el estadounidense Ned Sublette – un trabajo que pasó casi desapercibido, pero que tenía un alto valor experimental y musical. "Texas Rumba", debo decir, es una grata sorpresa y representa una bienvenida adición al mundo del jazz latino.. Con "Texas Rumba", el bajista Harvie S se propuso realizar un trabajo en el que "en vez de repetir formas conocidas hasta el aburrimiento, cada pieza tiene un carácter distintivo". Los once números en este álbum, definitivamente, representan esa tendencia, comenzando con la candente "Texas Rumba", dotada de una poderosa percusión, a manos de Adam Weber y el panameño Renato Thoms, además de un fabuloso solo de piano por Daniel Kelly. En "Good news" se nos brinda una descarga (moña) de vientos con el sax y la trompeta, y una por el líder del grupo En adición, se presentan el son montuno "From now on", el blues "Curved corners", y el jazz estándar "Underneath it all". Otra favorita sería "Blindside", en donde Kelly se vuelve a destacar. De acuerdo a Harvie S, él quiere combinar el jazz moderno con lo afrocubano a su manera. Y así lo hizo, pues esta grabación, además de tener una gran diversidad, también fue realizada en vivo, para no dejar dudas. Su experiencia con el jazz y sus viajes a Cuba definitivamente lo prepararon para esto. Tomó el riesgo, hizo el salto, y triunfó grandemente. (EG) 1. http://www.jazzreview.com/cdreview.cfm?ID=6570 Featured Artist: Harvie S CD Title: Texas Rumba Year: February 3, 2004 Record Label: Zoho/Synergy Distribution Style: Contemporary Jazz Musicians: Harvie S, acoustic bass, leader, composer. Daniel Kelly, piano. Scott Robert Avidon, tenor and soprano saxophones. Renato Thomas, percussion. Adam Weber, drums. Gregory Rivkin, trumpet. Harvie S is one of the most creative acoustic bass performers in contemporary jazz. In this varied, and highly eclectic collection, Harvie S performs songs written by himself and other composers. The collection contains eleven songs. Among the songs are "Texas Rumba," "From Now On," Daniel Kelly's complex and entertaining "Momentano," "Facil," and Harvie S's creatively unique "Floating." For those new to Harvie S, this will be a delight, and for his fans, it is a must-have CD! Daniel Kelly gives fine piano stylings in his solo work, and each musician is topnotch. Entertaining and creative are the two words which sum up this CD collection. Fine acoustic bass performances! Reviewed by Lee Prosser 1.

I had never heard of this guy Harvie s so went to his website and was amazed at his history. This CD has some rockin' Latin and some bluesy Jazz. Also some very romantic slow peices. I can't stop listening to it. Jimmy

Lots of wonderful songs! Really soulful CD!

Good review of Texas Rumba on this website: http://www.onefinalnote.com/reviews/s/s-harvie/texas-rumba.asp