If you are interested in hearing what a jazz artist who thinks mastering jazz is essential before you innovate sounds like, then Big Chief Donald Harrison is a musician you need to hear. On his new recording, "The Eclectic Jazz Revolution of Unity," he debuts his new concept of multi-genre jazz. Harrison came up with the idea of multi-genre jazz in the 80s after playing with master innovators of every era and genre of jazz. He also played with the master innovators of many commercial dance styles of music. The totality of his experiences led him naturally to hear that all styles are connected.  

Lately, Harrison has been working on a quantum jazz concept where he moves jazz from a two-dimensional state to a four-dimensional state, composing orchestral classical music, and a hip-hop trap/jazz concept as a saxophonist/MC. He is also working to debut his new internationally patented invention for recorded music.. Add to all this, Harrison is the only jazz artist to become a recognized Big Chief in the Afro-New Orleans Culture of Congo Square. This experience is significant to him because, in their culture, he acquired the secret knowledge of how the artist in New Orleans used the culture of Congo Square to create some aspects of jazz. Now you have an idea of the vastness of his commitment to following his path and his sum parts. The bottom line is it composing and playing in a way where all the genres can be mixed in any fashion to create hybrid styles that are true to the essence of each style. He say's "All the styles work for me because I play and compose from a dancer's perspective. The dance directive is the base of where my music and groove emanate. I think the multi-genre master jazz artist is a part of our future because it gives some of us another layer of freedom to be the totality of who we are. I understood in high school; If you master the music first, you can do everything. If you don't master the music, you never play from a master's perspective."


Big Chief Donald Harrison Jr

A song written by Donald Harrison in tribute to the great bassist Ron Carter. The composition starts with an intro featuring drummer Joe Dyson playing his patented one handed snare roll with his right hand against the cymbals with his left hand. He creates the incredible effect of sounding like two drummers playing together. Bassist Max Moran, and pianist Zaccai Curtis play an ostinato line with the drums. The song continues with a walking bass line, piano comping, and a searching melody on sax. One of the things that make this song unique is the series of subtle time changes. This is Harrison's quantum jazz concept and it is opening up a new area for jazz music. Pay particular note to how Harrison and Curtis effortlessly glide through the subtle, but monumental time changes during the melody, and solos. With quantum jazz Harrison moves jazz from a two dimensions state to a four dimensional state.

Personnel: Donald Harrison – alto sax Joe Dyson - drums Max Moran - bass Zaccai Curtis - piano

Recorded: Jan. 10, 2009 at Word Of Mouth recording studios in New Orleans, LA Recording and mixing engineer: Tim Stambaugh

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