Tom’s sound is sweet, reminiscent of Clifford Brown’s ballad playing, but over a medium tempo bop tune. Most of all, it’s beautiful trumpet playing.
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The solo is full of bebop language, pianistic arpeggios (see analysis), and motif development. I seriously thought to myself, “no way he knows where he is right now,” shows you how much I know. Sure enough, after breaking up the 32-bar choruses and plugging in the changes, it’s spot on.
Obviously, it’s tough to understand some phrase decisions where the soloist is playing unaccompanied, but the soloist can probably make different decisions in terms of phrasing due to the freedom of playing without a rhythm section. After listening to the solo a few times and starting to play along, I started wondering if Tom knew where he was in the form because of how different his phrasing was. I was immediately taken by the beauty with which Tom plays, and his sense of phrasing. I’ve never listened to much Tom Harrell, but one of my students (thanks, Alex!) put this on during one of our lessons and asked if I had heard it. That being said, I just heard this track for the first time a few weeks ago and I knew I had to transcribe it. First of all, let me just issue an official promise to our readers that my next transcription will not be a trumpet player. That’s all I’ve got to say about this solo. You also need to have JavaScript enabled in your browser. He then began to shift his emphasis toward smaller groups on albums such as Light On (2007), Prana Dance (2009), and Infinity (2019).Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Over the next few years, Harrell’s recordings-such as The Art of Rhythm (1998) and Paradise (2001)-tended to focus on large ensembles.
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The collection included works with standard chord changes, as well as “Cheetah,” a free jazz experiment with a spontaneous harmonic structure and shifting tempi, and “Darn That Dream,” a one-man duet, with Harrell’s flügelhorn solo accompanied by himself on piano. The 1996 album Labyrinth, his first for a major label (RCA Victor), featured his compositions for quintet and nonet.
Harrell was ranked as top trumpet player in the 1996 Down Beat magazine critics poll, an honour that not only acknowledged his artistic accomplishment but ultimately vindicated his decision to lead his own groups and play his own compositions. While fronting various groups in the 1990s, he also toured the United States and Europe as a freelance sideman, most notably with Charlie Haden’s Liberation Music Orchestra. All the while, Harrell was composing prolifically, and by the time he left Woods’s combo in 1989, he was recording with his own combo. It was as a trumpet soloist in the hard-bop (an extension of bebop) combos led by Horace Silver (1973–77) and Phil Woods (1983–89), however, that he attracted the most attention. His highly varied résumé included tours with a number of big bands, including those of Stan Kenton (1969) and Woody Herman (1970–71) work with pianist Bill Evans (1979) and performance in Konitz’s latter-day cool-jazz nonet (1979–81).
He graduated from Stanford University in 1969 with a major in music composition, and he also studied with alto saxophonist Lee Konitz. Harrell spent most of his youth in the San Francisco Bay area, where he began playing in jazz groups when he was 13. Tom Harrell, (born June 16, 1946, Urbana, Illinois, U.S.), American jazz trumpet player and composer who was recognized for his lyrical, vibratoless improvisations and for his facility in both traditional and experimental styles of jazz.
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