Although I cannot remember why Bill Harris called this band “Encompass Quartet”, it is an appropriate appellation. Its’ four members -- Albert Heath, Bill Harris, Herman Riley and Tom Baldwin — personify the diversity that is central to jazz improvisation. Specifically, the four men encompass the spectrum of personal... (more)

Although I cannot remember why Bill Harris called this band “Encompass Quartet”, it is an appropriate appellation. Its’ four members -- Albert Heath, Bill Harris, Herman Riley and Tom Baldwin — personify the diversity that is central to jazz improvisation. Specifically, the four men encompass the spectrum of personal experiences, styles, philosophies and ideas.

Yet for all the individuality inherent in the group, these four guys share important priorities and goals; they certainly share common musical influences, sensibilities and visions. While each musician’s voice is distinctively unique, they are all fluent in the language of jazz.

Assembling this ensemble was a labor of love for me. I have known both Bill Harris and Tootie Heath for nearly twenty years, even though they didn't know each other. Billy Siegel, my best friend and co-founder of Daddy Productions, suggested that we try to get Tootie and Bill together to record. I asked Tootie to bring a tenor man to join Bill and Tom and --voila-- Encompass Quartet was conceived.

Tootie, Bill, Herman and Tom opened a two night date at “The Nest” in The Willard Inter-Continental Hotel in Washington, D.C. Playing before a crowd of discerning musicians and casual jazz fans, the Quartet “lit up” the room. The next morning, we drove out to the studio hoping to capture some of this wonderful musical chemistry on CD. This, recording — the product of no more than six hours’ work — shows what can be accomplished among talented artists who like and respect each other.

A brief word about the artists is in order. Tootie Heath is the consummate professional and indisputably one of jazz’s finest drummers. If you listen to Tootie Heath playing with Coltrane, Sonny Rollins, Wes or Bags thirty years ago, his swinging groove is unmistakable. While he possesses that same light, magical touch today, Tootie’s drumming has become even more precise and musical. It is a rare person who continues to improve into his sixth decade of life. Tootie Heath is certainly that rare individual and he and his music have given me more joy and pleasure than I can ever express!

Bill Harris has been one of my closest friends for nearly twenty years and I have loved being involved with his musical career -- as a student, a fan, and recently, as a producer. Anyone with ears knows that Bill Harris is destined for great things musically. Tootie Heath says "Bill is a very exciting player who plays with clarity and musical sense, which is rare in this era of piano players who overplay". I certainly agree with this statement and note that Bill has found his own voice as a pianist.

I met Herman Riley and Tom Baldwin for the first time on this date. Both are quiet, unassuming people who let their instruments speak for them. I know understand why the great organist, Jimmy Smith, and the late Blue Mitchell loved Herman’s full, soulful sound. His two original compositions — “MPH" and “Mama Lela” — are among the highlights of the date. It was a distinct pleasure to spend several days with Herman, who is not only a fine musician but a true gentleman.

Tom Baldwin is a very talented bassist. A finalist in Monk Competition a few years ago, his phenomenal consistency stabilized this rhythm section. Tom’s musical instincts are superb and Quartet spokesman Tootie Heath beams when he discusses Tom: " Tom has an incredible beat, good time and rhythm and it was easy and a pleasure to play with him. This young man has a tremendous future ahead of him."

In this session there is something for every listener — original tunes from Messrs. Riley and Harris, two very hip Monk tunes, ballads, standards and more. I have discovered that every person who has listened to the CD has different “favorite tracks", which underscores that these guys were speaking in tongues when they recorded this music.

I am pleased to introduce to you Encompass Quartet. I hope you savor the flavor of this music as much as I do.

A.J. Collins

Bill Harris clearly loves music with all his heart and above all, he loves to play the piano. These are among the things that set him apart from the crowd. Monster chops (musician’s jargon for great technique), swingability and expert harmonic sense are all as common as can be these days. But Bill understands the piano... (more)

Bill Harris clearly loves music with all his heart and above all, he loves to play the piano. These are among the things that set him apart from the crowd. Monster chops (musician’s jargon for great technique), swingability and expert harmonic sense are all as common as can be these days. But Bill understands the piano and music on a much deeper level. And this shows particularly in his solo work.

Solo playing presents a special kind of challenge, and not all good pianists do it well. On this CD, Bill sets out to prove his solo mettle in the most honest way. He chooses familiar standards like Body And Soul and You Don’t Know What Love Is that have been played by every pianist, great and obscure, for over half a century. Begging comparison with the likes of Art Tatum and Tommy Flanagan takes guts. But it suffices to say Bill’s performances are exhilarating in their own way. Passing up the eternal tone clusters and zillion note approach that sometimes passes for solo piano playing today, he takes us instead directly into the heart of the music. Yes, his runs are perfect (damn it), he has great time and he plays marvelous chords. But most important he is always, always musical. I would say that one scarcely misses the bass player in these performances, but that wouldn’t be at all fair to Tom Baldwin who gives Bill such masterly support on four of these tracks. It isn’t fair to Bill either to suggest that he doesn’t play wonderfully with other musicians. His group skills have been and continue to be abundantly proven on recordings and countless live performances in Washington and elsewhere.

I am proud to call Bill Harris a friend and colleague. I’m proud to be able to finally say in public what I have often said in private. Bill Harris is a master.

John Eaton

As the first formal recording session for Bill Harris, this disc will serve as an introduction to the talents of a dynamic and unmistakingly promising artist. Having heard Bill’s subtle and profound evolution as a player over the last 15 years, I can’t tell you how proud I am to be able to introduce the first of what... (more)

As the first formal recording session for Bill Harris, this disc will serve as an introduction to the talents of a dynamic and unmistakingly promising artist. Having heard Bill’s subtle and profound evolution as a player over the last 15 years, I can’t tell you how proud I am to be able to introduce the first of what I’m certain will be many sessions for Mr. Harris and his friends.

Drummer Tony Martucci’s tom introduces “Billy's Dilemma”, the catchy,up-tempo opener which captures the listener and says, “Remember the great Blue Note dates of the 1960s”? Composed by the leader, the tune pays homage to a friend and jazz lover who lives in New York as well as to anyone who has straddled the horns of a dilemma.

“Guido’s Lament” is another fine quintet offering, this time featuring an original composition by the talented Rick Harris (who is also Bill’s brother). In this beautiful ballad I particularly love Rick’s exquisite use of counterpoint. And although it is a pleasure to hear Bill comp behind the beautiful solos of Rick and tenor monster Bruce Swaim, it is even more exciting to hear him construct one of his own. This solo on “Guido’s Lament” is vintage Bill Harris...subtle, clear and bursting with originality.

The Blue Note reverie of the first two tunes is broken dramatically as the listener is introduced to the Bill Harris Trio. With a bold intro driven by the bass of David Jernigan and punctuated by Tony Martucci’s tasty lead drumming, we finally identify the lilting melody of the Kaper / Webster classic “Invitation”. In this innovative arrangement all three players sparkle and it is evident that they are having fun... which is what it is all about.

“Bye-bye Blackbird” opens at a relaxing tempo and seems the perfect tune to follow the up-tempo title track “Invitation”. While this delightful tune has experienced a revival since Miles Davis’ passing, it has long been a staple of Bill’s repertoire. Evidenced by the hard swinging of the band, “the dance between musicians” develops and the fun continues.

“I Fall In Love Too Easily” is one of my favorite ballads. Bill’s introduction here highlights some of his strengths as a pianist. In this instance he takes us on a brief impressionistic journey before delivering the cogent melody. This is Bill’s tune and the listener can’t but hear the passion in his playing.

“Blues for DJ"; another piece by Rick, reintroduces the quintet, whom we haven’t heard from since “Guido’s Lament”. This is a straight, clean blues number which announces that the horns are back in the house.

“For Elyse, is just that, alove song written by Bill for his beautiful and loving wife, Elyse. The fabulous Harris boys jointly state the theme in characteristically clear and simple fashion. Rick’s solo gives us a clinic in spacing and phrasing followed by the date leader’s lovely and lucid statement addressed directly to his wife. Mr. Swaim exhibits superb playing and breath control in a particularly compelling solo. As always, David and Tony lend a balanced, tasteful support.

The trio returns with another Bill Harris original ‘Somers’ Delight”. In this piece you will hear an interesting and playfully developed improvisation between the players before the theme is finally stated at the very end.

Now comes the Kaper / Washington classic “On Green Dolphin Street”. Listening to the haunting introduction, it is unlikely that any listener will be thinking of Green Dolphin Street. Maybe Kutchakhachov Street in Moscow...or maybe a movie score ... but definitely something exotic. After Bill’s brilliant intro, the tune moves into a hard swinging tempo that showcases the trio’s spontaneity before transitioning back to a close in the same lyrical/pensive way it started. Can you tell this cut is my personal favorite?

The session concludes with a cohesive version of “Old Folks", a classic that is a fitting end to a very fine recording.

Everyone who contributed to this outstanding musical effort should be pleased with the quality and consistency of the result. It is rare to be able to bring together five outstanding players who share such a clear musical vision. I hope all of you enjoy the music as much as I do.

A.J. Collins