Craig Harris: A Visionary in Jazz and Beyond

Introduction:

Craig Harris is not just a jazz trombonist—he is a visionary who has used music as a medium for social change, cultural commentary, and boundary-breaking innovation. Since the late 1970s, Harris has been a vital force in the avant-garde and free jazz scenes, working alongside some of the most prominent and creative figures in music. From his early days with the legendary Sun Ra Arkestra to his solo and collaborative projects, Harris has developed a distinctive voice in both composition and performance.

A multi-instrumentalist, composer, and bandleader, Harris has expanded his repertoire beyond jazz, incorporating elements of African music, spoken word, and experimental soundscapes. His works transcend genre classifications and speak to the human condition, addressing issues such as social injustice, African American history, and cultural identity. As he continues to produce groundbreaking music, his influence on both the jazz world and the broader cultural landscape remains profound.

Early Life and Musical Roots:

Craig Harris was born seventy-one years ago today on September 10, 1953, in Hempstead, New York. His love for music led him to the trombone, the instrument that would become his main creative tool. Harris honed his craft at the State University of New York at Old Westbury, where he studied under the legendary multi-instrumentalist and composer Makanda Ken McIntyre. This experience shaped Harris’ approach to music, giving him a solid foundation in both technical skill and avant-garde theory.

During his time at SUNY, Harris was introduced to the rich history of African American music, from traditional spirituals to modern jazz, and to the cultural movements that used music as a means of expression and resistance. These formative years laid the groundwork for his future as a musician deeply invested in using art to challenge and inspire.

The Sun Ra Arkestra: A Journey into the Avant-Garde

In 1976, Harris made a significant leap in his career when he joined the Sun Ra Arkestra. Sun Ra, a pioneering figure in free jazz and experimental music, was known for his cosmic philosophy and avant-garde compositions that combined elements of swing, bebop, and electronic music with African and space-age themes. Harris’ time with the Arkestra introduced him to a new dimension of musical exploration, one that emphasized collective improvisation, freeform composition, and the integration of mythology and spirituality into performance.

Harris’ trombone work in the Arkestra added depth and color to Sun Ra’s expansive soundscapes. His ability to blend traditional jazz techniques with experimental improvisation made him a key player in the group. This experience also expanded Harris’ understanding of the role of music in storytelling and social commentary, lessons that would greatly influence his later works as a composer and bandleader.

Collaborations with Jazz Luminaries:

After leaving the Sun Ra Arkestra, Harris embarked on a world tour with South African pianist Abdullah Ibrahim (also known as Dollar Brand) in 1979. This collaboration deepened Harris’ connection to African music and culture and exposed him to the intricate rhythms and melodies of the South African jazz tradition. The tour also introduced Harris to the didgeridoo, an indigenous Australian wind instrument that he later incorporated into his performances.

Throughout the 1980s and 1990s, Harris worked with a wide range of jazz innovators, including Lester Bowie, Cecil Taylor, David Murray, and Charlie Haden. These collaborations allowed him to explore different facets of jazz, from free improvisation to big band orchestration, and to push the boundaries of his instrument.

One of Harris’ most significant partnerships was with David Murray, a saxophonist known for his bold, genre-defying approach to jazz. Harris played on several of Murray’s recordings, including “Murray’s Steps” (1982) and “New Life” (1985), both of which are considered classics of the avant-garde jazz movement. In these settings, Harris’ trombone provided both a rhythmic anchor and a melodic foil, demonstrating his versatility and ability to adapt to different musical contexts.

Leadership and Ensemble Work:

In addition to his work as a sideman, Craig Harris emerged as a bandleader in his own right. In 1983, he released his debut album “Aboriginal Affairs” on the India Navigation label, followed by a series of critically acclaimed records on the Soul Note and JMT labels. His early works as a leader, such as “Black Bone” (1983) and “Shelter” (1987), established Harris as a unique voice in jazz, blending elements of free jazz, funk, and world music into a cohesive whole.

Harris also formed two significant groups during this period: the quintet The Tailgater’s Tales and the large ensemble Cold Sweat. The Tailgater’s Tales featured clarinetist Don Byron, trumpeter Eddie Allen, bassist Anthony Cox, and drummer Pheeroan akLaff. This group was known for its adventurous approach to jazz, incorporating complex rhythms, intricate harmonies, and collective improvisation. In contrast, Cold Sweat was a tribute to the music of James Brown, highlighting Harris’ love for funk and R&B and his ability to seamlessly merge different musical traditions.

One of Harris’ most ambitious projects as a composer was “Souls Within the Veil” (2005), a large-scale work commemorating the 100th anniversary of W.E.B. DuBois’ “The Souls of Black Folk.” This piece explores the themes of identity, oppression, and resistance that DuBois addressed in his seminal work.

Social Commentary Through Music:

Throughout his career, Craig Harris has used music as a tool for social change. His compositions often tackle issues of racial injustice, African American history, and the ongoing struggle for equality. One of his most powerful works in this regard is “God’s Trombones,” a tribute to James Weldon Johnson’s collection of sermons. In this piece, Harris blends traditional gospel music with jazz improvisation, creating a sonic tapestry that speaks to the African American experience.

Another example is “BREATHE,” a sonic statement in response to the long-standing injustices inflicted upon African American people. In this work, Harris uses his music to express both the pain and resilience of the Black community, drawing on a range of musical traditions to create a powerful commentary on the state of the world.

Multimedia Projects and Film Scoring:

In recent years, Harris has expanded his artistic reach by incorporating multimedia elements into his performances. One of his most notable projects is “Brown Butterfly,” a tribute to the life and movements of Muhammad Ali. This multimedia piece combines live music, dance, and video to tell the story of Ali’s life, using his graceful movements as a metaphor for the rhythms and improvisation of jazz.

Harris has also ventured into the world of film scoring, co-composing the score for the Oscar-winning film “Judas and the Black Messiah” (2021). This project, which deals with the life of Black Panther Party leader Fred Hampton, further solidified Harris’ reputation as an artist committed to addressing social and political issues through his work.

Craig Harris Today:

At 71 years old, Craig Harris remains an active and vital force in the world of music. His recent projects include “Managing the Mask” (2022), a new recording that continues to push the boundaries of jazz and explore new sonic territories. In addition to his musical endeavors, Harris has been recognized for his contributions to the Harlem community, where he has curated concerts and events that celebrate the rich cultural history of the neighborhood. His designation as a “Jazz Hero” by the Jazz Journalists Association is a testament to his commitment to both his art and his community.

Craig Harris’ career is a testament to the power of music as a tool for expression, commentary, and change. From his early days with Sun Ra to his recent multimedia projects, Harris has consistently pushed the boundaries of what jazz can be, incorporating disparate elements into his work. His music not only entertains but also challenges, asking listeners to confront difficult questions about race, identity, and social justice.

As a trombonist, composer, and bandleader, Harris has left an indelible mark on the world of jazz, and his contributions will continue to resonate for generations to come. His work reminds us that music is not just a form of entertainment—it is a reflection of our world and a means of envisioning a better future.

References:

1. Larkin, C. (1992). The Guinness Who’s Who of Jazz. Guinness Publishing.
2. Craig Harris picture. Retrieved from https://en.wikipedia.org/wiki/File:Craig_Harris.jpg