Rediscovering “The In Sound:” Eddie Harris and the Birth of a Jazz Standard

Introduction:

In the annals of jazz history, certain albums stand out not only for their musical innovation but also for their lasting influence on the genre. One such album is “The In Sound” by tenor saxophonist Eddie Harris, recorded in 1965 and released in 1966 on the Atlantic label. This album, often celebrated as one of Harris’ most significant works, is not just a collection of tracks; it is a testament to Harris’ skill, creativity, and his ability to push the boundaries of jazz. Featuring the debut of the now-iconic “Freedom Jazz Dance,” “The In Sound” represents a crucial moment in jazz.

A Snapshot of the Era:

The mid-1960s was a period of significant transition in jazz. The genre was evolving rapidly, moving from the hard bop and modal explorations of the 1950s to more experimental and avant-garde expressions. Artists like John Coltrane, Miles Davis, and Ornette Coleman were pushing the boundaries of jazz, seeking new forms of expression and expanding the possibilities of improvisation. In this context, Eddie Harris, a musician who had already made a name for himself with the release of “Exodus to Jazz” in 1961, was looking to make his mark with something innovative and distinct.

Harris was known for his versatility and his willingness to explore different sounds and techniques. He had already experimented with the electrified saxophone and was unafraid to incorporate elements of popular music into his jazz compositions. “The In Sound” was recorded in New York City over two sessions in August 1965, with Harris collaborating with some of the finest musicians of the time: pianist Cedar Walton, bassist Ron Carter, drummer Billy Higgins, and trumpeter Ray Codrington. The album features six tracks, each showcasing Harris’ exceptional ability to blend melodic accessibility with complex improvisational structures.

The Music: A Track-by-Track Exploration

1. “Love Theme from The Sandpiper (The Shadow of Your Smile)”: The album opens with Harris’ interpretation of the “Love Theme from The Sandpiper,” also known as “The Shadow of Your Smile.” Composed by Johnny Mandel with lyrics by Paul Francis Webster, this piece had become a popular standard by the mid-1960s. Harris’ version is a study in subtlety and lyricism, with his tenor saxophone delivering the melody with a warm, expressive tone. The rhythm section, led by the impeccable timing of Billy Higgins and the solid foundation of Ron Carter’s bass, provides a lush backdrop for Harris’ explorations.
2. “Born to Be Blue”: Next is Harris’ rendition of “Born to Be Blue,” a song composed by Mel Tormé and Robert Wells. This track showcases Harris’ ability to convey deep emotion through his instrument. His phrasing is deliberate and poignant, capturing the melancholy of the lyrics without the need for words. Cedar Walton’s piano accompaniment is equally expressive, adding layers of harmonic depth to the performance. The interplay between Harris and Walton is a highlight of this track, demonstrating the intuitive communication between the musicians.
3. “Love for Sale”: Cole Porter’s “Love for Sale” is the third track on the album, and Harris approaches this standard with a sense of urgency and rhythmic drive. Ray Codrington’s trumpet adds an extra layer of excitement to the performance, with his bright, brassy tone cutting through the ensemble. Harris’ solo on this track is a masterclass in improvisation, weaving complex lines over the swinging rhythm section. The choice of this piece, with its sophisticated melody, reflects Harris’ interest in exploring the intersections between jazz and popular music.
4. “Cryin’ Blues”: “Cryin’ Blues,” an original composition by Harris, is a return to the roots of jazz. The blues form provides a familiar structure, but Harris’ interpretation is anything but conventional. His playing is both soulful and exploratory, pushing the boundaries of the blues form with dissonant harmonies and unexpected melodic turns. Codrington’s trumpet is again featured, providing a contrast to Harris’ darker, more introspective tone. The track’s title is apt, as the music conveys a deep sense of yearning and emotional complexity.
5. “‘S Wonderful”: The fifth track, “‘S Wonderful,” composed by George and Ira Gershwin, is another example of Harris’ ability to breathe new life into a classic standard. The performance is light and playful, with Harris and the rhythm section engaging in a lively musical conversation. Walton’s piano solo is particularly noteworthy, blending the Gershwins’ sophisticated harmonic language with his own modern jazz sensibilities. This track serves as a reminder of Harris’ deep respect for the jazz tradition, even as he sought to innovate within it.
6. “Freedom Jazz Dance”: The album closes with “Freedom Jazz Dance,” a track that would go on to become one of Harris’ most enduring contributions to jazz. This composition, characterized by its complex rhythmic structure and angular melody, was a bold departure from the more straightforward forms that dominated the jazz scene at the time. “Freedom Jazz Dance” is built on a series of motifs that challenge both the performer and the listener, demanding a high level of technical proficiency and creative interpretation. This track later gained widespread recognition when it was covered by Miles Davis on his 1966 album “Miles Smiles.” Davis’ version further cemented the piece’s status as a jazz standard, but it is Harris’ original recording that captures the raw energy and innovation of the composition.

The Reception: A Critical and Commercial Success

Upon its release in 1966, “The In Sound” was met with critical acclaim. Reviewers praised Harris’ ability to blend accessibility with innovation, creating music that was both challenging and enjoyable. The AllMusic review by Scott Yanow lauds the album as “one of Eddie Harris’ great records,” highlighting the standout tracks such as “Freedom Jazz Dance” and Harris’ interpretations of standards like “Love for Sale” and “‘S Wonderful.”

While “The In Sound” was not a commercial blockbuster, it found a dedicated audience among jazz enthusiasts and musicians. The album’s influence can be seen in the way it inspired other artists to explore more complex rhythmic and harmonic ideas, particularly in the burgeoning jazz fusion movement of the late 1960s and 1970s.

Legacy: The Lasting Impact of “The In Sound”

“The In Sound” holds a special place in Eddie Harris’ discography and in the broader jazz canon. It captures a moment when Harris was at the height of his creative powers, surrounded by a group of musicians who were equally committed to pushing the boundaries of the genre. The album’s most significant contribution to jazz history is undoubtedly “Freedom Jazz Dance,” a composition that continues to be studied, performed, and revered by jazz musicians around the world.

In addition to its musical contributions, “The In Sound” is also a reflection of the cultural and social changes of the 1960s. The album’s title itself suggests a connection to the zeitgeist of the era, a time when new ideas in art, music, and politics were challenging the status quo. Harris, with his innovative approach to jazz, was very much a part of this broader cultural movement.

“The In Sound” is more than just an album; it is a document of a pivotal moment in jazz history. Eddie Harris’ ability to combine technical mastery with creative innovation resulted in a body of work that remains influential to this day. The album’s tracks, from the emotive “Love Theme from The Sandpiper” to the groundbreaking “Freedom Jazz Dance,” showcase Harris’ versatility and his commitment to expanding the possibilities of jazz.

As we look back on “The In Sound,” it is clear that Eddie Harris was not just a great saxophonist; he was a visionary artist who understood the power of music to both reflect and shape the world around him. This album, with its blend of tradition and innovation, stands as a testament to Harris’ enduring legacy in the world of jazz.

References:

1. Feather, L. & Gitler, I. (2007). The Biographical Encyclopedia of Jazz. Oxford University Press.
2. Larkin, C. (1995). The Guinness Encyclopedia of Popular Music. Guinness Publishing.
3. “The In Sound” album cover art. Retrieved from https://en.wikipedia.org/wiki/File:The_In_Sound.jpg