The
outstanding and internationally renowned vocalist, guitarist and
composer Allan Harris sums up his personal perspective on music in clear
and straightforward terms. “There is nothing that I have found that
defines and gives credence to my place in this wild and mysterious
universe than this thing called music.” Harris exemplifies that
statement perfectly with his stunning new album Nobody’s Gonna Love You
Better (Black Bar Jukebox Redux), his eleventh album following on the
heels of his highly acclaimed 2015 release Black Bar Jukebox.
For
this, Harris takes an even more eclectic approach, drawing upon the
wide range of music that he heard growing up in Brooklyn, and feasting
on the expansive palette of the Harlem cultural landscape. “My new album
captures some of the varied sounds and feelings that have shaped my
growth as an artist. I had not one style to heavily rely upon when
putting these tunes together, but only my young memories of music,
people and events.”
Nobody’s Gonna Love You Better
is a bold statement that builds upon the entire breadth of Harris’
already esteemed reputation, demonstrating his enormous versatility
within the full scope of his highly creative musical vision. Swinging
jazz, rich R&B, sumptuous balladry, wailing rock, rumbling blues and
even a touch of playful Brazilian are all woven seamlessly into the
tapestry of a musical odyssey that is all Allan Harris. With a deeply
resonant baritone/tenor voice that is soulful, richly expressive and
flawless in both intonation and phrasing, Harris displays a total
command and fluency in every context.
Back
from the previous album are the GRAMMY® Award-winning producer Brian
Bacchus and Harris’ longtime keyboard cohort Pascal Le Boeuf (on
acoustic and electric pianos, and Hammond B3 organ), whose deep
understanding and empathy for Harris’ music creates a marvelous sense of
intimacy and shared joy of expression. Pascal is also the primary
instrumental soloist and delivers in an inspired fashion throughout.
Joining Pascal in the exceptional rhythm section are Russell Hall on
acoustic and electric bass, Shirazette Tinnin on drums and cajón, and
Freddie Bryant on both electric and classical guitar. Together, with
Harris also on acoustic, electric and resonator guitar, they provide
impeccably flawless support, whether driving, embellishing, shaping or
enhancing the settings as ideally suited to the intent of the music.
The
delightful repertoire includes four Harris originals, a couple of
American Songbook gems, a pair of jazz classics, and re-imaginations of
hit songs from Jimi Hendrix, Steely Dan and Spiral Staircase. As he does
with every lyric, Harris pays proper homage to those who have provided
the inspiration for his own highly personal sound, specifically here to
Ray Charles, Nat ‘King’ Cole and Eddie Jefferson on three individual
items. On “I Remember You,” Harris channels Nat (a subject of an earlier
Harris tribute project) in a beautifully touching rendition with
brilliant piano support throughout, as well as a solo that glides in the
territory where Red Garland and Erroll Garner meet. “Ruby” – from the
Ruby Gentry film score, and a major hit for Ray Charles – is
satin-smooth balladry over an old-school swing-jazz groove, complete
with Bryant’s Freddie Green-like guitar strumming. For the iconic
“Moody’s Mood For Love,” Harris takes the concept of making an
often-performed song one’s own to an entirely new level, offering a
totally fresh interpretation – in rhythm, phrasing and lyrical structure
– to the Eddie Jefferson classic. The Stan Getz/João Gilberto hit
“Doralice” is a deliciously infectious samba, sung by Harris in
Portuguese, and featuring a fine acoustic solo by Bryant. The three
popular song re-imaginations include a somewhat up-tempo blues shuffle
take on Hendrix’ “Up From The Skies,” with Harris in a neatly syncopated
groove over LeBoeuf’s funky B3. Pascal’s Hammond organ sets a bright
tone for a bouncy swing version of Spiral Staircase’s megahit “More
Today Than Yesterday;” and Steely Dan’s “Any Major Dude Will Tell You”
gets a transformation (and relocation) from Americana to Harlem,
shifting smoothly between brisk syncopation and atmospheric rubato. The
four Harris originals aptly demonstrate that he is as skilled a composer
as a vocalist – and his lyrics are moving, heartfelt and poetic. The
album opener “Mother’s Love (Nobody’s Gonna Love You)” begins
on a poignant, emotive and dramatic note before morphing into a
vibrantly swinging excursion. Its bookend closer “Secret Moments” is a
lovely, gentle and lushly evocative ballad, while “Swing” is a
powerfully syncopated and punchy romp. Provocative, confrontational and
rousing best describes “Blue Was Angry (from the Cross That River
song-cycle). Hard-edged, fiery and with a message of barely-controlled
ferocity, it flies over a rip-roaring rhythm section and Harris’ raw
electric guitar. It may be unexpected by Harris’ large fan base, but
it’s deeply emotional and on point.
Over the past 20 years, Harris has steadily developed his reputation as one of the finest vocalists of his era. Brooklyn-born and Harlem-based, he has forged his sterling credentials through his ten previous albums, covering a broad range of contexts, all netted together within the rich territory of the jazz tradition. In addition to his recordings, he has performed on a worldwide stage that has taken him to prestigious international festivals and halls in Europe, the Middle East and Asia, as well as the 2012 Olympics in London. At home, he has toured nationally at festivals and top venues, including New York’s Lincoln Center and D.C.’s Kennedy Center. He has received numerous awards, including the New York Nightlife Award for “Outstanding Jazz Vocalist” (which he won three times), the Backstage Bistro Award for “Ongoing Achievement in Jazz,” the Harlem Speaks “Jazz Museum of Harlem Award,” and the DownBeat Critic’s Poll Award for “Rising Star Vocalist.” Nobody’s Gonna Love You Better (Black Bar Jukebox Redux) will continue to build his legacy as another milestone in the extraordinary artistic aesthetic of Allan Harris.