The in Sound / Mean Greens

by Eddie Harris

Product Description:

2 LP's on 1 CD: THE IN SOUND (1965)/MEAN GREENS (1966).

Includes liner notes by Leonard Feather.

Digitally remastered by Gene Paul (DB Plus, New York, New York).

THE IN SOUND:

Personnel: Eddie Harris (tenor saxophone); Ray Codrington (trumpet); Cedar Walton (piano); Ron Carter (bass); Billy Higgins (drums).

Producer: Nesuhi Ertegun.

Engineer: Tom Dowd.

Recorded in New York, New York on August 9 & 30, 1965. Originally released on Atlantic (1448).

MEAN GREENS:

Personnel: Eddie Harris (tenor saxophone, electric piano); Ray Codrington (trumpet, tambourine, percussion); Cedar Walton (piano); Sonny Phillips (organ); Ron Carter, Melvin Jackson (bass); Bucky Taylor (drums, percussion); Billy Higgins (drums); Ray Barretto (bongas, congas).

Producer: Arif Mardin.

Engineers: Tom Dowd, Phil Iehle.

Recorded at Atlantic Recording Studios, New York, New York on March 8 & 9 and June 7, 1966. Originally released on Atlantic (1453).

An excellent collection that pairs Eddie Harris's 1965 THE IN SOUND with his 1966 date MEAN GREENS, this is a classic post-bop set of the first order. An underrated tenor known for his smooth tone, his experiments with electronics (though there aren't any of those here), and his strong compositions, Harris is in excellent form on these sessions. His best-known composition, "Freedom Jazz Dance"--immortalized by Miles Davis and his second quintet on MILES SMILES--appears on THE IN SOUND, and Harris's version proves much slinkier, funkier, and more accessible than Davis's frenetic reading.

Harris spins through standards ("Love for Sale," "'S Wonderful"), as well as many of his own strong compositions. Often based on blues progressions, as on "Cryin' Blues" and "Mean Greens," Harris's tunes are rooted in an easy, off-hand groove, but are always packed with witty, technically precise improvisation. The personnel includes pianist Cedar Walton, drummer Billy Higgins, and bassist Ron Carter, and their expertise lends an open, exploratory feel to the proceedings. Though Harris later dabbled in other genres, his blowing here, while inventive and fresh, is rooted in tradition, placing these among his best straight-ahead jazz albums.