Second Movement

Soul jazz done right.

Pianist/vocalist Les McCann and saxophonist Eddie Harris first recorded together at the 1969 Montreaux Jazz Festival. Apparently, it was a spur-of-the-moment decision - Harris had not rehearsed at all with McCann, and was following along with the material by watching his collaborator's hands on the piano. Nonetheless, the resulting album (Swiss Movement) was a resounding success, even yielding what would become a soul-jazz classic, the platinum single "Compared to What." It was a performance perfectly suited to McCann's penchant for spontaneity, though perhaps ill-suited to Harris' obsessive perfectionism.

The Les McCann Trio, Eddie Harris, and Benny Bailey
perform "Compared to What" at Montreaux, part 1.

"Compared to What," part 2.

Two years removed from their Montreaux success, Les and Eddie reunited in the studio to produce a second album, 1971's Second Movement. While the record would end up a largely-forgotten affair, its quality was nonetheless on par with its older brother. This isn't to say that the contents of Second Movement are a rehashing of the original set - quite the contrary, it seems that McCann and Harris used the time in the studio to advance their sound. For one, McCann switched from acoustic to electric piano, manning the Rhodes as expertly as he did the grand at Montreaux. Bassist Jerry Jemmott followed suit for the bulk of the record, wielding the electric Fender bass with much aplomb. The switch brought the group further into soul territory, and the song selection reflected such a change - two of the five tracks were vocally driven, even incorporating a group of female backup singers. "Carry on Brother," for example, is socially conscious piece propelled by McCann's vocal, Jemmott's solid bass, and studio legend Cornell Dupree's rhythm guitar work - not to mention Harris' burning electric sax. "Universal Prisoner" is a ballad featuring McCann's rich voice, ethereal Rhodes, and some gorgeous chord changes. The closing track, "Samia," is a subtle ballad driven by Leroy Vinnegar's upright bass and some delicate interplay between the Rhodes and sax.

Today's upload is "Shorty Rides Again," the first track on the record. A friend of mine who knows McCann has told me that "Shorty" is the guy who "gets wtih your woman while you're out of town." It is also the most upbeat track on the record, and perhaps the most interesting form a jazz perspective. Note Harris' ridiculous tone on his electrified saxophone, as well as McCann's Rhodes playing. Listen around the 7:00 mark when McCann starts berating "Shorty" over the closing groove. Doesn't get much better than this.

Shorty Rides Again