Time's Mirror

Time's Mirror

Tom Harrell, unlike most of today's trumpeters, blows you away with a full and even trumpet and flgelhorn tone that emphasizes hitting the right note instead of the high note. That quality has earned him a loyal following among the cream of today's musicians, as evidenced by the all-stars assembled on his third release for RCA, featuring his big-band compositions and arrangements. Joined by an array of heavyweights, including drummer Carl Allen, trombonist Conrad Herwig, tenor saxophonist Don Braden, and producer Ebb Belden, Harrell's swinging syncretism of Clifford Brown's precision, Chet Baker's lilting lyricism, and Donald Byrd's flights float over ethereal, harmonic waves reminiscent of Gil Evans's evocative voicings and the Thad Jones-Mel Lewis Orchestra's power. The standards "Autumn Leaves," "Dream," and "Chasin' the Bird" dig up mounds of buried improvisational treasure, with Harrell out in front with his less-is-more solos. The fanfare-ish "Shapes," the neo-hip-hop backbeat of "Daily News," the Brazilian-breezed bossa nova on "Sao Paulo," the urbane blues of "Train Shuffle," and the Wayne Shorter-like title track show that Harrell's composition is a direct extension of his playing, which communicates without complication. A rare thing these days. <I>--Eugene Holley Jr.</I>