Golden State II reviewed in Jazz Tokyo

Full review in Japanese here.

Golden State II Free Jazz blog review

“A quiet, highly concentrated intensity filled with dynamic interplay and creative improvisations…”

Full review here

Golden State II reviewed in Textura

“Collective tales of invention and wonderment throughout…

“Full review here

Gapplegate Golden State II review

“A unique voice on the modern jazz scene. A composer of sophisticated smarts, a bandleader who knows how to bring out the unique qualities of the players he gathers about him, and a drummer who has his own way.”

Link here

Bird is the Worm Golden State II

“This is Jazz Today.”

Link here

Golden State II Bird is the Worm Review

“… jaw-dropping displays of soulfulness…”

Link to full review here

Golden State II CD release concert previews

 NY Times preview here.

Time Out NY preview here

Golden State II AMN pick of the week

Link here

Canada Day Ibeam residency NY Times preview

From the Jan 23-29 NY Times:

Harris Eisenstadt and Canada Day (Friday and Saturday) A venturesome drummer and composer, Mr. Eisenstadt walks the line between free-form exploration and meticulous composition with Canada Day, with the trumpeter Nate Wooley, the saxophonist Matt Bauder, the vibraphonist Chris Dingman and the bassist Pascal Niggenkemper. The band plays each night at 8 p.m., followed by another group: on Friday it’s the Vinnie Sperrazza Trio (for which there’s a separate listing); on Saturday it will be the Jeff Davis Quartet. At IBeam, 168 Seventh Street, Gowanus, Brooklyn, ibeambrooklyn.com. (Chinen)

Link here

Golden State AAJ review from Music Unlimited 28 Fest

“The second set—by Brooklyn-based drummer-composer Harris Eisenstadt’s Golden State Quartet, in its European incarnation with partner and bassoon player Sara Schoenbeck, clarinetist Michael Moore and double bassist Pascal Niggenkemper—presented Eisenstadt’s ambitious musical vision. His wise compositions suggest intricate, haunting textures that blur distinction between the composed elements and highly personal, improvised interpretations. Eisenstadt’s assured, non-hierarchical leadership emphasized a delicate balance between subtle, economical polyrhythmic pulse and loose skeletal forms. Exploration of the acoustic instruments’ timbral range and generous freedom enabled each musician to expand on their own unique language.”

Eyal Hareuveni’s All About Jazz review of the full festival here