Canada Day IV reviewed in Cadence

HARRIS EISENSTADT has produced a very fine recording in CANADA DAY IV  using a well rehearsed quintet. Well rehearsed is not meant to be derogatory in that it’s stale or perfunctory. Rather, in this case I mean it’s delivered as seamless units [7 originals by Eisenstadt] perfectly set as compositions to offset the quintet’s improvisations. The offset between the percussion/bass against the horns works very well; Dingman’s incandescent vibes at times can in effect set a vertiginous wall creating sort of compartments for the music to move episodes forward. Eisenstadt has, with the exception of Niggenkemper, managed to keep this group together for almost a decade and they make fine music together. Bauder and Wooley are continually interesting and if Niggenkemper is the one to finally fill the bass chair he is a good choice, as he covers well the range from strict time to more avant sounds. The leader speaks of the air [they] let into the music and thats another important element here. A rewarding and challenging listen.

Old Growth Forest gig reviewed in NYC Jazz Record

From the October 2015 Ny@Night column:

“To open his weeklong residency at The Stone, drummer Harris Eisenstadt debuted a new quartet, Old Growth Forest, with saxophonist Tony Malaby, trombonist Jeb Bishop and bassist Jason Roebke; it could have been called Deep Dish versus Thin Crust given the Chicago/ New York juxtaposition (though Eisenstadt is Canadian and Bishop is now based in North Carolina). The seven tunes—to appear next year on a Clean Feed release the band would record shortly after the gig—were mostly named for trees found on Wikipedia, Eisenstadt quipped, and were marked by what makes the leader such an interesting composer: an anachronistic concern for melody as well as harmony and a knack for shifting emphases, such that the focus moved around the band like some multi-spatial baton relay. Bishop and Malaby, infrequent partners, made up a compelling frontline, if one excuses the inaccurate hierarchical nomenclature, both capable of forcefulness and subtlety as well as extended techniques and textural diversions, while Eisenstadt countered Roebke’s rhythmic gooeyness with understated commentary. The pieces mostly hovered in the 7-10-minute range, “Spruce” stretching to 15 and “Fir” a spritely 4 to close the set. To belabor the arboreal theme, the tunes had the flexibility of willows swaying in the wind, loping or plodding rhythms contrasted by quirky melodic lines, a horn soloing briefly before being joined by or argued with by the other. One could certainly see the forest for the trees.” – Andrey Henkin 

Canada Day IV reviewed in Textura

Full review here

Golden State reviewed in Citizen Jazz (France)

Full review (in French) here

Canada Day IV reviewed on NPR’s Fresh Air

Link to audio and transcript here

Step Tempest Canada Day IV review


“….continues a streak of impressive recordings.”

Link here

The New Yorker previews “Aberikula” at The Stone

“On Wednesday, as part of a residency organized by the Canadian drummer and composer Harris Eisenstadt, New York’s TILT Brass performs Eisenstadt’s “Aberikula,” a work for brass quartet inspired by the rhythms of Cuban drumming.”

Preview here

Village Voice Stone residency preview

“A protean composer of the highest order.” – Brad Cohan

Full preview here

Canada Day IV & Golden State II reviewed at El Intruso

 talented musician, in full artistic maturity, with the will to continue on his creative way.” – Sergio Piccirilli

Full review in Spanish here


Canada Day IV Downtown Music Gallery review


Link here

“This disc gets better each time I listen to it.” – Bruce Gallanter