Posts Tagged ‘Canada Day Octet’

Stone Residency Poster










III Octet & FH5 +1 on CKUT Best of 2012

Link here.

III on JJA Pres. Howard Mandel’s Best of 2012 List

“Calm, precise yet color-filled compositions for a quintet of matured NYC pros who’ve learned to play together closely over three albums and several tours.”

List here.

Jazzword III & Octet double review

Full review here.

III and Octet on a bunch more Best of 2012 Lists

Lists here:

All About Jazz – Mark Corroto

Avant Music News

Blue Fat


Improvised Blog

Lateral Thinking

All About Jazz – Xybert


Octet, III and FH5 +1 on Jazz Amuck Best of 2012 list

Full list here.

III & Octet on Step Tempest Best of 2012

“If you ever have the opportunity to see either one or both of these ensembles, you must do so.” – Richard Kamins, Steptempest

List here


Dark Forces Swing Best of 2012 III & Octet double review

“A mainstay of my year-end lists… magical… both discs highly recommended.”

Scroll down to bottom of post for full review.

III & Octet on Hank Shteamer’s JJA Best of 2012 List

List here

III and Octet Jazz Times Double Review


Canada Day III (Songlines)

Canada Day Octet (482 Music)


Far more than other instrumentalists, drummer/leaders tend to feel the need to qualify their compositional efforts as being “not a drummer’s record,” as if sitting behind the kit limits one’s imagination to explosive percussive outbursts. With two new releases for his Canada Day ensemble, one the third release by the core quintet and the other with an augmented octet, Harris Eisenstadt obviously doesn’t feel the need for such declarations. Not that either album finds Eisenstadt hogging the spotlight for extended solo turns; both, however, showcase the inventive ways in which he can translate his identity as a drummer into a striking compositional voice.


That inspiration comes in part through the intricate use of rhythm. The presence of vibraphonist Chris Dingman in place of a pianist or guitarist serves to offer the possibility of a rhythmic or melodic voice, and Eisenstadt takes full advantage. Contrast the way that each of Dingman’s volleys seems to ripple through the leader’s playing on “A Whole New Amount of Interactivity” with the way that the chiming vibes combine with Garth Stevenson’s husky bass to conjure the sly melody of “The Magician of Lublin.” But it’s also expressed via the combination of textures, especially in the interaction of Nate Wooley and Matt Bauder, both of whom have expansive inside/outside approaches. So Wooley’s trumpet can sputter and squeal on the jittery “Nosey Parker” and dig into a deep muted swing on “Magician.” Bauder is tenderly lyrical on “Song for Sara” (penned for Eisenstadt’s wife, bassoonist Sara Schoenbeck), breathy and crepuscular on “King of the Kutiriba.” Even when he cedes control, the entire band understands the way in which their voices meld, as in the clutter of isolated sounds that concludes “Interactivity.”


Canada Day Octet supplements the quintet with trombone, alto and tuba, and takes a more orchestral approach to composing for the group. Four of the album’s five tracks comprise a suite entitled “The Ombudsman,” named for the way Eisenstadt’s music mediates between complexity and accessibility, structure and freedom. It’s an apt reference given the sweep of his writing. The leader’s crisp, riveting opening solo is soon accompanied by a horn fanfare, and by the end of the first section’s fourteen minutes the collective has broken apart into a whirlpool of free improvisation. Eisenstadt employs even this larger collective with an ear toward the way each element works within and against the whole, whether corralling the ensemble into the lovely palette-cleansing colors of the final track, “Ballad for 10.6.7” (undoubtedly the prettiest outcome of computer frustrations in recorded history) or paring down to small subdivisions: tuba and arco bass on “The Ombudsman 1,” cascading vibes over chattering drums on “2.”


With each new release, Canada Day is developing into a more intriguing ensemble as well as an ideal, malleable outlet for Eisenstadt’s distinctive concepts. SHAUN BRADY

4 stars for Octet in Cuadernos de Jazz

“A master at creating atmosphere tinged with positivity.” – Jesus Gonzalo.

Full review in Spanish here.

III and Octet Noiself Double Review

Full review in Spanish here.

4 stars AAJ Italy for Canada Day Octet

Full review (in Italian) here

Canada Day Octet AAJ review

“…an epigram for all the drummer’s work: endless ways of deriving elegant solutions to the inside out conundrum.” – John Sharpe, All About Jazz

Full review here

Shanley on Music IIi & Octet double review

“Unique… sweet… but with a bit of bite.” Full review here

Octet Gapplegate review

“Music of consistency, brilliance, and originality.” Full review here

Downbeat September 2012 issue double review

**** III
“Persuasively put across… adroit soloists bring the material’s many strengths into sharp relief.”

***1/2 Octet
“Demanding score… precise transitions… colorful arrangements.”

Octet KZSU Stanford review

“Everything suddenly stretches out or strikes like a snake.” Full review here

III #10 on CMJ Jazz radio charts

right after Ahmad Jamal… nice to chart on US radio…

Octet & III on Destination Out WFMU

Playlist here.

Something Else double review

“Those who have relished Harris Eisenstadt’s prior Canada Day records will find much to like here.”

Full review here

Emusic: Canada Day III Pick of the Week

“Supremely forward thinking music… one of the most important composer/performers on the scene.” Review here

El Intruso double review

III: “the quintet at the zenith of its career.”

Octet: “Ellingtonian.”

Full review here

New York City Jazz Record double review

“the perfect creative coterie to express his unique vision of musical humanity.” – Tom Greenland

AMN pick of the week and best of 2012 so far list

Octet pick of the week here 

III on best of 2012 so far list  here

Emusic: Octet “Highly Recommended”

“Seriously innovative.” Review here

The Wire double review

“terrific form… the architecture is solid and impressive, and the workmanship commendable.” – Dan Warburton, The Wire

Downtown Music Gallery Octet review

“My favorite disc of the month (June 2012).” Full review here

Step Tempest double review

“original and impressive writing.” Full review here

Free Jazz blog double review

“… one of the most vital composers and bandleaders in contemporary jazz. Essential listening.” full reviews here

June 16-17 CD Release gigs previewed in NY Times

Harris Eisenstadt’s Canada Day (Saturday) A venturesome drummer and composer, Mr. Eisenstadt walks the line between free-form exploration and meticulous composition with Canada Day, featuring the trumpeter Nate Wooley, the saxophonist Matt Bauder, the vibraphonist Chris Dingman and the bassist Garth Stevenson. For this one-nighter the band previews material from its third album, “Canada Day III,” due out next month on Songlines. At 9 and 10:30 p.m., Cornelia Street Café, 29 Cornelia Street, Greenwich Village, (212) 989-9319,; $10 cover, with a $10 minimum. (Chinen)

Red Hook Jazz Festival (Sunday) This neighborly outdoor event is in its fifth year, and worth a look even for those whose only experience in the Red Hook section of Brooklyn involves prowling for Swedish furniture. Its lineup features bands inclined toward boisterous smarts: Harris Eisenstadt’s Canada Day Octet, the Nate Wooley Quintet…

Two CD release gigs previewed in Time Out New York

June 16 9pm Cornelia Street Cafe Canada Day III (Songlines)

June 17 2pm Red Hook Jazz Festival Canada Day Octet (482 Music)

Preview here

El Intruso Canada Day III & Octet Preview


“…besides being one of the most representative and prestigious musicians of his generation, he is also one of the most prolific figures on the jazz scene of the new millennium.”