Comin' Atcha

Detroit native/California studio and session man Terry Harrington is one of those unsung heroes of jazz that has played with everyone since the '60s, but the general public is barely aware of him. This recording should change that, for Harrington is an expert clarinetist and a fine tenor saxophonist in the modern mainstream tradition, with strong tone and good, listenable ideas. A variety of different musicians back him up, most notably trombonist George Bohanon, pianists Bill Cunliffe and George Gaffney, bassist Tom Warrington, and drummers Bob Leatherbarrow, Paul Kreibich, and John Perett. It's clear Harrington loves the clarinet in a Benny Goodman/Buddy DeFranco framework. His sweet, lilting approach to "If I Should Lose You" and more-swing-than-bossa take of "No More Blues" reflects this perfectly. The ballad "Lover Man" shows Harrington can be patient in melodic construct while swinging the bridge nicely too. A Cedar Walton evergreen "Midnight (a.k.a. "Twilight") Waltz" exudes the brightest of his clarinet sounds, with Bohanon's sprightly harmony keeping pace. In a mode reminiscent of perhaps Stan Getz or Zoot Sims, Harrington's tenor struts on "Blues in the Night"-styled "Walkin' Da Rail," his lone original, with Bohanon again chiming in agreeably. Another Cedar Walton classic, "Bolivia," is hotter than a pistol, with Harrington straddling the line between Sonny Rollins and George Coleman in terms of bluesy swing-to-bop inflections. A rollicking "Sweet Georgia Brown" has the two horns at fever pitch, feeding off one another. There are three tracks where Harrington overdubs on clarinet, fake vibes/electric lounge piano/guitar, and real drums. They are not as effective or attractive, although Goodman's forceful "Rachel's Dream" comes closest to the authentic swing and feeling of the other cuts. Too bad Harrington got this out late in his career, although it's never too late to build a discography. ~ Michael G. Nastos, Rovi