Lured out of retirement by bassist Ray Brown after taking extensive time off from the road, pianist Gene Harris recorded extensively from the mid-'80s until shortly before his untimely death in early 2000. This is the second Resonance CD to come from a 1996 engagement at London's Pizza Express, features the pianist with a group of European musicians (Scottish guitarist Jim Mullen plus two Englishmen, bassist Andrew Clyendert and drummer Martin Drew, the latter of whom worked extensively with Oscar Peterson). While they had not played together prior to this engagement, they are very much on the same wavelength. "Sweet Georgia Brown" opens softly, with Mullen showing a funky touch, but as the piece develops Harris takes hold with his driving soulful technique…

Pianist Gene Harris' 1992 quartet (with guitarist Ron Eschete, bassist Luther Hughes, and drummer Harold Jones) explores ten wide-ranging selections on this CD. But despite the very different chord changes, they are able to infuse the music with so much soul that the results are consistently bluesy. Among the tunes that Harris and his group explore are Horace Silver's "Strollin'", "Until the Real Thing Comes Along," "Jeannine", "You Make Me Feel So Young", and "Wrap Your Troubles in Dreams". An excellent effort.

On the Corner is yet another excellent Blue Note U.K. compilation of absolutely killer cuts from Blue Note's prime jazz-funk years in the wake of the soul-jazz explosion of the 1960s and Miles Davis' electric innovations in the late '60s and '70s. Typical of Blue Note in the period, these tracks all came from albums that were, in one sense, birds of a feather. In other words, whatever was "happening," Blue Note recorded it almost exclusively and forced even established artists to fit into that mold. While there were some mixed results, obviously, there is also a wealth of great material to choose from, as this funk-centric compilation makes very clear. One can already judge where the set is headed when it begins with Gene Harris' truly grooving "Losalamitoslatinlovesong." Harris cut three terrific electric jazz-funk sets for the label in the 1970s, only one of which has ever been available on CD. But other selections – such as Eddie Henderson's "Kumquat Kid," Ronnie Foster's "Cheshire Cat," Ronnie Laws' "Always There," and Moacir Santos' "Route" – offer funky fusion delights as well. There are 20 tunes on two discs, each of them jam-packed with gems.

In 2001, Concord Jazz described Live at Otter Crest as a "never-before-released live recording." But, in fact, this CD is actually a reissue of an obscure, little-known LP that originally came out on the Bosco label. When Live at Otter Crest was recorded at an Oregon gig on April 24, 1981, Gene Harris was in semi-retirement - he was still performing, but not very often. And it wasn't until 1985 that the pianist's very productive association with Concord would begin. Because Harris had recorded some overproduced commercial projects in the late '70s, bop's hardcore was calling him a sellout. But on Live at Otter Crest, a 47-year-old Harris is hell-bent for straight-ahead, hard-swinging jazz - funky and earthy, yes, but definitely straight-ahead…

While there may never be an truly comprehensive, one-disc "introduction" to jazz in general, CLASSIC JAZZ does indeed come close–at least, regarding mainstream jazz of the 1960s and early '70s. Present are iconic drummer-bandleaders Buddy Rich and Elvin Jones, purveyors of blues-soaked hard bop Cannonball Adderley and Lee Morgan, vibes ace Bobby Hutcherson, soul-jazz stalwarts Gene Harris, Horace Silver, and Grant Green, and more!

This superb album solidified pianist Gene Harris' return to the jazz major leagues. Teamed up with bassist Ray Brown, drummer Mickey Roker, and tenor saxophonist Stanley Turrentine, Harris stretches out on such songs as Ray Brown's blues "Gene's Lament," "Things Ain't What They Used to Be," "Yours Is My Heart Alone," and "Battle Hymn of the Republic." Harris and Turrentine work together so well on this soulful blues/bop date that one wishes they had teamed up much more often.

Although often associated with the blues, only one of the ten selections on this quartet set by pianist Gene Harris (who is joined by guitarist Ron Eschete, bassist Ray Brown, and drummer Jeff Hamilton) is technically a blues. On this excellent all-around showcase for the soulful pianist, Harris sounds in prime form exploring such tunes as "This Masquerade," "Don't Be That Way," Eddie Harris' "Listen Here," and "The Song Is Ended." Listen Here! gives listeners a pretty definitive look at Gene Harris' accessible and swinging style.

The vast majority of Gene Harris' Concord albums of the '80s and '90s were small-group efforts, which is probably just as well because the acoustic pianist had more room to stretch out and improvise when he was leading a trio, quartet, or quintet. But Harris did have a chance to oversee a big band when he led the Philip Morris Superband in the late '80s and early '90s. In 2001, Concord reissued Harris' two albums with the Superband - Live at Town Hall, N.Y.C. and World Tour 1990 - as the double-CD Big Band Soul. While Live at Town Hall, N.Y.C. was recorded at a New York concert in 1989, World Tour 1990 was recorded in a Sydney, Australia, studio the following year. Despite the fact that one is a live album and the other is a studio date, the albums are quite similar…

This matchup by pianist Gene Harris and tenor saxophonist Scott Hamilton, in a quintet that also includes guitarist Herb Ellis, bassist Ray Brown, and drummer Harold Jones, is fun although it does not reach the excitement level one might expect. The ballads work best, while the stomps never really catch fire or explode. Harris and Hamilton always play at a high level, but their collaboration falls short of being the expected classic despite some good moments.