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Bad Luck Is All I Have

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Dank and rubbery, Bad Luck Is All I Have expounds upon Eddie Harris’ obsession with Sly Stone. Dark and gritty and skeletal, “Bad Luck Is All I Have” and “Get On Up And Dance” are indicative of the same subterranean paranoia that fueled Sly’s Small Talk, released one year prior. The sound design is extraordinary. This has to be one of the dirtiest, least polished albums Atlantic’s jazz wing ever agreed to release. It would have horrified Tom Dowd, the label’s faithful recording engineering, but in the best possible way. This is pure subterranean funk music, played by a genius whose grip on reality was becoming slightly wobbly. “Abstractions” and “It Feels So Good” are fractured and unruly, but they are also audacious and a lot of fun. The reward at the end of this thorny journey is “Why Must We Part,” an eerie celestial blues that Eddie sings in a desperate, loving falsetto. Even as it symbolizes a cracked mental state, it is probably the best vocal of his career.

伝記

誕生: 1934年10月20日 Chicago, IL

ジャンル: ジャズ

活動期間: '60s, '70s, '80s, '90s

Long underrated in the pantheon of jazz greats, Eddie Harris was an eclectic and imaginative saxophonist whose career was marked by a hearty appetite for experimentation. For quite some time, he was far more popular with audiences than with critics, many of whom denigrated him for his more commercially successful ventures. Harris' tastes ranged across the spectrum of black music, not all of which was deemed acceptable by jazz purists. He had the chops to handle technically demanding bop, and the...
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