26 giugno 2016
Esce per l'etichetta My Only Desire Records in un'edizione in vinile a tiratura limitata un bell'inedito di Harry Beckett registrato negli studi radiofonici della BBC nel 1974: Still Happy. Con il trombettista c'erano in quell'occasione Alan Wakeman, Don Weller, Brian Miller, Paul Hart, John Webb e Robin Jones.
Scrive Richard Williams: "One of the most distinctive London-based improvisers of his generation, Beckett enjoyed a reputation within the jazz community that was never matched by wider public recognition. His membership of bands led by Graham Collier and Chris McGregor, as well his various solo projects, meant that his work was quite effectively documented, but much remains to be exposed to today's listeners, particularly sessions recorded for BBC Radio. A new vinyl album titled Still Happy represents the rescue from archive obscurity of a session recorded for Radio 2's Jazz Club in 1974. It contains three tracks, totalling just under 30 minutes of music, and features some of his regular musical companions: the saxophonists Alan Wakeman and Don Weller, the electric pianist Brian Miller, the bass guitarist Paul Hart, the drummer John Webb and the conga player Robin Jones.
Harry's work on trumpet and flugelhorn possessed characteristics that, although immediately identifiable, are hard to summarise. Superficially there was a variation on the little-boy-lost quality that Kenneth Tynan ascribed to Miles Davis, blended with some of the untethered lyricism of Don Cherry: an unusual combination of deep poignancy and an irrepressible optimism. Two other factors, however, were of equal importance. The first was the Barbadian-born Harry's very personal intonation, something he shared with a number of musicians of Caribbean origin who turned to jazz in that era. The second was his freedom from the restrictions of rhetoric, by which I mean that his solos did not proceed in the expectation of climax or even resolution but existed from moment to moment, climaxes sometimes arriving and disappearing within a single phrase, so that the improvisations were ordered on a kind of micro-cellular level. By 1974, too, it was impossible to miss the closeness of his engagement with the prevailing rhythmic flow."