Winard Harper

First, a few words about this renovated 96-year-old movie house. It's compact, seating about 250, with a balcony area that over looks the main floor and seating in the lower level that surrounds the main seating area. It's a venue with great sight lines that also affords quality sound throughout the room .The sound system appeared to be perfect with the amplification set at an appropriate level for this relatively small room.

Outside the main room, there are two bar areas with ample space for light dining. On this inaugural night, management even provided patrons with a complimentary buffet dinner. What a class act by what seems to be a class organization.

All of this" pomp and circumstance " could have been negated if the music didn't stand up to the test. Don't worry, that was the least of concerns as the energetic Harper and his colleagues of Ameen Saleen on bass, Jon Notar on piano, Bruce Harris on trumpet, Dayna Stephens on sax and Jean Marie Collatin on percussions were on fire.

Without the horn section, they began the set with a nice version of Duke Ellington "In A Sentimental Mood" with Winard stroking the skins with his wire brushes . The second number "Reflections" also featured the leader as he opened this original tune with a drum solo without exposing the melody. Once the other members of the rhythm joined in, Winard continued with another rapid fire solo that remained within the context of the melody.

The hornsmen and percusionist entered at the begining of the third selection, another Harper original entitled "God is the Greatest." This number highlighted Collatin on the African Jimby.

The remainder the this nearly two hour set featured both standards and Harper originals. Throughout the evening, all ensemble members had an opportunity to display their skills on extended solos. Special mention must be given to percussionist Collatin as he seemed to be in a zone all night on his array of percussion sound makers. The same can be said about the other band members although toward the end of the concert, there was little doubt as to who the leader was as Harper simply took control during the last two numbers with some spectaculiar drumming. He had a couple of extended solos that vibrated around the room. He also displayed his talent on the West African balafon, a precursor to the xylophone. This writer must note a misstep by trumpeter Bruce Harris on "Footprints." He seemed to misplay a few notes on this Wayne Shorter-penned classic. Other than that small hiccup, the entire evening was a grand success.

Again, congratulation to McGhee and the entire staff at the Morse theater for opening this musical venue with class and style. For information regarding future Morse events, refer to www.themorse.com.