Harry Sheppard Jazz Vibraphonist

Harry's music has been reviewed and written about in several major publications. Here is a selection of what the critics have to say.

The New York Times

Harry Sheppard, a thoroughly original vibraphonist, brought his trio and a guest saxophonist, Arnie Lawrence, to the Other End Thursday.

In the 1950's, Mr. Sheppard played swing jazz in the house rhythm section of New York's Metropole club. Parts of his solos still glide along in the serene, well spaced phrases of a swing vibraphonist. But at any moment, with perfect aplomb, Mr. Sheppard can send his solos through a science-fiction warp. His chords splinter into dissonance, his lines sprint off at angles, his liquid sustained notes freeze.

Mr. Sheppard wrings unexpected tones out of his instrument. He juxtaposes a floating vibrato, quick skittering notes and a marimba like percussive tremolo. In “All the Things You Are,” he made notes shimmer in and out of earshot with his volume knob, and in “In Sweet Georgia Brown,” he used a wah-wah pedal to squirt out phrases or give them a raspy edge. And in a calypso, he damped two notes with his right hand and played them like a double agogo bell.

Mr. Lawrence's alto saxophone solos built from gentle, diffident phrases to be-bop expostulations. His fluency, however, was overshadowed by Mr. Sheppard's quiet brilliance.

Etc.: A seasoned vibraphonist whose long list of credits includes stints with Billie Holiday and Benny Goodman, Harry Sheppard is now safely retrenched in tradition after dabbling in jazz fusion for a spell. As comfortable performing solo as he is in duos and trios, Sheppard never needs much of an excuse to play, and his well-honed enthusiasm is a hoot in any capacity. Pick a night, and he's apt to be on-stage somewhere around town.

Sheppard is a major talent on vibes. He has four-mallet technique to burn (although chops are not the focus of this album). He's a rhythmic player who can sound like Erroll Garner stroking a steady four-to-the-bar as well as Monk splintering off in four directions at once. In fact, the performances have a Monk-ish quality: percussive, off-center, dancing and, above all, substantive.

Sheppard performs with bassist Bill Miller and drummer Ricky Sebastian throughout, with tenor man Shelly Carroll joining the trio on the first four tracks, tunes by Ellington and/or Strayhorn orTizol. Miller, who has a fat tone, is both percussive and fast. Sebastian, who is Herbie Mann's regular drummer, is a master of all grooves. Carroll's broad scoops and assertive delivery suggest Ben Webster and Lockjaw Davis.

On "Caravan," "Body and Soul" and "Sweet Georgia Brown" Sheppard employs what sounds like a wah-wah pedal hooked up to the vibes. One of the group's most unusual approaches is "Yesterdays" played over a New Orleans second-line beat. The album was recorded in 1991 . Considering its freshness and the group's excellent playing, one wonders why it wasn't released sooner.

A challenging effort which dares listeners to join in the fun the band is obviously having, Harry Sheppard's Points of View (Justice JR 0303- 2; 57:35) is relentlessly diverse in its scope, but somehow makes perfect sense as a whole. Veteran vibraphonist Sheppard, whose resume includes big band excursions, leads a tight ensemble through hairpin curves of time and odd changes for some affecting music. Each track is its own adventure—where "Deerbod" has a deliciously loopy hook combining resonating bells with a rock hammering bass, "Bushmasters" is a darkly mysterious offering, a showcase of bizarre, yet captivating vibe effects. Other standout tracks include "What it Was," with a rolling rhythm accented by hollow clicks and nicely understated Steve Masakowski guitar musings, and "Outside In," a grandly dissonant, sparse tune highlighted by Steve Bailey's wildly creeping, descending bass, line.

Sheppard has assembled some very creative up-and-coming performer/composers here whose Points of View are well worth checking out.