After graduating in 1965, he spent a year or so in Dallas, jamming with big-time saxophonists like James Clay and Claude Johnson, veterans of Ray Charles’s band. Then in 1966, Harper jumped into his black Mustang fastback and drove to Manhattan. His second night in the city, he parked in front of the Five Spot Cafe on St. Marks Place and rushed inside with his horn to hear Thelonious Monk. He forgot to lock the car, and was robbed of nearly everything he owned. That first year in New York was a challenge. He tried sitting in nightly at Slugs’ Saloon, a jazz mecca on the Lower East Side, but rarely got a paid gig.
But in 1967, a chance meeting on Broadway with Gil Evans, the composer, arranger and Miles Davis collaborator, led to an invitation to rehearse with Evans’s big band. Harper would become one of its important soloists. Word spread and his résumé grew.
Harper — himself an accomplished drummer — spent years playing with the drummer Art Blakey’s Jazz Messengers. He was a member of the trumpeter Lee Morgan’s final band and was at Slugs’ the night Morgan was fatally shot there in 1972. He spent much of the ’70s in a quartet led by the drummer Max Roach, and held the first tenor chair in the Thad Jones-Mel Lewis Orchestra. Its leaders would keep him glued to his seat until the end of a set — at which time, like a pent-up thoroughbred leaving the gate, he would rise to deliver a scarifying blizzard of a blues-drenched solo.
His A-list collaborations continued over the decades; since 2010, Harper has recorded half a dozen albums and toured widely with the Cookers while also maintaining his own group, which he described as authentic: “We have a soul-heart-mind connection when we play together,” he said.
Typically, members stick with the quintet for years, if not decades, as in the case of Tanksley. To this day, she said, when the band plays one of Harper’s compositions, the musicians seem to enter “a small universe with its own state of being.”
Harper has recorded around 20 albums with the quintet, though it’s been a while — the group’s most recent disc, “Blueprints of Jazz Vol. 2,” came out in 2008. His recordings can be as hard to find as they are musically definitive.
Richard Scheinin
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