Stan Harrison, Some Poor Soul Has a Fire Review

Genre Interplay and Inventive Spirit: Stan Harrison’s Some Poor Soul Has a Fire

By Nolan DeBuke

Stan Harrison, a seasoned saxophonist and composer, is no stranger to a wide array of musical influences. Over the years, his extensive collaborations with iconic artists like David Bowie, Laurie Anderson, and Radiohead have shaped his eclectic artistry. Yet, Harrison is also deeply rooted in jazz, drawing inspiration from Cannonball Adderley, John Coltrane, and Miles Davis. These influences form the bedrock of his musical journey, blending his love for jazz with a passion for exploring unconventional sonic landscapes.

In Some Poor Soul Has a Fire, Harrison presents an eclectic collection of nine original compositions that blend structured forms with inspired improvisation. The album explores contrasting musical elements with distinct creativity, refusing to be defined by a single style or genre. Instead, Harrison invites the listener into an open, interpretive experience—an unfolding narrative that emphasizes the expressive possibilities of music, blending influences from jazz greats, 1970s fusion, and a genre-defying overtone of experimental rock.

The album reflects Harrison’s intention to explore complex, often abstract inspirations, much of which draws from his own memories and philosophical musings. He’s clear about one thing: there’s no fixed meaning here, just a collection of moments and sounds that speak differently to every listener. It’s an invitation to take part in the creation process by interpreting and reinterpreting each moment within the album.

“(Smaller Than) The Big Picture” is the album’s tone setter, showcasing the interplay between composed motifs and improvisational development. The composition opens with an interesting looping chordal figure and time feel, which acts as a grounding element for the subsequent musical developments. The form includes multiple sections that change in feel, texture, and density, providing ample room for each musician to explore. Harrison’s solo is expressive, building upon the harmonic tension established earlier, with his upper register screams on the tenor saxophone especially emotive. The interaction between Harrison and the rhythm section gives this piece its dynamic pulse, shifting effortlessly from meditative to explosive.

“All That Remains” is built on a creatively timed ostinato figure from Elias Stemeseder’s keyboard, this track beautifully showcases the interplay between Harrison and the band. Steven Crammer’s drumming is interactive, building each section with thoughtful dynamics and rhythmic variation, while Kim Cass’ steady bass provides a warm underpinning that supports the shifting harmonic landscape. Harrison’s solo is a powerful fusion expression, blending passion with technical finesse. Particularly notable is the interaction between Harrison and Stemeseder during the improvised section, blending fusion and modern swing into an engaging dialogue. Cass’ bass solo further explores the harmonic progression, returning gracefully to the original theme.

“It’s Time to Put the Dog to Bed,” this composition builds tension through clashing rhythmic ostinatos, weaving a unique tapestry that feels urgent and dynamically creates the groove. The track blends elements of contemporary classical, rock-fusion, and modern jazz, resulting in an intricate and compelling sound. As the composition unfolds, the rhythm section introduces a catchy descending figure, offset by the string textures and their contrasting counterpoints. The string interlude is stellar in its beautifully written melodies and is performed to perfection. These shifts are our guide in highlighting Harrison’s inventive compositional voice. His saxophone solo adds a climactic intensity, bringing the piece a satisfying arc that perfectly captures his creativity.

The title track of the album, “Some Poor Soul Has a Fire,” stands out with its evocative layering of rhythmic motifs that interact seamlessly with each other. Harrison introduces these motifs early on, and they continue to evolve throughout the presentation of the melody, each section bringing new variations and distinct textures. A significant switch to half-time in the middle section adds a moment of impactful tension release, setting the stage for Harrison’s solo. His improvisation here reflects the clarity of his thematic approach—each idea develops organically from the motifs of the original melody. Stemeseder’s coloring on piano, synths, and Una Corda further enhances the sonic palette, while Crammer’s drumming follows the contours of the piece beautifully. Cass’ bass is the warm, round foundation that gives context to the many shades and movements above, making this track a deeply personal and cathartic listening experience.

Throughout the album, Harrison’s orchestrating and writing demonstrate a keen sense of texture and dynamics, offering varying cohesive soundscapes with each track. His compositions frequently shift between moments of dense, energetic interaction and quieter, more introspective passages, allowing each instrument room to shine. Harrison’s approach to integrating improvisation within composed frameworks is fluid. His diverse musical experiences laid the foundation for his deep understanding of harmonic complexity and fluid phrasing. Harrison’s melding of genres influences his approach to unconventional forms and dynamic shifts. This mix of influences is evident in Harrison’s compositions, where themes evolve organically and improvisation feels like an extension of the composed material rather than an interruption. Ruo’s extra-musical influences are also present, lending an experimental edge that keeps the listener engaged.

The supporting musicians—Kim Cass on bass, Steven Crammer on drums, and Elias Stemeseder on piano, synths, and Una Corda—are integral to the album’s appeal. Each player brings a unique voice, contributing Harrison’s personal stories and philosophical musings. The pieces draw from Harrison’s diverse memories of past experiences, abstract concepts, and literary influences, all of which contribute to the emotional resonance of the album. Harrison’s connection to these extra-musical inspirations gives the music a cohesive quality, providing listeners with a framework to interpret the experiences that shaped each piece.

Harrison’s connection to jazz is evident in his fluid phrasing and harmonic approach, yet his influences extend far beyond jazz. Life experiences and his mix of influences and genres also play a role in Harrison’s musical identity, particularly in his approach to form and texture. This diverse background informs the listener’s experience, offering something refreshingly contemporary. Repeated listens of Some Poor Soul Has a Fire offers new insights into the complex interplay of genres—from jazz and fusion to experimental rock. This reflects Harrison’s ability to balance structured composition with exploratory improvisation to craft pieces unified in their inventive spirit.