Filling the niche between small group and big band: Stephen Philip Harvey Octet 'Live at Radio Artifact'

Young jazz musicians seeking composing and arranging exposure can usefully apply their skills to small

Saxophonist-composer-arranger Harvey

groups. Eight players on the bandstand or recording studio get multiple opportunities to display their skills. What the leader brings to the bandstand with his charts is transparently appreciable.

The rapport among individuals requires a huge amount of shared focus. At the same time, good arrangements blend seamlessly with solo episodes, since the one-against-many dynamic tends to vanish.

Stephen Philip Harvey is a saxophonist in his early 30s who heads a compatible group of eight associates mostly in his own compositions, working in front of a small audience through https://www.radioartifact.com. 

In Wayne Shorter's "Witch Hunt," which showcases the tight ensemble plus soloists Dan Bruce (guitar) and Reggie Watkins (trombone), the listener to this selection  from a Cincinnati gig gets initial acquaintance with Harvey's arranging skills. 

I liked how after the exploratory focus of the guitar solo, the trombonist picks up in a more relaxed manner, seconded by the accompaniment. That's reduced for a few choruses before the ensemble comes back in with punctuating riffs, back to the theme. The solos and their settings help individualize Harvey's approach to Shorter's tune.

In a thoroughly relaxed manner, there's an attractive nocturnal feeling to Thomas Schinabeck's alto, leading the way and soloing on "Chitown." The comping seems a little crowded here, but at least the context is appropriate and enhancing. Marques Carroll's trumpet is featured on "Smashi," another example of the leader's graciousness in extending opportunities to his sidemen. 

For mastery of his own, Harvey takes a defining tenor solo on "Jay Tee." The track is especially notable for the well-balanced ensemble, presented in a way that builds interest phrase by phrase. Toward the end of the disc, "Band Intro Blues" carries a title that says it all, with a semi-rapped introduction of the band members upon a background that is best overheard. Then"Party Song" (also aptly titled) takes it out in high spirits. Audience response is somewhat distantly recorded, but seems far from indifferent.