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month-to-month after that”) at D.C.’s Willard Hotel. “I’m trying to focus more on concerts and festivals, and I’m doing a little teaching. And private or corporate parties that are fun, and that pay well, are always nice.”
Asked how his attitude toward music has changed over the years, Harris gestures around the room. “I guess since I have a family, which includes a child who I’ve helped raise, I haven’t had the luxury or the inclination to be as obsessed about trying to create music.”
Still, Harris says, he remains his own worst critic.
He mentions jazz pianist Tommy Flanagan, “who I regard as one of the greatest pianists of the 20th, and into the 21st, centuries. And he never listened to anything he recorded.”
Harris has put out four CDs over the years, “and being my own producer, and having to listen and edit what I did in the studio, I always found it to be a painful experience.”
Speaking of recording and performance, though, he brightens again. “That's the magical thing about jazz, and improvisation, it is just a . . . moment in time. And even though you may record it, the recording is not a true or real representation of what was actually happening in that moment.”
Why’s that?
“It’s . . . just a document of the sound, in a way, but it doesn’t convey the emotion or the energy in the room at that second.”
So how did Harris come to love such a fitfully fulfilling line of work?
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