Band – Harry James & His Big Band* Bass – Dave Stone (2) Bass Trombone – Houghton Peterson Copyist [Music Preparation] – Mickey Ingalls Crew [Moral Support, Panic Control & Crisis Service] – Sandi Johnson Design [Album Design], Photography By, Illustration – Christina Farley Drums – Les DeMerle Engineer [Design Engineer For Sheffield Lab] – Bud Wyatt Engineer [Design Engineer For The Mastering Lab] – Sherwood Sax Engineer [Engineering Technicians, Mastering Lab] – Paul Kaminsky, Tom Pessagno Engineer [Engineering Technicians, Sheffield Lab] – "Chance" Lake*, David Coe, Steve Haselton Engineer [Recording Engineer] – Ron Hitchcock Lathe Cut By [Lathe Operator] – Mike Reese Liner Notes [Music Notes] – Fred Hall Management [Manager], Contractor – Frank "Pee Wee" Monte* Piano – Tommy Todd Plated By [Disc Processing, AFM Engineering] – Richard "Slim" Doss* Producer – Lincoln Mayorga Producer [Production Assistant] – Jeff Weber* Producer, Liner Notes – Doug Sax Saxophone – Bob Lawson, Mel Kunkle, Norman Smith (2), Pat Longo, Quin Davis Supervised By [Booth Supervision] – Wes Lindskoog Trombone – Chuck Anderson, Tom Padveen Trumpet – William Hicks*, Gino Bozzacco, Nick Buono, Robert Berrenson Trumpet, Leader – Harry James (2) https://www.discogs.com/release/2707258-Harry-James-His-Big-Band-The-King-James-Version https://www.tnt-audio.com/topics/james_e.html

Born in New Jersey and bred inChicago’sunderground music community,Harry James Brenner Jr.has built a practice termed in composites.As a longtime member of ensembles like Killer Whales,Chandeliers,and Songs For Gods,Harry’swork to date has encompassed a wide range of formats and styles,from experimental electronica and punky afro beat to MPC-chopped jams and jazz-inflected post-rock.Though trained as a percussionist,recent years have seen his contributions expand to include the piano and keyboards,allowing him to explore musical composition from synchronous angles:approaching beats from a tonal perspective,highlighting the rhythmic potentials of melody.This dual vantage serves as the foundation for Buy the Numbers,Harry’sdebut solo LP,out now via Potions Music(Queens,NY).Released under the moniker Harry James,this new collection is an exercise in mining the creative possibilities of constraint:fourteen smoky instrumentals,each under three minutes in length,which find Harry limiting his instrumentation to upright piano and percussion,building fluid compositions whose concise arrangements neatly interweave color and cadence while leaving room for epiphanies found through improvisation.Brenner performed and recorded Buy the Numbers on his own in a series of after-hours sessions atChicago’svenerable Shape Shoppe recording studio/loft(RIP),constructing his tunes one take at a time.While his methods were strict—no punching in,no manipulation,each song completed in a single night—the resulting works are striking in their handmade intimacy:with thealbum’sspacious production allowing each element to stand clearly in the mix,Harry’sprocess offsets careful craft with intuitive feel,creating a vividly honest sonic document.In keeping withHarry’sdiverse resume,Buy the Numbers varies greatly in both mood and points of reference:where upbeat tracks like“The Strut”and“Bars for Freddie”merge cycling melodic patterns with urgent kit work and skittering percussion(think Mulatu Astatke-meets-Jaki Liebezeit),lower-key cuts like“Dapper”and“Alice Runs the High Life”evoke figures ranging from Erik Satie and Mamão Conti to Alice Coltrane and Rashied Ali,unfolding as if the arpeggiated flourishes of Emahoy Tsegue-Maryam Guebrou were set toMadlib’ssubtly off-kilter timing.The result is a cratedigger’sdream:a suite of sample-ready grooves that echo the past while remaining unrooted in genre and time,a product of personal vision that leaves itself open to new possibilities.