Harris Eisenstadt

”Eisenstadt is strong proof that jazz is still young and growing,” declares L.A. Weekly's Greg Burk. Critics have called him “a rising presence as a composer of note” (Troy Collins, AllAboutJazz.com), “vital and increasingly influential” (Glenn Astarita, jazzreview.com) and “one of the most creative and skilled musician/composers incorporating traditional material to create new and vital improvised music” (Robert Iannapollo, AllAboutJazz-New York).

”Eisenstadt is strong proof that jazz is still young and growing,” declares L.A. Weekly's Greg Burk. Critics have called him “a rising presence as a composer of note” (Troy Collins, AllAboutJazz.com), “vital and increasingly influential” (Glenn Astarita, jazzreview.com) and “one of the most creative and skilled musician/composers incorporating traditional material to create new and vital improvised music” (Robert Iannapollo, AllAboutJazz-New York).

The Village Voice's Jim Macnie adds, “He's perpetually building new ensembles to suit the variety of music he hears in his head — that's what composers do.”

One of only a handful of drummers equally well-known for his work as a composer, Eisenstadt is among the most versatile and prolific musicians of his generation. His eclectic resume includes studies with some of the most respected names in both improvised music and West African drumming, and performances in genres ranging from film and theater to poetry and dance to contemporary classical and opera.

Most active in jazz and improvised music, as both an in- demand sideman and a bandleader, he has performed all over the globe, earned commissions from organizations such as Meet The Composer and the American Composers Forum, and appeared on more than 40 recordings over the past decade.

In 2011 he released his 10th and 11th recordings as a leader, Canada Day II (Songlines) and September Trio (Clean Feed).