JAZZ REVIEW : Harpist Henson-Conant Reveals Rare Eloquence

It’s a tough job, but somebody has to do it. Play the harp, that is. As long as it’s being done, the responsibility may as well be left to Deborah Henson-Conant, who has a unique command of this unwieldy instrument and was here Wednesday at Bon Appetit.

Though she has an album out, it does her no justice, cluttered as it is with four or five accompanying instruments. At Bon Appetit, Henson-Conant, much of whose material is self-composed, had complete freedom, backed only by percussionist Joe Mekler.

The harp has proved almost impossible as a jazz vehicle for other players. Henson-Conant, though, is an exception. She bends notes in the blues manner; her repertoire even includes “Blue Monk.” Rarely does she resort to those sweeping arpeggios that have always been a harpist’s cliche.

Using her left hand sometimes like a bass line, her right occasionally for music-box effects, she also sang now and then, even bringing a Joan Baez-like folksiness to a piece that evolved subtly into “Summertime.” Her accompanist Mekler is all over the lot with bongos, congas, snares, cymbals and one small drum which, placed around his neck, is beaten with both sticks and nose.

Henson-Conant’s slogan is “talking hands.” Indeed, her hands and voice alike speak with an unprecedented eloquence. One can only hope that her next visit will not be confined to a one-night stand.