#1 Bill Harris (October 28, 1916 - August 21, 1973) was a jazz trombonist.<… Read Full Bio ↴#1 Bill Harris (October 28, 1916 - August 21, 1973) was a jazz trombonist.
#2 Bill Harris (April 14, 1925 - December 6, 1988) was an American rhythm and blues and jazz guitarist, member of The Clovers from 1950 to 1958.

#1 Early in his career, Harris performed with Benny Goodman, Charlie Barnet, and Eddie Condon. He is renowned for his broad, thick tone and quick vibrato that remained for the duration of each tone. He went on to join Woody Herman's First Herd in 1944. He was also in the Four Brothers Second Herd during the late 1940s, and he worked with Herman again in the 1950s. He then teamed up with Charlie Ventura and later with Chubby Jackson. Together with Flip Phillips, he became a stalwart of Benny Goodman's group in 1959. Later, Harris worked in Las Vegas, finally retiring to Florida.

Although Harris' style was a swing era approach, he was one of the first trombonists to acquire the technical command of the trombone that allowed him to play in the breakneck tempos associated with bebop. Harris constantly surprised the listener with his variety of stylistic attributes. He was fond of varying his articulations between legato and staccato and playing first simply and then more complex. His use of vibrato also differed between the terminal vibrato - used by most swing era horn players - and a straight tone as well as combinations of the two. Harris also had an irrepressible sense of humor that showed not only in his soloing but in the way he performed as well. One story tells of an effect that left his leader mystified:

When he was on Woody Herman's band, Harris had a little right-angle crook of tubing made to fit between his mouthpiece and his trombone. One night on his way to the front mike to take a solo, Bill surreptitiously slipped the crook onto his horn. This allowed him to play with his horn at right angles to its normal position. When Bill finished his solo he put the crook back into his pocket. Woody had been standing behind Bill where he couldn't see the gimmick, and he couldn't figure out how Bill managed to play with his slide pumping sideways.
Bill told section mate Eddie Bert that he wanted to have these crooks made for the whole trombone section. "Then we could spell out dirty words with the slides while we play." (Crow, 167)

It is very difficult to typify Harris' style. Harris would play each solo differently, depending on the piece and his mood. His solos varied from romantic to flamboyant.

#2 Willie "Bill" Harris (April 14, 1925 - December 6, 1988) was an American rhythm and blues and jazz guitarist.
Born in Nashville, North Carolina, Harris from studying classical guitar at the Columbia School of Music in Washington, D.C. went on to play guitar in The Clovers from 1950 to 1958, his blues and jazz inflected playing would become an integral part of their sound.
He then made several Swing recordings and started a jazz club in 1975, which was auctioned off for nonpayment of taxes in 1981. Thereafter Harris gave concerts of classical, flamenco, jazz and blues, enduring financial hardship the remainder of his life. Harris was also a composer.

Crazy Rhythm
Bill Harris Lyrics

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Crazy rhythm, here's the doorway
I'll go my way, you'll go your way
Crazy rhythm, from now on, we're through

Here is where we have a showdown
I'm too high hat, you're too low down
Crazy rhythm, here's goodbye to you

They say that when a highbrow meets a lowbrow
Walking along Broadway
Soon the highbrow, he has no brow
Ain't it a shame? And you're to blame

What's the use of prohibition?
You produce the same condition
Crazy rhythm, I've gone crazy too

They say that when a highbrow meets a lowbrow
Walking along Broadway
Soon the highbrow, he has no brow
Ain't it a shame? And you're to blame

What's the use of prohibition
You produce the same condition
Crazy rhythm, I've gone crazy too

Crazy rhythm, I've gone crazy too
Crazy rhythm, I've gone crazy too

Overall Meaning

The lyrics of Bill Harris's song "Crazy Rhythm" tell the story of a relationship that has come to an end. The singer notes that there is a "showdown" happening now that the two people involved are going their separate ways. He notes that he is "too high hat" while she is "too low down" indicating they are simply incompatible. They find that they have gone "crazy" due to the rhythms of their relationship and that they have no choice but to part ways.

The chorus repeats this idea by saying that a "highbrow" (referring to the sophisticated singer) meeting a "lowbrow" (referring to the incompatible partner) leads to the former having "no brow" (losing one's sophistication) in a "shameful" way. He seems to blame the other person for the problems in the relationship as he says "you're to blame" for the current state of affairs. Finally, he notes that prohibition (likely a reference to the failed prohibition on alcohol in the US during the time the song was released) only produces the same crazy rhythm and that he too has lost his sanity.

Overall, the song is a sad reminder of a failed relationship and the fact that sometimes no matter how hard we try, some people are simply not meant to be together.

Line by Line Meaning

Crazy rhythm, here's the doorway
We've reached the point of no return

I'll go my way, you'll go your way
We are parting ways for good

Crazy rhythm, from now on, we're through
Our relationship has ended

Here is where we have a showdown
This is where we confront our differences

I'm too high hat, you're too low down
We are too different to make this work

Crazy rhythm, here's goodbye to you
I'm saying farewell to you

They say that when a highbrow meets a lowbrow
There are class differences at play

Walking along Broadway
Navigating life's ups and downs

Soon the highbrow, he has no brow
Even the most sophisticated person can lose their cool

Ain't it a shame? And you're to blame
It's a pity and you're at fault

What's the use of prohibition?
What's the point of imposing rules?