It was Harris' unique control and precision in the instrument's upper register that helped define the section's sound. The group was less beholden to middle register three and four-part harmonies (the trademark of Chicago's Lee Loughnane, Walter Parazaider, and Jimmy Pankow), instead favoring a more staccato, rhythmic, borderline percussive approach similar to the sound being popularized by trumpeter/arranger Greg Adams in Tower Of Power (though notably excluding the contrapuntal baritone saxophone spits favored by Adams, obviously in deference to the three horn, sax-centric sound of James Brown). This sound was ideally suited for Maurice's increasingly dance-oriented songs. 1974's "Mighty Mighty" from "Open Our Eyes" provides an early example (as well as a rare glimpse of Andrew Woolfolk's considerable facility on the soprano saxophone, an instrument noted for being inherently difficult to play in tune). The culmination of this sound, however, is best exemplified by 1978's "September", which prominently features a fast-moving unison line played in three octaves (Satterfield in the lower octave, Myrick and Davis doubling in the middle octave, and Harris in the upper octave) - for Satterfield and Harris, the line is in a difficult part of their respective instruments' upper registers, and the extreme precision is a testimony to both players' virtuosity.