Wave (Jobim) Analysis using Barry Harris Method

[fasstrack]

I find it funny personally ('Peter Bernstein's a good guitar player, but he doesn't know the eight note scale.')

He actually said:

' Pete Bernstein was around me (note 'around ME, not the other way around---gotta love the man) in (place unintelligable). Pretty good guitar player, but they don't know everything---like chord scales'...

I think that's why Barry loves Pasquale so much---he can play that stuff up and down.

So Pete can't. Neither can I. So shoot us! he doesn't hear or need it the way he plays. Neither do I.

What I get from Barry (I was going to class until recent circumstances interfered) besides what a great human being he is is the SONG part of the evening. I was tuning up and he commented out of nowhere that the open strings played individually form the melody of Debussy's Reverie--and went into a 30 minute discussion/demo of the song, making me and others voice the changes a la Monsieur Debussy.

He also let me sing On the Street of Dreams at another class.

Another time I went into the restroom, Barry in the next stall.

'Barry, is that you?'

'Yeah'.

'What about (something about 8th notes)?'

He was off and running with an answer BEFORE HIS FLY WAS ZIPPED. The man is an inveterate teacher!

I can't wrap my ears around the theory 'jazz', being a melody person. I like Miles Davis's statement: 'If a note doesn't sound good to me I can't play it'. He knows this (we met in '76), and adapts his method for me. He's a great teacher for that alone.

I speak to Barry once a week, and since someone broached his 'dissing' of Herbie and Miles' I will do something I really should not: repeat a private conversation. (It's not as if he hasn't said these things publicly many times).

The gist: I said 'Barry, as a friend who loves you, why are you so hard on those guys?'

'I hate those guys'.

'Why?'

'They deserted the music (of the 40s-early 60s)'.

'But don't you think music should change every so often?'

He went into a weird imitation of a rhythm that either Herbie or Miles (he didn't specify) supposedly did---and I realized it was time to end my query, he's not gonna change.

But what I loved:

'I'm not gonna talk anymore'.

'That's right, chief. Just be Barry Harris. That's enough'.

If any of us had actually sat in with Charlie Parker or worked with Pres or Hawk---as Barry did, that MIGHT ruin us for other players---depending on the person and their adaptability. Sonny Rollins changed up--and caught hell for it in some quarters. James Moody changed, and IMO not for the better.

'Progress' is a VERY personal thing, and every artist has the right to go in any direction he or she sees fit.

There's also plausibly a jealousy factor, both those guys being way more famous (richer, too). When I was younger I thought to myself 'It's easy for Barry to have and promote lofty ideals when Nica supports him'. When I grew up a bit I realized that Nica was an angel whose support (to the extent of actually being willing to take a drug rap for her beloved Monk) allowed true artists to speak their truths. Barry also earned plenty of his own $, invested in stocks---AND went to Europe to work in the '80s, then came back and emptied his pockets paying Chris Anderson, C. Sharpe, Junior Cook, etc. for gigs at the Jazz Cultural Theater. He even gave my brilliant but f-ed up chum Tommy Turrentine a chance to teach and get paid. Never mind that Tommy messed up. THAT'S why I adore Barry and tell anyone who'll listen that he's a great man. He gave his heart AND wallet to jazz and its under-appreciated practitioners.

Barry is not perfect (who is?), but he will surprise your ass. He surprised the hell out of me when he said he dug Stevie Wonder's writing. There's only ONE Barry Harris, teaching the music of Bird, Bud and Monk, and standards to singers and players. What school is doing that? I'll wait for an answer...

[christianm77]

I've heard Barry play stevie

[goldenwave77]

Stevie W. and Barry H., another Detroit connection.

[fasstrack]

I've heard Barry play stevie

What tune?

One of the classic ballads, I hope (and bet)...

[christianm77]

What tune?

One of the classic ballads, I hope (and bet)...

Isn't She Lovely - obvious choice, but he swung it and it sounded great (of course) - boppy changes really in that one.

I often play that one on gigs....

[destinytot]

He is a sincere young man from near Bolognia (sp?)

Sorry, but that's not true.
Google Maps

Here's another reference (one that might say more than a map): the family roots of the main character from the HBO TV series The Sopranos are in the same part of the boot as Pasquale Grasso's. Forza, Napoli!

Still hoping you'll get round to sharing some of your Sean Levitt stories - maybe the guys making a documentary about him might be interested?

[fasstrack]

Isn't She Lovely - obvious choice, but he swung it and it sounded great (of course) - boppy changes really in that one.

I often play that one on gigs....

Me three. Just did so yesterday (if you consider playing the subway a 'gig').

Other favorites: ALL the early ballad masterpieces, including the little-played Seems So Long (Music of my Mind), Never Dreamed You'd Leave in Summer (with Syeeda, not sure which record) and Blame it on the Sun (Talking Book), All is Fair in Love, You and I (check out the gorgeous youtube video of SW at piano with 2 beautiful dancers acting as the lovers. Wonderful!). (Crass self-promotion alert!) I recorded Lookin' For Another Pure Love with 3 tracks and click track on Melody Messenger. Also been messing with Don't You Worry 'Bout a Thing, and would love to tackle Living For the City. Secret Life of Plants---genius.

I think SW's last actual CD was 2005's A Time 2 Love. Am I wrong? Best songs I thought were Mood Blue and Shelter From the Storm.

The 'old man' still got it! Long may he reign!!

[fasstrack]

Still hoping you'll get round to sharing some of your Sean Levitt stories - maybe the guys making a documentary about him might be interested?

Who, ME?

Oh, well (cracks knuckles):

Sean was a rogue, but I (and everyone else) LOVED the man. He stayed over my parent's house in Canarsie, Brooklyn (1978?). On the train ride he was polluted and picked this couple minding their biz out:

'Be good to that woman. And YOU give that man some lovin''.

Then I think he fell out and I had to rouse him for the bus ride.

He took what was probably his first shower in weeks---if not months---then we sat on my bed and played some. He slept on the floor of my room.

After he left my mom's comment:

'Don't bring me home any more stray cats'.

The next day he called and asked to 'borrow' $600. I hung up in a hurry. He knew not to fuck with me and thankfully never did it again.

Sean and Eddie Diehl were tight and Eddie (a tough critic, especially of his more famous peers---jealousy, anyone?) LOVED Sean's playing. They gigged and did the street thing (possibly) and influenced some cats. Doug Raney was on the scene then (a teenager). Brother Jon told me he and Sean didn't get along. Go figure.

I myself also thought Sean one of the greats: it just flowed out of him, idea after idea. And he played Flamenco, too (I never heard it, can only imagine).

The last time I saw Sean Leavitt alive was in '82. He was clean, had a dishwasher gig, and went out of his way to pay people--including me---what he owed them.

I asked after him every time I met any musician from Spain (where he lived until his untimely passing in 2005). I heard he was playing on a train, then lost track. He died trying to get off Methadone, I THINK (don't want to pass along bum info).

Rest well, Sean. You're a lost and beloved brother---and one of the greatest players...

[destinytot]

Who, ME?

Oh, well (cracks knuckles):

Sean was a rogue, but I (and everyone else) LOVED the man. He stayed over my parent's house in Canarsie, Brooklyn (1978?). On the train ride he was polluted and picked this couple minding their biz out:

'Be good to that woman. And YOU give that man some lovin''.

Then I think he fell out and I had to rouse him for the bus ride.

He took what was probably his first shower in weeks---if not months---then we sat on my bed and played some. He slept on the floor of my room.

After he left my mom's comment:

'Don't bring me home any more stray cats'.

The next day he called and asked to 'borrow' $600. I hung up in a hurry. He knew not to fuck with me and thankfully never did it again.

Sean and Eddie Diehl were tight and Eddie (a tough critic, especially of his more famous peers---jealousy, anyone?) LOVED Sean's playing. They gigged and did the street thing (possibly) and influenced some cats. Doug Raney was on the scene then (a teenager). Brother Jon told me he and Sean didn't get along. Go figure.

I myself also thought Sean one of the greats: it just flowed out of him, idea after idea. And he played Flamenco, too (I never heard it, can only imagine).

The last time I saw Sean Leavitt alive was in '82. He was clean, had a dishwasher gig, and went out of his way to pay people--including me---what he owed them.

I asked after him every time I met any musician from Spain (where he lived until his untimely passing in 2005). I heard he was playing on a train, then lost track. He died trying to get off Methadone, I THINK (don't want to pass along bum info).

Rest well, Sean. You're a lost and beloved brother---and one of the greatest players...

Thanks, man. Sean lived with me in the late '80s. I did my best to look after him. I kept in touch until '94. I've got stories, too.

[fasstrack]

Thanks, man. Sean lived with me in the late '80s. I did my best to look after him. I kept in touch until '94. I've got stories, too.

He was the McCoy. Love him still and think of him often (also Dan Converse, Sam Furnace, C. Sharpe, Chris Anderson, Tommy Turrentine, Pat Patrick, Jack Wilson, Percy France----and on and on).

Why do the good always seem to die young, or if not be continually crapped on by the evil and powerful? Sigh...

The good news: there is in life regeneration, and new talents and good souls will always come to the fore. Let's focus on that and pull together---and try (hard as it is) to IGNORE the evil forces, mediocrities, politicians, etc., who THINK they rule the world.

Your intrepid reporter signing off...

[bossa]

Hi guys,

I was wondering how would be your approach creating chord progressions, just like Wave, let's called, "outside the box".

Why a composer/musician would use a Am7 , for instance. How to come up with stuff/chords like that?

What would be your logic to think of using unusual chords?

Thanks.

[rintincop]

Wave is not outside the box. Wayne Shorter/Joe Henderson/Merbie Hancock tunes can be.
Basically it's the impressionist approach. Choose chords as episodes in their own right. Avoid convention, thus try not to play on the cycle of 5ths or with other common chord progressions. see moneychords.com and learn what the common progressions are

[destinytot]

Hi guys,

I was wondering how would be your approach creating chord progressions, just like Wave, let's called, "outside the box".

Why a composer/musician would use a Am7 , for instance. How to come up with stuff/chords like that?

What would be your logic to think of using unusual chords?

Thanks.

(EDIT: How absurd - I've only just realised that this question is in the 'Wave à la Barry Harris' thread, and not in the 'Wave à la Mark Levine'. Jolly hockey sticks... But I'll post it anyway - as I think I've addressed the question in a relevant manner. Besides, I don't think either Barry Harris or Mark Levine talk about 'modal interchange', for which idea I have Reg to thank.)

Modal interchange. You can take a diatonic progression and replace chords with 'borrowed' ones.

You can 'borrow' any chord(s) that is diatonic to any scale which starts from the root/tonic of the original diatonic progression.

Eg. C is the tonic/root of this I/III/IV progression, which is diatonic to C major (ionian):
Cmaj 7 / Emi7 /
Fmaj7 / / /

Instead of C major, let's use (for example) C natural minor (aeolian) - and 'borrow' chords. The harmonised notes of C natural minor give the following chords:
Cmi7 Dmi7b5 Ebmaj7 Fmi7 Gmi7 Abmaj7 Bb7 Cmi7

Any of those chords are available for 'borrowing'.

Borrow Fmi7 to replace the IV chord in the original I/III/IV progression for a simple groove with a little surprise:
Cmaj 7 / Emi7 /
Fmi7 / / /

Then add salt to taste.

[ragman1]

And the replacement chords should work with the melody too, although some versions of tunes play the standard progression for the melody and then change for the solos. Depends on what you like.

[destinytot]

Just seen this. '... mirror technique... constant structure... consecutive groupings from serial rows...' "The more complicated, dense and dissonant you get with harmony, the higher the likelihood you're going to lose some people along the way." Fast-paced and thorough stuff from the intrepid Adam Neely:

[destinytot]

To return to Jobim, check out Tania Maria's nod to Out of Nowhere in her treatment of Desafinado (itself a nod to Take the A-Train):
<em>

[destinytot]

And the replacement chords should work with the melody too, although some versions of tunes play the standard progression for the melody and then change for the solos. Depends on what you like.

Love forum member fuzzthebee's reharms.

[destinytot]

Hi guys,

I was wondering how would be your approach creating chord progressions, just like Wave, let's called, "outside the box".

Why a composer/musician would use a Am7 , for instance. How to come up with stuff/chords like that?

What would be your logic to think of using unusual chords?

Thanks.

The Ami7 in Wave seems like part of an approach to IVmaj7.

[fasstrack]

Just seen this. '... mirror technique... constant structure... consecutive groupings from serial rows...' "The more complicated, dense and dissonant you get with harmony, the higher the likelihood you're going to lose some people along the way." Fast-paced and thorough stuff from the intrepid Adam Neely:

You know, you almost got me feeling guilty: I loved classical at a younger age, particularly, Bartok, Berg, Debussy, some Stravinsky, all the Romantic masters and their predecessors, Beethoven to way back to Palestrina. Then I stopped listening. No reason, just stopped.

Then I read Jimmy Heath's and Benny Golson's autobiogs---and saw that they never stopped studying. I told the great Bill Finegan at a lesson that HE was the arranger, and I have the soul of a songwriter. 'Then write songs', said Bill.

But one should NEVER stop growing. I don't even know what 'mirror technique' IS. Serialism? No clue, though admittedly it never sounded good to me. Maybe I just never gave it a chance?

We all get into our 'preferences' and 'who we really are', etc. But how much of this is ego and/or narrow-mindedness? Jimmy Raney (referring to something quite different) told me at 25 that we ought to 'work AGAINST our best qualities'.

I wonder. It's a great thing when you've found something, better still when you've found who YOU are, and no longer need to copy or play/write in an 'expected' or 'acceptable' (read: already codified) manner. But the ear must be bent ONCE in a while, and new cans of paint on the palette shelf can't hurt.

I recommend Jimmy Webb's book Tunesmith. Though very disorganized and flawed in other ways at the end he talks about listening to new artists even if he can't stand their musics---to see what's happening and maybe learn.

Michael Howell---who if you don't know played electric bass and guitar with Diz in the '70s-'80s---related something Dizzy told him:

'Every time has its rhythm. You can be a great musician (he went on about how great and accomplished Coleman Hawkins was---but not quite with HIS movement) and it doesn't diminish your greatness in any way---but you'll be a little out of step with the times'.

Don't know that I buy that completely. I might sound silly and like I was trying to be 'modern' suddenly playing Bjork (sp?) or John Legend. I'm deeply rooted in the music of the past now, but once was a way more daring composer. Maybe it's an incipient conservativism that creeps up as we get older---one can't be a 'revolutionary' for life. Diz himself became more of an entertainer (a GREAT one, and still played his ass off). Bill Evans never changed. Lee Konitz did, and IMO for the worse.

Not sure what the complete answer is, even for myself---but at least INVESTIGATING new concepts can't be a bad thing, can it?

[destinytot]

You know, you almost got me feeling guilty: I loved classical at a younger age, particularly, Bartok, Berg, Debussy, some Stravinsky, all the Romantic masters and their predecessors, Beethoven to way back to Palestrina. Then I stopped listening. No reason, just stopped.

Then I read Jimmy Heath's and Benny Golson's autobiogs---and saw that they never stopped studying. I told the great Bill Finegan at a lesson that HE was the arranger, and I have the soul of a songwriter. 'Then write songs', said Bill.

But one should NEVER stop growing. I don't even know what 'mirror technique' IS. Serialism? No clue, though admittedly it never sounded good to me. Maybe I just never gave it a chance?

We all get into our 'preferences' and 'who we really are', etc. But how much of this is ego and/or narrow-mindedness? Jimmy Raney (referring to something quite different) told me at 25 that we ought to 'work AGAINST our best qualities'.

I wonder. It's a great thing when you've found something, better still when you've found who YOU are, and no longer need to copy or play/write in an 'expected' or 'acceptable' (read: already codified) manner. But the ear must be bent ONCE in a while, and new cans of paint on the palette shelf can't hurt.

I recommend Jimmy Webb's book Tunesmith. Though very disorganized and flawed in other ways at the end he talks about listening to new artists even if he can't stand their musics---to see what's happening and maybe learn.

Michael Howell---who if you don't know played electric bass and guitar with Diz in the '70s-'80s---related something Dizzy told him:

'Every time has its rhythm. You can be a great musician (he went on about how great and accomplished Coleman Hawkins was---but not quite with HIS movement) and it doesn't diminish your greatness in any way---but you'll be a little out of step with the times'.

Don't know that I buy that completely. I might sound silly and like I was trying to be 'modern' suddenly playing Bjork (sp?) or John Legend. I'm deeply rooted in the music of the past now, but once was a way more daring composer. Maybe it's an incipient conservativism that creeps up as we get older---one can't be a 'revolutionary' for life. Diz himself became more of an entertainer (a GREAT one, and still played his ass off). Bill Evans never changed. Lee Konitz did, and IMO for the worse.

Not sure what the complete answer is, even for myself---but at least INVESTIGATING new concepts can't be a bad thing, can it?

An experiment from Saturday's rehearsal - not pushing any boundaries (except those of my own comfort zone):

[ragman1]

I do experiments all the time. This is a minor blues using m69 chords. All the scales over them are legitimate, just in the wrong key.

Btw, I think ultimately I preferred the Ed Sheeran original :-)

[fasstrack]

I could go to Barry's class tonight---but it would be weird to show up w/o guitar (one is at St. Peter's church, where I grab it daily to busk in the adjacent train station, the others in storage) I know Barry too well, he'd be pissed and insulted: 'Where's your guitar?' 'Where?' ''What?' He takes stuff personally.

I want to have one last get-together with the great man before I split the Mango next month....

[fasstrack]

Just got off the phone with Barry. Told him I just got back from Philly (moving to nearby Hatfield soon), and the cats treated me like a long lost brother. He was happy--but a bit surprised. He said 'Why don't you go the the Hague, like Danny (Nicholas)?

He doesn't know the whole story: I went in '07---almost ten years ago to the day. Mind you, I LOVE the Hague, the city, architecture,----and the musicians are world-class. Danny's a great guy and very shrewd to have started his own scene at Pavlov (a different 'star' plays every week). But the European Union had just hunkered down, and there was no way I was getting a Visa. So, tail between, legs, back I came.

After Barry listened for a while (while he practiced) he realized his 'son' (he calls guys 'my son'---usually when he likes them, and to bust balls) made a shrewd move. I can see there's a way friendlier vibe there, and I bet I'll work a ton---after a while.

Barry told me Rudy Lawless passed away. He was a drummer and good guy. The ranks are thinning.

Then he started saying "man, I can't play the piano!'.

'Try the guitar. There's NOTHING harder'. (read: to articulate jazz phrasing properly---with what I call the 'simulated air column'. Charlie Christian to Jim Hall all figured out how to do that---but they're masters. Lesser players sound like bad country pickers---no breathing, no space). And NO slam on country, BTW. Always loved it, Bluegrass to Patsy Cline to the Man in Black. (His autobiog Cash is a GREAT read from a master storyteller).

I told him about sitting in with Buddy Montgomery around '91. I told Buddy 'Man, I'm SO jealous of you (pianists). You have an ORCHESTRA. We just have mini one.

'Bullshit! All you guys have to do is hit a note and it sounds good!'.

He was right: the piano is cold---and many in joints compound the insult by being out-of-tune. Buddy meant (and I agree totally) that we (guitarists) can bend, slur---color.

Barry was amazed and delighted at my story: He LOVES guitar.

We finally agreed that Buddy was super-talented, as talented as Wes.

And I'm coming to class, even if I have to commute. The man has given me---ALL of us SO MUCH. And no one lives forever---especially 87-year-olds...

[christianm77]

'Try the guitar. There's NOTHING harder'. (read: to articulate jazz phrasing properly---with what I call the 'simulated air column'. Charlie Christian to Jim Hall all figured out how to do that---but they're masters. Lesser players sound like bad country pickers---no breathing, no space). And NO slam on country, BTW. Always loved it, Bluegrass to Patsy Cline to the Man in Black. (His autobiog Cash is a GREAT read from a master storyteller).

This is something I am fairly obsessed with.

[christianm77]

Such a great post BTW. As always, there is no top to the mountain, just the climb.