Official Barry Harris Thread

[Tal_175]

I’ll see you in class.

I'm outraged.

[don_oz]

I’ll see you in class.

Gonna be such a roast

[joe2758]

record some!!!

[Tal_175]

I guess you Londoner's deserve it. With all the astronomical rent that I am NOT paying because I don't live in London, I should be able to afford to fly wherever Barry Harris gives workshops
Ok, I'm not bitter anymore.

[christianm77]

Thanks.

I can hear what they're doing, of course, but I don't always warm to it. It's a personal thing (or at least that's the get-out clause; I'm not always sure that it is an entirely subjective thing) but I prefer the rather 'flat' sound of jazz guitar a la Wes, Pass, Eddie Diehl, and so on. To me, that's authentic. I find a lot of new stuff too fiddly. Nicely played but probably over-technical, I don't know.

Fact is, I think some players are just naturally better than others. They communicate better, they impact more. They draw the listener along with them more. I don't find Grasso that interesting, to be honest. I also don't quite know how much he's done and I think his sources are too various. I find myself watching him rather objectively rather than simply enjoying his playing. I find myself feeling distanced from it, if you see what I mean.

Re. finding your own voice, I think that's a two-edged sword. Play nice bop and people will rally. Play what you find attractive to you, in a style natural to you, and they may not. To be somewhat philosophical about it, it has a lot to do with how well one knows oneself first. Any voice has to start with oneself, at the centre. If one hasn't got that then how can they find themselves musically?

Also, the one thing that stops people thinking originally is that they've accepted so many ideas from others for so long. One ought to find a way of utilising ideas from 'outside' without becoming a mere copyist. I always shrink a bit when I hear people saying 'I want to play like so-and-so'. I understand it but one doesn't want to end up being a mere imitator. Imitation and originality don't go together.

I'm not sure one can deliberately construct one's own voice anyway, it's one of those things that finds you. It evolves, it comes, and one day it's there.

I think that’s very true.

Pasquale seems to be quite popular among young players - he may be the new guy that everyone copies in a couple of years like Kurt was 10 years ago....

I expect the Barry workshop to be packed

[joe2758]

Pasquale seems to be quite popular among young players - he may be the new guy that everyone copies in a couple of years like Kurt was 10 years ago....

I hope so!

This type of harmony is romantic, warm, flowing, and linear.

What I hear more commonly among guitarists is more "cool" (maj 7th chords and tonic min7), with more leaps in the harmony, i guess..."angular?" ambiguous?

either way, There's a world of difference between what Ozzy played and what your "typical" guy would play.

Preference is completely subjective. My preference is obvious, so I'd love to see more guys playing like this.

[joe2758]

I'd jsut like to add, you don't need to be an insane virtuoso like Pasquale to pull it off. I play everything slow, and Ozz man sounded good without shredding your face off

[matt.guitarteacher]

I guess you Londoner's deserve it. With all the astronomical rent that I am NOT paying because I don't live in London, I should be able to afford to fly where ever Barry Harris gives workshops
Ok, I'm not bitter anymore.

Yep. Talk to some New Yorkers about his inexpensive weekly classes. Insane. They're crazy cheap if I remember correctly. 10 bucks or something?

Sent from my SM-J727P using Tapatalk

[Tal_175]

Yep. Talk to some New Yorkers about his inexpensive weekly classes. Insane. They're crazy cheap if I remember correctly. 10 bucks or something?

Sent from my SM-J727P using Tapatalk

Yes. Although NY must be a depressing place for those of us who aren't Pascale or Rosenwinkel.
If I lived in NY, I'd probably give up jazz and pursue knitting or something.

[bako]

I live in NYC and can get my ass kicked on any given day.
For that matter, there are likely tons of people killing it with knitting needles as well.
Lots of talent in this town.

[Tal_175]

NYC no doubt is the best place to be to learn jazz. One formula would be to get experience in NYC and move to Godforsakenville and be the big fish in small pond. But then knitting is the more responsible career choice.

[grahambop]

Yes. Although NY must be a depressing place for those of us who aren't Pascale or Rosenwinkel.
If I lived in NY, I'd probably give up jazz and pursue knitting or something.

The NYC knitting scene is tough. First you have to get through a ‘cutting contest’ which involves shearing a sheep. Only then are you allowed to ‘sit in’ with your needles and wool.

[don_oz]

I'd jsut like to add, you don't need to be an insane virtuoso like Pasquale to pull it off. I play everything slow, and Ozz man sounded good without shredding your face off

Joe, man too many kind words! I think this stuff pretty much plays itself! The beauty is that from one scale there are endless possibilities, not to mention it's singleine applications.

Tbh I think pasuqales playing is really pretty. His sound, execution, and vibe brings it all together you can hear his love for what he does. I feel he truly does tell a story.

One of my faves:

[joe2758]

Tbh I think pasuqales playing is really pretty. His sound, execution, and vibe brings it all together you can hear his love for what he does. I feel he truly does tell a story.

Yeah people get distracted by his virtuosity and he gets labeled as over technical etc... bummer

[Tal_175]

The NYC knitting scene is tough. First you have to get through a ‘cutting contest’ which involves shearing a sheep. Only then are you allowed to ‘sit in’ with your needles and wool.

Yeah but some of those knitters are so technical, the sweaters come out with almost factory made precision. They lack the human touch.

[joe2758]

Yeah but some of those knitters are so technical, the sweaters come out with almost factory made precision. They lack the human touch.

lol!

[PMB]

The NYC knitting scene is tough. First you have to get through a ‘cutting contest’ which involves shearing a sheep. Only then are you allowed to ‘sit in’ with your needles and wool.

...on top of all that, the 'pay to play' rule is ridiculous. I was fleeced last time I tried to show off my chops at a 55 Baa session.

[joe2758]

...on top of all that, the 'pay to play' rule is ridiculous. I was fleeced last time I tried to show off my chops at a 55 Baa session.

that is ridiculous


but also a very top notch pun

[PMB]

I have another standard's question.. How High the Moon vs Ornithology. Ornithology is a contrafact I know but are the chords EXACTLY the same? I don't think so.. I'd like to play both correctly so i'm using the chart in Barry's 1st DVD for HHTM but for Ornithology, I see different changes all the time among different charts. I'm asking because we know how particular Barry is about getting the tune right, and there's quite a few versions bouncing around out there, what do you guys usually play on Ornithology?

Ornithology
A Section
| GMaj7 | GMaj7 | Gm7 | C7 |
| FMaj7 | FMaj7 | Fm7 | Bb7 |
| Eb7 (in HHTM this is EbMaj7) | Am7b5 D7 | Gm7 | (Cm7b5) D7 (or this bar is a 2nd bar Gm7 as well) |
| Bm7 (in other versions this GMaj7) | E7 | Am7 | D7 |

B Section
| GMaj7 | GMaj7 | Gm7 | C7 |
| FMaj7 | FMaj7 | Fm7 | Bb7 |
| Eb7 | Am7b5 D7 | GMaj7 | Cm7 F7 or Am7 D7 (this bar confuses me) |
| Bm7 E7 (or Bb7) | Am7 D7 | Gmaj7 solo | break |
-----

Playing Ornithology correctly depends on which version of the tune you're covering. Both the A and B sections of the 1946 Dial session have a repeated, rising triplet figure over the last four bars that was often passed among the instruments and tended to get a bit wayward on live recordings. Parker replaced the triplets with a couple of more developed lines sometime before the 1948 Roost gigs and the final two bars of the B section has a chromatically descending sequence - Bm7, Bbm7, Am7, Ab7 (G).

[christianm77]

Yes. Although NY must be a depressing place for those of us who aren't Pascale or Rosenwinkel.
If I lived in NY, I'd probably give up jazz and pursue knitting or something.

I think that's the wrong mindset. You don't do this shit to make money. You put yourself in the environment anyway you can because you love this music and you want to be around it and learn it and prepared to do whatever you can to hang on in there.

It's not NYC, but in London I frequently see players that make me reconsider my choice of career... Except... It's GREAT! You know, to be in an inspiring environment. I would play worse if I lived in the sticks. Sorry, but I would.... There's a level. You step up to it. And the young kids coming up... It's not a zero sum game either, it raisies everyone up... My colleagues are all killing it. There's a guy down the road who's toured with Chris Potter. In NYC that would be the guy in your building lol...

You don't go to NYC unless you are serious, but from what I know, you hang on in there, it's the place to be. Tough for sure... but if you are in a badass environment, you will be a badass,

[grahambop]

...on top of all that, the 'pay to play' rule is ridiculous. I was fleeced last time I tried to show off my chops at a 55 Baa session.

Is the Knitting Factory any better?

[PMB]

Is the Knitting Factory any better?

Sadly, it's become a comedy club (although I've heard that some of the yarns they spin there will have you in stitches).

[joe2758]

do they improvise bits from whole cloth?

edit: i regret posting this

[christianm77]

Sorry I should have said baaa-dass

[joe2758]

ewe guys can't just keep ramming sheep puns in here, it's un herd of on a thread such as this.

4