Barry Harris

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For the Canadian musician, see Barry Harris (Canadian musician).
Barry Harris
Barry Harris.jpg
Harris in 2007
Background information
Birth name Barry Doyle Harris
Born December 15, 1929 (age 88)
Origin Detroit, Michigan, U.S.
Genres Bebop, hard bop, mainstream jazz
Occupation(s) Musician, bandleader, composer, teacher
Instruments Piano
Labels Prestige, Riverside, Xanadu
Associated acts Cannonball Adderley, Dexter Gordon, Coleman Hawkins, Illinois
Jacquet, Thelonious Monk, Charlie Parker, Bud Powell, Max Roach, Yusef Lateef
Website barryharris.com
Barry Doyle Harris (born December 15, 1929) is an American jazz pianist,
bandleader, composer, arranger and educator. He is an exponent of the bebop style.
[1]

Contents [hide]
1 Early life and career
2 Later life and career
2.1 1950s
2.2 1960s
2.3 1970s
2.4 1980s
2.5 1990s
2.6 2000�present
3 Jazz Cultural Theater
4 Theoretical concepts
5 Awards
6 Compositions
7 Discography
7.1 As leader
7.2 As sideman
8 References
9 External links
Early life and career[edit]
Harris began learning the piano at the age of four. His mother was a church pianist
and had asked if Harris was interested in playing church or jazz music. Having
picked jazz, he was influenced by Thelonious Monk and Bud Powell's music. He went
to public areas to play dances for clubs and ballrooms. Harris learned the bebop
styles largely by ear, imitating the solos played by Bud Powell in his teenage
years.[2]

Later life and career[edit]

1950s[edit]
Harris was based in Detroit through the 1950s and worked with musicians such as
Miles Davis, Sonny Stitt and Thad Jones. He also performed in place of Junior
Mance, who was Gene Ammons's regular pianist for his group frequently. In addition,
Harris toured with Max Roach briefly in 1956 as a pianist after the group's
resident pianist Richie Powell (younger brother of Bud Powell) died in a car crash.
[3]

1960s[edit]
Harris performed with Cannonball Adderley's quintet and even had a chance to do a
television stint with them.[3]

Harris relocated to New York City in 1960, where he became a performer as well as a
jazz educator. During his time in New York, Harris collaborated with Dexter Gordon,
Illinois Jacquet, Yusef Lateef and Hank Mobley through performances and recordings.
[3]

Between 1965 and 1969, Harris performed extensively with Coleman Hawkins at the
Village Vanguard.[4]

1970s[edit]
During the 1970s, Harris lived with Monk at the Weehawken, New Jersey home of the
jazz patroness Baroness Pannonica de Koenigswarter, and so was in an excellent
position to comment on the last years of his fellow pianist.[5]

Harris also sat in for Monk for rehearsals at the New York Jazz Repertory Company
in 1974.[6]

By the mid-1970s, Harris and his band members gave concerts in European cities and
Japan. In Japan, he performed at the Yubin Chokin concert hall in Tokyo over two
days and his performance were recorded and compiled into an album released by
Xanadu Records.[7]

1980s[edit]
Harris in 1981
Between 1982 and 1987, Harris took charge of the Jazz Cultural Workshop on the 8th
Avenue in New York.[8]

Harris appears in the 1989 documentary film Thelonious Monk: Straight, No Chaser
(produced by Clint Eastwood), performing duets with Tommy Flanagan.

1990s[edit]
Since the 1990s, Harris has collaborated with Toronto-based pianist and teacher
Howard Rees in creating a series of videos and workbooks documenting his unique
harmonic and improvisational systems and teaching process.[9][10]

2000�present[edit]
In 2000, he was profiled in the film Barry Harris - Spirit of Bebop.[2]

Harris continues to perform and teach worldwide. When he is not traveling, he holds
weekly music workshop sessions in New York City for vocalists, students of piano
and other instruments.[11]

Harris has recorded 19 albums as a lead artist.

Jazz Cultural Theater[edit]

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Larry Ridley, Barry Harris, Jim Harrison, and Frank Fuentes were partners in
creating the Jazz Cultural Theater beginning 1982.[12] Located at 368 Eighth Avenue
in New York City in a storefront between 28th and 29th Streets in Manhattan, it was
primarily a performance venue featuring prominent jazz artists and also hosted jam
sessions. Additionally, it was known for Barry's music classes for vocalists and
instrumentalists, each taught in separate sessions. Several artists recorded albums
at the club, including Barry on his For the Moment. Some of the many musicians and
notable jazz figures who appeared at the Jazz Cultural Theater were bassist Larry
Ridley, guitarist Ted Dunbar, pianist Jack Wilson, trumpeter Bill Hardman, tenor
saxophonist Junior Cook, trumpeter Tommy Turrentine, alto saxophonist Charles
McPherson, pianist Mickey Tucker, guitarist Peter Leitch, tenor saxophonist
Clifford Jordan, guitarist Mark Elf, alto saxophonist Lou Donaldson, drummer Leroy
Williams, drummer Vernel Fournier, bassist Hal Dotson, bassist Jamil Nasser,
pianist Chris Anderson, pianist Walter Davis, Jr., pianist Michael Weiss, tap
dancers Lon Chaney and Jimmy Slyde, Francis Paudras (biographer of pianist Bud
Powell), and the renowned jazz patroness Baroness Pannonica de Koenigswarter, who
would park her silver Bentley sedan in front of the club.

The Jazz Cultural Theater (JCT) enjoyed a vibrant five-year run until August 14,
1987, when its lease ran out and the rent was increased. Barry simply moved his
jazz instrumental and vocal instructional classes to other venues in New York City,
Japan, and Europe, supported by a devoted and ever growing international base of
students. Many of them are now professionals, including Israeli-born, New York
City-based jazz guitarist Roni Ben-Hur, Armenian bebop pianist Vahagn Hayrapetyan,
Italian-born brothers Luigi (alto sax) and Pasquale Grasso (guitar).

Theoretical concepts[edit]

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Over many years Harris has developed a codified methodology and approach to the
teaching of jazz. His approach, drawing primarily from the melodic and harmonic
concepts/techniques utilized by Charlie Parker and Bud Powell, relies upon using
the major and minor 6th chords and the octatonic scales (such as Bebop Major, Bebop
Dorian, and Bebop Mixolydian, OR major 6th diminished, minor 6th diminished, and
dominant seven, respectively) as a basis for creating melody and harmony.

The Bebop Major scale, for example, is a major scale with an extra note between the
5th and 6th scale degrees. A typical exercise using this scale involves playing a C
Major 6th chord up the scale to a D diminished 7th chord, back to C Major 6th in
first inversion, to D diminished 7th first inversion, to C Major 6th in second
inversion, and so on, up the scale. Applying voicings, such as Drop 2 and Drop 3,
up and down the scale in this way gives more possibilities for movement, as opposed
to playing one static voicing when chording or "comping" through jazz tunes. The
same concept applies as well to the minor 6th diminished scale. His concept of
"borrowing notes," in which a related diminished note (or notes) is used in a major
or minor 6th chord voicing and then resolved (or a major or minor 6th chord note is
used in the related diminished 7th chord and then resolved) is an additional way of
creating movement.

Harris also stresses the relationship of the major 6th chord to the minor 7th
chord. Both share the same four notes and differ only by what note is considered
the bass. The same relationship occurs between the minor 6th chord and the half-
diminished 7th chord, that is, that C minor6 and A minor7b5 are almost
interchangeable.

His approach to jazz harmony also relies heavily on diminished 7th chords and their
relationship to dominant 7th chords. Utilizing the diminished 7th chord, he has
also formulated scales of chords, which allow pianists and guitar players greater
freedom in accompaniment and to play, in his own words, "movement, not chords".

His fundamental scale is the major 6th diminished scale, but equally important are
the minor sixth to diminished, the dominant seventh to diminished, and the dominant
seven flat five to diminished scale. Extending this concept, Barry relates all
chord alterations (flat and sharp 9�s, sharp 11�s, flat 13�s, etc.) to the
tritone's minor sixth-diminished scale (Ab minor 6th diminished scale for
G7altered), which provides options for moving the alterations through the scales.

Harris can be heard and seen teaching the Major 6 diminished scale in this YouTube
video of a 2008 clinic he conducted in Spain.

Frans Elsen took videos during several years of Barry Harris workshops at the Royal
Conservatory of Music at the Hague. He edited them into 54 videos which he felt
represent the techniques Harris taught in the Hague.

Awards[edit]
2000, American Jazz Hall of Fame for Lifetime Achievements & Contributions to the
World of Jazz
1998, Lifetime Achievements Award for Contributions to the Music World from the
National Association of Negro Musicians
1998, Congratulatory Letter as a Jazz Musician and Educator by the U.S. White House
1997, Dizzy Gillespie Achievement Award
1997, Recognition of Excellence in Jazz Music and Education
1995, Doctor of Arts - Honorary Degree by Northwestern University
1995, Special Presidential Award Recognition of Dedication and Commitment to the
Pursuance of Artistic Excellence in Jazz Performance and Education
1995, Honorary Jazz Award by the House of Representatives[13][14]
1989, NEA Jazz Master
Compositions[edit]
"Seein' Red"[15]
"Lolita"[16]
"Morning Coffee"
"Luminescence"
"Like this!"
"Even Steven"
"Nicaragua"
"You Sweet and Fancy Lady"
"Rouge"
"Just Open Your Heart"
"Sun Dance"
"Fukai Aijo"
"Looking Glass"
"For the Moment"
"That Secret Place"
"Nascimento"
Discography[edit]
As leader[edit]
Breakin' It Up (Argo, 1958)
Barry Harris at the Jazz Workshop (Riverside 1960)
Preminado (Riverside, 1961)
Listen to Barry Harris (Riverside, 1961)
Newer Than New (Riverside, 1961)
Chasin' the Bird (Riverside, 1962)
Luminescence! (Prestige, 1967)
Bull's Eye! (Prestige, 1968)
Magnificent! (Prestige, 1969)
Vicissitudes (MPS, 1972)
Barry Harris Plays Tadd Dameron (Xanadu, 1975)
Live in Tokyo (Xanadu, 1976)
Barry Harris Plays Barry Harris (Xanadu, 1978)
For the Moment (Uptown, 1984)
The Bird of Red and Gold (Xanadu, 1989)
Live at Maybeck Recital Hall, Volume Twelve (Concord, 1990)
Confirmation (Candid, 1991) with Kenny Barron
Barry Harris in Spain (Nuba, 1991)
First Time Ever (Evidence, 1997)
Live in New York (Reservoir, 2002)
Live in Rennes (Plus Loin, 2009)[17]
As sideman[edit]
With Cannonball Adderley

Them Dirty Blues (Riverside, 1960)

With Charlie Byrd

Blues Sonata (Riverside, 1961)

With Donald Byrd

Byrd Jazz (Transition, 1955) - also released as First Flight (Delmark)

With Al Cohn

Play It Now (Xanadu, 1975)

Al Cohn's America (Xanadu, 1976)
No Problem (Xanadu, 1979)
With Sonny Criss

Saturday Morning (Xanadu, 1975)

With Art Farmer and Donald Byrd

2 Trumpets (Prestige, 1956)

With Dan Faulk

Focusing In (Criss Cross Jazz, 1992)

With Terry Gibbs

Bopstacle Course (Xanadu, 1974)

With Benny Golson

The Other Side of Benny Golson (Riverside, 1958)

With Dexter Gordon

Clubhouse (Blue Note, 1965 - released 1979)

Gettin' Around (Blue Note, 1965)
The Tower of Power! (Prestige, 1969)
More Power! (Prestige, 1969)
True Blue - with Al Cohn (Xanadu, 1976)
Silver Blue with Al Cohn (Xanadu, 1976)
Biting the Apple (SteepleChase, 1976)
With Johnny Griffin

White Gardenia (Riverside, 1961)

The Kerry Dancers (Riverside, 1961�62)
With Coleman Hawkins

Wrapped Tight (Impulse!, 1965)

With Louis Hayes
Louis Hayes (Vee-Jay, 1960)
With Jimmy Heath

Picture of Heath (Xanadu, 1975)

With Illinois Jacquet

Bottoms Up (Prestige, 1968)

With Carmell Jones

Jay Hawk Talk (Prestige, 1965)

With Thad Jones

The Magnificent Thad Jones (Blue Note, 1956)

With Sam Jones

Cello Again (Xanadu, 1975)

Changes & Things (Xanadu, 1977)
With Clifford Jordan

Repetition (Soul Note, 1984)

With Lee Konitz

Lullaby of Birdland (Candid, 1991 [1994])

With Harold Land

West Coast Blues! (Jazzland, 1960)

With Yusef Lateef

Eastern Sounds (Moodsville, 1960)

Into Something (New Jazz, 1961)
Suite 16 (Atlantic, 1970)
With Warne Marsh

Back Home (Criss Cross Jazz, 1986)

With Earl May

Swinging the Blues (Arbors, 2005)

With Charles McPherson

Bebop Revisited! (Prestige, 1964)

Con Alma! (Prestige, 1965)
The Quintet/Live! (Prestige, 1966)
McPherson's Mood (Prestige, 1969)
Charles McPherson (Mainstream, 1971)
Siku Ya Bibi (Day of the Lady) (Mainstream, 1972)
Today's Man (Mainstream, 1973)
Live in Tokyo (Xanadu, 1976)
With Billy Mitchell

The Colossus of Detroit (Xanadu, 1978)

With Hank Mobley

Mobley's Message (Prestige 1956)

Jazz Message No. 2 (Savoy 1957)
The Turnaround (Blue Note, 1965)
With James Moody

Don't Look Away Now! (Prestige, 1969)

With Lee Morgan
Take Twelve (Jazzland, 1962)
The Sidewinder (Blue Note, 1963)
With Sal Nistico

Heavyweights (Jazzland, 1961)

With Dave Pike

It's Time for Dave Pike (Riverside, 1961)

With Sonny Red

Breezing (Jazzland, 1960)

The Mode (Jazzland (1961)
Images (Jazzland, 1961)
With Red Rodney

Bird Lives! (Muse, 1973)

Home Free (Muse, 1977 [1979])
With Sonny Stitt

Sonny Stitt (Argo, 1958)

Burnin' (Argo, 1958)
Tune-Up! (Cobblestone, 1972)
Constellation (Cobblestone, 1972)
12! (Muse, 1972)
My Buddy: Sonny Stitt Plays for Gene Ammons (Muse, 1975)
Blues for Duke (Muse, 1975 [1978])
With Don Wilkerson

The Texas Twister (Riverside, 1960)