Harris could live there as long as he wanted. The baroness died in 1988, and she made arrangements so that Dr. Thelonious Monk joined him around 1972, dubbing it the “Cat House” and staying until his death 10 years later. He soon became friends with the Baroness Pannonica de Koenigswarter, a Rothschild scion and jazz patron, who invited him to move into her modern-style house, which had stunning views of the Hudson River, in Weehawken, N.J. Originally from Detroit, where he started teaching at age 15 out of his mother’s house, Dr. Harris said of the sound of a musician whose skills improve after working with him. “It’s the most beautiful thing you want to hear in your life,” Dr. His discography starts in 1958, and his last record was made in 2009. Harris has worked or played with everyone from Lester Young and Coleman Hawkins to Sonny Stitt he played with Cannonball Adderley, Dexter Gordon and Yusef Lateef. His collaborators reads like a list of the greatest jazz players of the 20th century. “I’m just passing everything along,” he said. Harris is eager to share his knowledge with new generations. Harris’s revered jazz workshop, surely the longest-running in New York City, is proof that bebop lives on. And many feel that bebop - a genre that originated in the 1940s, characterized by a fast tempo as well as chord changes that are equally quick and complex - died with them.ĭr. Charlie Parker, Dizzy Gillespie, Bud Powell, Thelonious Monk - his more famous contemporaries, and his friends, died long ago. Harris” - is the last of his breed: an interpreter of bebop in its purest form. Celtic, U.K.The pianist, composer and teacher - he has four honorary Ph.D.s and so prefers to go by “Dr.Jazz/Blues Variants, Bossa, Choro, Klezmer.Old-Time, Roots, Early Country, Cajun, Tex-Mex.
Rock, Folk Rock, Roots Rock, Rockabilly.Bluegrass, Newgrass, Country, Gospel Variants.Technique, Theory, Playing Tips and Tricks.Jams, Workshops, Camps, Places To Meet Others.Looking for Information About Mandolins.Quick Navigation Jazz/Blues Variants, Bossa, Choro, Klezmer Top Always enjoy the ride, it is at least as much fun as arriving at the destination. This is one of many possible ways to progress. Focus on a few things, practice it until it starts to show up organically in my playing, then move on to the next item. I am supplementing what I already know and play with the Barry stuff and am liking my progress. I am especially practicing material that is right out of Charlie Parker's playing (there is PLENTY of this in Barry's material). Personally, I'm using Barry's method to make my playing sound more authentic to the 1940's Bebop and 1950's Hard Bop and Cool Jazz, my favorite jazz era. I've finished up 25 videos and still have just scratched the surface in this material. One thing I really like about Barry's method is 2 people going only "whole hog" would still sound different from each other as there is so much. With enough time and learning, a player doing each would have plenty of material from which to make a fully realized, mature improvising style. You could steal little bits from any of Barry Harris' ideas, or you could go whole hog and say you are just going to use his method only. Improvisers use material from different sources and blend them all together along with their own ideas to make improv decisions and make their own style. I was wondering how you suggest to BEST utilize these posts?ĭo you recommend sticking with one video until you “get it together” or rotating through them? The material presented easily implies a lifetime journey.īarryI don't think there is any "correct" way to do this. I play lots of jazz with a trio, alone and also guided by a wonderful and gifted guitar jazz combo teacher. What a Wonderful collection you have generously posted on the Cafe.
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