Jazz

Barry Harris - Listen to Barry Harris ... Solo Piano (1961/1998)

2015-11-27T16:58:30Z

Barry Harris - Listen to Barry Harris ... Solo Piano (1961/1998)


1 	The Londonerry Air 	4:10
2 	Mutattra 	3:14
3 	Louise 	3:43
4 	Body And Soul 	4:01
5 	Ascension 	3:48
6 	Anachronism 	4:51
7 	I Didn't Know What Time It Was 	4:53
8 	Teenie 	3:42
9 	Sphere 	4:01
10 	Dancing In The Dark 	2:07

Barry Harris – piano

Second-generation bop pianist Barry Harris puts the spotlight on the songs in this 1960 solo excursion. Split between standards and originals, the set hears the 31-year-old pianist evoking Art Tatum, Bud Powell, Thelonious Monk, and occasional hints of Fats Waller in performances that defy easy classification as bop, swing, or mainstream. Essentially, it's Harris working within the songs, opening up new pathways in and around the melodic and harmonic structures. The opening track, "Londonderry Air" (aka "Danny Boy"), provides a clue to Harris' method. He plays the song straight, but subtly brings out the simple, fresh, and elegant possibilities in the traditional folk melody. The same creative process is worked out on the other tracks, which allude to Harris' key influences, but also make clear his own contribution -- an appealingly updated, modernistic approach -- to the jazz piano tradition. Among the standards, "Body and Soul" is given a thoughtful, illuminating reading. "I Didn't Know What Time It Was" is handled with a natural, sophisticated ease. The centerpieces are the originals "Ascension" and "Anachronism." The former, the most boppish track on the CD, has a long shifting melody that lets Harris tastefully demonstrate the depth of his technical and improvisational skills. "Anachronism" is a blues, pure and simple, a timeless statement drawn from the tradition and from Harris' unique ability to keep the tradition vital and progressive. ---Jim Todd, Rovi

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Barry Harris - Lonesome Lover (2014)

2015-11-17T16:47:44Z

Barry Harris - Lonesome Lover (2014)


1. Morning Coffee
2. There's No One But You
3. I've Got A Crush On You
4. My Heart Stood Still
5. I Should Care
6. Woodyn' You
7. Billie-Doo
8. Play Carol Play
9. Don't Blame Me
10. If I Love Again
11. It's The Talk Of The Town
12. What Is This Thing Called Love
13. One Down
14. If Someone Had Told Me
15. Curtain Call

Barry Harris – piano
Billy Mitchell – saxophone
Thad Jones – trumpet

One of the main exponents of bebop, Barry Harris (b. 1929) has been a major bop pianist for decades, inspired by Bud Powell, Thelonious Monk and Tadd Dameron.

Harris was born and raised in Detroit. He began playing piano when he was four and, by the time he was a late teenager, he was a significant part of the Detroit jazz scene. As the house pianist at the Blue Bird Club starting in 1954, Harris had an opportunity to play with the top visiting jazz players. Reluctant to move to New York, Harris stayed in Detroit until 1960.

Barry Harris was with Riverside during 1960-1962, recording four albums as a leader. At the Jazz Workshop teams the pianist with bassist Sam Jones and drummer Louis Hayes during the brief period that Harris was a member of the Cannonball Adderley Quintet. At 30, his boppish style was fully formed and it would be virtually unchanged up to the present time. Preminado has Harris performing with bassist Joe Benjamin and drummer Elvin Jones. Listen to Barry Harris is a set of unaccompanied piano solos; Newer Than New finds Harris leading a young quintet that features trumpeter Lonnie Hillyer and altoist Charles McPherson; and Chasin’ the Bird is a trio outing with bassist Bob Cranshaw and drummer Clifford Jarvis.

Harris’s next dates as a leader were cut for Prestige during 1967-1969. Despite the passing of time and the influence of hard bop on the horn players, Harris effectively sticks to bebop on Luminescence, Bull’s Eye, and Magnificent. While the latter is a trio date, the other two albums have such notable sidemen as trombonist Slide Hampton, tenor saxophonist Junior Cook, baritonist Pepper Adams, trumpeter Kenny Dorham, and Charles McPherson.

Through the years, Barry Harris has become an influential jazz educator, spreading the message of bebop. Concord’s Live at Maybeck Recital Hall, Volume 12 from 1990 features him playing piano solos in his timeless style, showing that great music really is immortal. --- concordmusicgroup.com

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Barry Harris Trio - Plays Tadd Dameron & Thelonious Monk (1975)

2010-11-29T13:27:51Z

Barry Harris Trio - Plays Tadd Dameron & Thelonious Monk (1975)


01. Hot House 4:33
02. Soultrane 5:41
03. The Chase 5:09
04. Lady Bird 5:05
05. Casbah 8:25
06. If You Could See Me Now 5:30
07. The Tadd Walk 3:38             play
08. Our Delight 4:17
09. Epistrophy 3:19
10. In Walked Bud 3:45
11. 52nd Street Theme 2:55
12. Ruby My Dear 3:53
13. Light Blue 2:31                play
14. Pannonica 6:03
15. All God’s Chillun’ Got Rhythm 5:59

Track 1 – 8
New York, June 4, 1975.
Released as Barry Harris plays Tadd Dameron (Xanadu) on LP. Also released by Prevue label on CD.
BARRY HARRIS, piano
GENE TAYLOR, bass
LEROY WILLIAMS, drums

Track 9 – 15
New York, November 3-5, 1977.
Tracks 09-12 released on VVAA - I Remember Bebop (columbia) , tw0 lp's with new material (not a compilation from other releases)
Track 13 from same session, but not released on these two lp's
Plays the Music of Thelonious Monk
BARRY HARRIS, piano
BILL LEE, bass
LEROY WILLIAMS, drums

One of the major bop pianists of the last half of the 20th century, Barry Harris has long had the ability to sound very close to Bud Powell, yet he can also do convincing impressions of Thelonious Monk and has his own style within the bop idiom. He was an important part of the Detroit jazz scene of the 1950s, and has been a jazz educator since that era. Harris recorded his first set as a leader while in 1958, and moved to New York in 1960, where he spent a short period with Cannonball Adderley's Quintet. He also recorded with Dexter Gordon, Illinois Jacquet, Yusef Lateef, and Hank Mobley, and was with Coleman Hawkins off and on throughout the decade (including Hawk's declining years). In the 1970s, Harris was on two of Sonny Stitt's finest records (Tune Up and Constellation), and made many recordings in a variety of settings for Xanadu. Barry Harris has mostly worked with his trio since the mid-'70s, and he has recorded as a leader for Argo (1958), Riverside, Prestige, MPS, Xanadu, and Red.

Barry Harris, arguably the top bebop pianist of the 1970s, '80s and '90s, was particularly in prime form throughout his Xanadu recordings. The perfect player to interpret Tadd Dameron's music (of which he had full understanding), Harris performs eight of the influential composer's songs on this 1975 album with bassist Gene Taylor and drummer Leroy Williams. Highlights of the highly recommended (but probably difficult-to-find) set include "Hot House," "The Chase," "Casbah" and "Our Delight." --Scott Yanow, All Music Guide.

Two overlooked 70's gems from Barry Harris, both of them trio dates based around famous jazz composers! First up are 8 tracks in which Barry Harris stretches out wonderfully in a set of compositions by Tadd Dameron -- most of them familiar jazz standards from a few decades before, transformed magically by Harris in a hip 70s piano trio mode! The group here features Gene Taylor on bass and Leroy Williams on drums -- both of whom work nicely with Barry's newly discovered sweetness at the time -- an approach that's sometimes a bit warmer than his work in the 60s, and which helps make these tunes stand out in newly sensitive readings. Titles include The Tadd Walk, Lady Bird, Casbah, Our Delight, Soultrane, The Chase, and Hot House.

Next up are 5 more tracks penned by Thelonious Monk, and played by Harris with a trio that includes Bill Lee on bass and Leroy Williams on drums! Harris hits the right angular modes to make Monk's music come alive, but also warms them up with a bit more sensitivity too -- slight colorings in his choice of tone, and an almost more personal feel on some of the numbers, even when taken at a fast clip. Titles include Epistrophy, In Walked Bud, 52nd Street Theme, and Light Blue. CD also features a solo version of Pannonica from 1984, and a reading of All God's Chillun Got Rhythm from 1978 -- recorded live in Montreux with Sam Jones on bass and Leroy Williams on drums. --Dusty Groove.

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