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Contents • • • • Reception [ ] Professional ratings Review scores Source Rating awarded the album 4 stars with its review by Scott Yanow stating, 'Pianist Barry Harris' second recording as a leader (he led a set for Argo in 1958) finds him at the age of 30 playing in the same boppish style he would have throughout his career'. Track listing [ ] All compositions by Barry Harris except as indicated • ' (Bill Austin, ) - 5:31 • 'Curtain Call' - 3:45 • ' (, ) - 4:42 • ' () - 6:13 • 'Lolita' - 3:59 • 'Morning Coffee' - 4:52 • ' (, ) - 5:08 • ' () - 4:43 Personnel [ ] • - • - • - References [ ].

About Barry Harris “I guess you could say Barry Harris is one of the very last of the bebop purists that we have on piano. Nov 11, 2012 Barry Harris Method. I attended the Stanford Jazz Workshop--a week-long, all-ages summer 'camp.' (a PDF is available here). Pianist Barry Harris' method which outlines a more summarized, yet in-depth, approach to jazz harmony and melody. Workbook by Howard Rees.

In this series I am going to start working on some approaches for improvising over Rhythm Changes. In this first lesson we are going to keep it very basic and lay a foundation that can be expanded in later lessons and also help you deal with this many chords in a high tempo. Rhythm Changes The rhythm changes progression is infact the chords of the Gerschwin standard “I got rhythm”. SInce the late swing era it has been used as a chord progression that a lot of new melodies have been written on.

It has almost the same status as the 12 bar blues as a form and language that one has to master as a Jazz Player. Rhythm changes is a 32 bar AABA form where each part is 8 bars. The bridge is a chain of dominants leading back to the tonic, and the A part is a series of turnarounds and a short visit to the 4th degree. In this lesson I am only going to work on the A part, and especially show how to deal with the many chords while soloing and still be able to make some music. You probably know the A part as this progression.

The Trick The key to negotiating this many chords in a high tempo is to simplify the progression so that only the essential chord movements remain. In this case that means that I VI becomes just I and II V becomes just V. If you think this you are still playing the basic harmonic movement of the song and you have a bit more space to breathe while doing so.

The reduced progression would look like this. As you can see I already added the arpeggios in the example. All arpeggios are in the 6th position which is a good place to start for a Bb rhythm change in terms of having fairly simple arpeggio and scale fingerings. The idea of simplifying the progression is not new, I have heard this from several teacher one of them being Barry Harris, and if you check out descriptions of Parker you will find examples of him doing exactly that while playing on this type of progression. To practice the arpeggios and make sure that you really know them in and out, I suggest you try to play them over the progression as I’ve written out in example 2 above here, but also that you work on connecting them in the way I’ve written out in Example 3. The idea is that you startthe 1st arpeggio and when you played a bar of 8th notes you change to the note in the next arpeggio that is the closest to the one you are one now. This way you not only practice the arpeggios, but also how to think ahead and have an overview of how the next arpeggio looks before you play it.