During the late 1960's and early 1970;s, I had the great pleasure of becoming one of Barry Harris's earlier students. As a music major in college, my European classical saxophone private instructions was at the Charles Colon studio on the west side of midtown Manhattan. Barry would be doing his daily workouts downstairs and across the hall from the room I was receiving my weekly instructions in and I could not wait for those preparatory lessons in the French versions of Klose saxophone studies for my up coming recital of the Paul Creston Sonata Opus 19 to come to a conclusion so that I could be out of the door, down the stairs and into that room with Barry. I loved Charlie Parker music and Barry knew that about me and was more than willing to impart his knowledge of Be- bop to me. For those who are quick to criticize Barry Harris for being too conservative, self centered and ego driven; they fail to understand not only the music of which he is one of the last great practicing originator of but also his destiny as being the keeper of that flame in its original form. This is the way the master created it and like any other great music it must be preserved. It's like one being into atonal music of the early 20th century and in the present of Arnold Schoenberg, Anton Webern or Alban Berg. My question then would be; would you be so quick to take issue with what they were defending in it purest form? One has to learn to appreciate people and things for what they are. If one wants to learn Be-bop inside and out, there is no living person who can depart that knowledge better than Barry Harris. When he is no longer with us the hypocrites will start to come out of the woodwork's claiming how great he was and how much he will be missed. Shame on all of you.
Once I was asked to perform at a benefit concert for the Muhammad Salahudeen Memorial Theatre in NYC. When I got there, I learned I was going on AFTER Harris! I said "Oh shit,,,"
@@rontomkins6727 (I'm the same guy who posted the original post. I have two TH-cam channels). I think that the fact that I was playing sitar saved my ass. If memory serves me, I played one of my own compositions that attempts to blend raga with Persian maqam. I wasn't fool enough to try to beat Maestro Harris at his own game! LOL!. He later told me he liked what I did. I thanked him, adding that any compliment from a master like him meant a lot.
@@GodsUnrulyFriends Nice! Thank you for sharing that. For real I have a curiosity about the subject because I attended many of Barry Harris' workshops and got o know him a bit. He could strike me as a very conservative person sometimes, and having a very rigid concept of what qualifies as music. However, what you describe makes sense: His "rigidity" is probably mostly limited to Jazz, because he feels that Bebop is the only true language. But he definitely had a curiosity and appreciation for other styles of music.
yeah you rite jazzand. ...i remember many a night at the JCT those years, went to school nearby from 82-86, one of my professors Leonard Goines turned me on to the place..this brings back a ton of memories...jaki byard, tommy flanagan...james p floating through the air, the cookies and tea they used to serve...the posters on the wall and of course what an amazing experience it was to get to know Barry a bit...I wish I had kept up with him.
@@skineyemin4276 really? Thats crazy i try to learn how to play like a be bop player but its hard when everyone uses melodic minor scale theory and stuff. Do you have any recommendations on how to sound more like a be bop player? I really wanna have an interesting sound that is easily identifiable like bird
Imagine giving jazz players shit for not having structure, while being one of the people who pioneered the very concept. All I see is a talented hypocrite.
During the late 1960's and early 1970;s, I had the great pleasure of becoming one of Barry Harris's earlier students. As a music major in college, my European classical saxophone private instructions was at the Charles Colon studio on the west side of midtown Manhattan. Barry would be doing his daily workouts downstairs and across the hall from the room I was receiving my weekly instructions in and I could not wait for those preparatory lessons in the French versions of Klose saxophone studies for my up coming recital of the Paul Creston Sonata Opus 19 to come to a conclusion so that I could be out of the door, down the stairs and into that room with Barry. I loved Charlie Parker music and Barry knew that about me and was more than willing to impart his knowledge of Be- bop to me. For those who are quick to criticize Barry Harris for being too conservative, self centered and ego driven; they fail to understand not only the music of which he is one of the last great practicing originator of but also his destiny as being the keeper of that flame in its original form. This is the way the master created it and like any other great music it must be preserved. It's like one being into atonal music of the early 20th century and in the present of Arnold Schoenberg, Anton Webern or Alban Berg. My question then would be; would you be so quick to take issue with what they were defending in it purest form? One has to learn to appreciate people and things for what they are. If one wants to learn Be-bop inside and out, there is no living person who can depart that knowledge better than Barry Harris. When he is no longer with us the hypocrites will start to come out of the woodwork's claiming how great he was and how much he will be missed. Shame on all of you.
Holy crap where can I find the full clip of him roasting the fusion guys
hahaha
@@odinstemple1832 looooool
Once I was asked to perform at a benefit concert for the Muhammad Salahudeen Memorial Theatre in NYC. When I got there, I learned I was going on AFTER Harris!
I said "Oh shit,,,"
HAhaha.... so what happened? What did you play? And what did he think? Please do tell. I wanna know.
@@rontomkins6727 (I'm the same guy who posted the original post. I have two TH-cam channels).
I think that the fact that I was playing sitar saved my ass. If memory serves me, I played one of my own compositions that attempts to blend raga with Persian maqam. I wasn't fool enough to try to beat Maestro Harris at his own game! LOL!. He later told me he liked what I did. I thanked him, adding that any compliment from a master like him meant a lot.
@@GodsUnrulyFriends Nice! Thank you for sharing that. For real I have a curiosity about the subject because I attended many of Barry Harris' workshops and got o know him a bit. He could strike me as a very conservative person sometimes, and having a very rigid concept of what qualifies as music. However, what you describe makes sense: His "rigidity" is probably mostly limited to Jazz, because he feels that Bebop is the only true language. But he definitely had a curiosity and appreciation for other styles of music.
yeah you rite jazzand. ...i remember many a night at the JCT those years, went to school nearby from 82-86, one of my professors Leonard Goines turned me on to the place..this brings back a ton of memories...jaki byard, tommy flanagan...james p floating through the air, the cookies and tea they used to serve...the posters on the wall and of course what an amazing experience it was to get to know Barry a bit...I wish I had kept up with him.
Titan. I gotta say. Nothing puts a smile on my face like good Bebop.
God bless you🖤❤
original gangsta he is
Barry must have DESPISED the player at 1:30 hahaha xD
LMAO
@@ZazenFlyin hahaha, i can imagine his face... so disappointed
new bad
old good
This seems kind of conservative... And the video makes jazz seem so exotic...
Well, soloing within the true bebop tradition is quite exotic.
@@skineyemin4276 yeah it is nowadays
@@beastmode-vc6kk It always has been.
@@skineyemin4276 really? Thats crazy i try to learn how to play like a be bop player but its hard when everyone uses melodic minor scale theory and stuff. Do you have any recommendations on how to sound more like a be bop player? I really wanna have an interesting sound that is easily identifiable like bird
♥♫♪☼
This is kinda messed up tho tbh
its his place, he decides who plays what simple as that
Imagine giving jazz players shit for not having structure, while being one of the people who pioneered the very concept. All I see is a talented hypocrite.