I think Barry Harris would be delighted that his ideas and music are being passed on to subsequent generations. With respect to your comment, I would take a more optimistic viewpoint - I haven’t come across any jazz musicians who seek to exploit for monetary gain.

😂

Fair enough, but it sounds like you are basing your opinion purely on listening to videos like this which show a man who is in his mid 80s teaching. Have you even listened to any of his records when your claiming his touch is “choppy and clamorous”; he had a stroke a while back and so obviously his playing isn’t maybe up to your standards. Also, this man, weather you disagree with his teachings has dedicated his life to giving his knowledge on how to play good jazz for almost free and his students haven’t faired out too badly; Pasquale and Luigi Grasso, Paul Chambers, Charles McPherson, Lonnie Hillier, Etc. I think you should listen to this album kzbin.info/aero/PLpunKfDXGxxqrsXSBbvbtVJ8FBggRx7My and interview of fellow musicians on Barry Harris (kzbin.info/www/bejne/p4CUk3mobNZrqcU) then come back and maybe reevaluate your opinions.

@@jasonkenneth8327yes

Monk: “there’s no wrong notes”

Brother Caleb it’s “Off Minor” by Thelonious Monk

Vahagn Hayrapetyan - gorgeous tune. Thanks Vahagn 🙏🏾

He’s a good player, but he’s very much part of the older style of jazz playing. I feel like he a as a jazz player should recognise jazz is an ever-evolving genre, from new orleans band jazz in the 1800’s, to charleston, swing, big band jazz with big musicians like count basie, duke ellington (etc.). Then solo artists, bebop, modal jazz, jazz fusion, jazz mixed with hiphop starting in the 90’s. I think he just reminisces the old style of jazz and likes that the most.

@@Rafa-mv4nn I think his primary argument is the damage that "modal jazz" as a construct had on music education. I don't know if either of you have experience in a "jazz school" as a piano player but it's all wrong how they teach - it's a formula. That's what "modal music" has led to. The "play dorian over the two, mixolydian over the five, ionian over the one..." that doesn't mean ANYTHING if you can't create a melody. and these players - Bill Evans posthumously (which is a shame) has become the figurehead of how to play jazz piano and it's not correct. Barry Harris' knock on the character of Bill Evans that has been created by music schools, is that analyzing what Bill Evans was playing with Miles Davis is incredibly minimal and more focused on small decisions. He hardly plays any roots in his chordal approach WHICH IS FINE, but Miles Davis was also a proponent of this minimalism and encouraged it, a LOT of Miles' recordings, the piano especially when accompanying and soloing themselves, they're ONLY playing chords surrounding middle c by like an octave. this leads to frankly, very poor piano playing being taught - because the standard is not what it's all about. also, all those genres honestly, exist to fill a market. it's terribly tragic and Herbie and Wayne Shorter, know a hell of a lot about that. this music is not jazz. it's just music. jazz is jazz. jazz exists to be bought and sold. it's terribly sad. I am certain that Barry Harris understands that music evolves. His point is that the tools we use to understand this great creation, have devolved into inhuman; formulaic even racist at times, methods of teaching music. bonus question: what are the two diminished scales?

@@ATLS702 well said and summarised. A shame that many people completely miss the point.

Блестяще! Профессионаизм хора и трио музыкантов высочайший,, к-баса и ф-но -- выше всяких похвал!!! О-оочень важно, хор и трио не заглушают друг друга!!! Нигде! Работа звукорежиссеров потрясяюща. Браво, спасибо! 53.00-58-00 ---!!!

A good bass player is a gift from god oft taken for granted LOL. You can leave so much in their capable hands

Have you considered he might have overdubbed after the fact so to speak? Technology allows it!

Stephen he certainly didn’t