![]() ![]() He even formulated his own approach to harmony, the Barry Harris harmonic method, still a bedrock of jazz education. Listening to records by Thelonious Monk and (especially) Bud Powell, he puzzled out the structures and devices of bebop piano and translated them into rubrics that could be taught, studied, and replicated. He also launched an impressive solo career that included 25 albums under his own name across five decades.įar more so than his contemporaries, however, Harris was a scholar and theoretician of the music. Along with fellow Detroiters Hank Jones and Tommy Flanagan, he was a key pianist in that wave, working with the likes of Max Roach, Hank Mobley, Lee Morgan, and Cannonball and Nat Adderley in the late 1950s and early ’60s. A native of Detroit, Michigan, he was part of a bumper crop of musicians from that city who became crucial players in the second wave of bebop. ![]() Although the term “authenticity” has lost some of its luster in discussions of jazz, Harris was absolutely redolent of it. ![]()
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