LP-644

The Barry Harris Trio – Breakin' It Up

Released 1958

Recording and Session Information

Barry Harris, piano; William Austin, bass; Frank Gant, drums
Chicago, July 31 1958

8934 Stranger in paradise
8935 Embraceable you
8936 Bluesy
8937 S.R.O.
8938 Ornithology
8939 All the things you are
8940 Allen's Alley [Wee]
8941 Passport

Track Listing

All The Things You Are	Kern, Hammerstein	July 31 1958
Ornithology	Charlie Parker	July 31 1958
Bluesy	Barry Harris	July 31 1958
Passport	Charlie Parker	July 31 1958
Allen's Alley	D. Best	July 31 1958
Embraceable You	Gershwin, Gershwin	July 31 1958
S R O	Barry Harris	July 31 1958
Stranger In Paradise	Wright, Forrest	July 31 1958

Liner Notes

IF ALL THE good jazz musicians from across the nation were to converge on New York City at one time, there would be enough musical manpower there for a thousand all-star bands.

But in every corner of these United States there are first rate jazz artists who have no desire to make the trek to "The Apple." They prefer to remain in their own territories and make music in more familiar and less hectic surroundings.

Many of these musicians are strong influences in their respective localities. A great factor in the important Detroit jazz scene is Barry Harris. He has been to New York several times to play engagements and make records, but considers his home town to be a more likeable base of operations. Barry has influenced countless musicians and is currently the moving force behind a group Of talented youngsters who no doubt Will emerge as jazz stars in their own right in the near future. Though still a young man himself, Barry, because of his great stature as a jazz performer, is sought after for counsel, inspiration, and instruction by these up and coming artists.

Harris has recorded with Hank Mobley, Thad Jones, Donald Byrd, Art Farmer, Benny Golson, and others. He has seen many of his contemporaries leave the Motor City and move into the winner's circle of jazz — musicians such as Tommy Flanagan, Kenny Burrell, Doug Watkins, Paul Chambers, Pepper Adams, Don Byrd, and Curtis Fuller, to name just a few.

And though Harris may not be quite as well-known to the general public as the aforementioned Detroiters, he is nonetheless equally as talented and equipped.

Barry has a sound musical mind. He knows at all times in which direction he is heading. His piano work in this album speaks for itself. Ordinarily, I'm not a wagering man, but I'd be willing to bet my whole record collection on this — you'll love the Barry Harris trio.

About The Music

Listen carefully to All The Things You Are and note the subtle manner in which Barry states the theme. There's beautiful work throughout this tune from Harris and accompanists, ihcluding the Latin-favored rhythm pattern on the bridge.

It is good to hear Ornithology again. Here's a romping version of the Charlie Parker jazz classic with a fine walking bass chorus and tasteful drum work, too.

Bluesy is the soul of Barry! It is one of his own compositions done in a style that shows his allegiance to the roots of jazz. The stop time makes it doubly effective. This kind of performance makes you thankful that there are still modern musicians around who respect and continue to capture the real meaning of jazz. Listen while the boys tell the truth!.

Next. Barry has chosen to interpret a Charlie Parker vehicle titled PassPort. A happy, cohesive sound is evident throughout this one.

Side two opens with Allen's Alley and we find Barry comfortably ensconced in an up-tempo rendition of this famous song. Every 32-bar chorus is sheer delight. Sparks fly as the trio cooks!

Embraceable You is taken at a meditative pace with the full beauty of this great standard presented in top form.

SRO is another Harris original which employs an engaging melodic line. William Austin follows Barry's solo with a fine bass solo before Harris reenters to set the stage for an exchange of four-bar phrases before the tune is taken out.

The group's interpretation of Stranger In Paradise is a joy to behold.

There is no pretentiousness in Barry's presentation of this song, which has been annoyingly overdone by many artists. Here the group gives it a straightforward, swinging treatment. The end result is pleasant listening!

As long as there are musicians of the caliber of Barry Harris, I don't think we need worry about the future course of jazz.

George White
Radio Station WCHB

Recorded - July 31, 1958
Recording Engineer - Malcolm Chisholm
Producer - Dave Usher