Barry Harris line building for fusion??! 

Excellent demos of what one can introduce chromatisme in its line ! I will work your examples ! Thx

yayyy ...

later styles derivative of bebop seem to lean more in the pandiatonic direction to me; any hierarchy of tones in the line construction above each chord seems much less obvious to me in later styles, as a general trend, and I think the intervallic hierarchy in voicings dissolves as well (major sevenths preferred over minor ninths in earlier styles generally speaking) ... is that a fair comment? for instance Kenny Wheeler and his contemporaries often put the flatted third and the flatted fourth in an altered dominant chord right next to each other in voicings, while later composers like Ben Monder and such will displace this interval an octave becoming the most dissonant interval of all, the minor ninth ... a wider number of tones and intervals seem to be present in the 'essential voice-leading' of later styles, to put it another way ... / great playing and ideas in this video ... and I hope my somewhat disconnected and poorly articulated thoughts here make some sense ...

Larry Coryell

Have you listened to telemakus - new heritage? Let me know what you think ... some brilliant stuff !!!

When I see this type of presentation, I always wonder does the presenter consider that the elements of melody were explored and refined by the likes of Bach and Motzart. All that was under people's fingers and in their ears before Swing led to Bebop to Cool, to Modern, Fusion, or whatever. Or is it not worth mentioning, or over the heads of the intened audience? I can certainly see that "Barry Harris" is all the rage, now. And thisngs are so, because "Barry says." Until a couple of years ago, I never heard of him, and learned from the Coker books, like Patterns for Jazz, which has all of Barry's melodic "system," and more. Coker quotes 5-10 solos that use variants of the basic melodic pattern. A popular Barry channel likes to say - as Barry people we KNOW - which often mean denying the existence of the II-chord, in Am7-D7. That is, Barry people KNOW that it's all D7, (or sometimes the Am7 is REALLY C8).. Then, he says the arpeggios on the A and C notes are "important" (and should be what we used to call "stressed") Realy?? You want me to arpeggiate the same Am7 that you told me to ignore?? lol FWIW, Pat Martino prefers the opposite, and tells imself it is all Am7 - and somehow, he produces the same patterns of chromatic passing tones as Barry's method. And gets the same flat-five chord "substitutions," going from Am7 to Evm7.

you can't avoid fusion and be a swinging purist type IMO ... but some fusion is bad too, true ...

Pls make a video on spain or other chick tunes like got a match