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| 3.726 Ft
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| 1. | Bull's Eye
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| 2. | Clockwise
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| 3. | Off Monk
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| 4. | Barengo
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| 5. | Off Minor
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| 6. | Oh So Basal
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Jazz
Barry Harris - Arranger, Piano
Billy Higgins - Drums
Charles McPherson - Sax (Alto), Sax (Tenor)
Kenny Dorham - Trumpet
Paul Chambers - Bass
Pepper Adams - Sax (Baritone)
* Don Schlitten - Cover Design, Cover Photo, Producer
* Kirk Felton - Remastering
* Mark Gardner - Liner Notes
* Richard Alderson - Engineer
In the liner notes that he wrote for Bull's Eye in 1968, Mark Gardner quotes pianist Walter Bishop as calling Barry Harris "one of the very last of the bebop purists that we have on the piano." Bishop knew what he was talking about; back in 1968, many acoustic pianists were choosing modal post-bop or avant-garde jazz over bop -- and some were taking up electric keyboards and starting to explore a fascinating new jazz-rock-funk amalgam that came to be called fusion. But Harris, who was 38 when he recorded Bull's Eye, was still a hardcore bebopper along the lines of Bud Powell and Thelonious Monk. On this 1968 session, the Detroit native offers no acknowledgment of '60s trends in jazz piano -- he doesn't acknowledge McCoy Tyner's modal post-bop any more than he acknowledges Cecil Taylor's free jazz. And that's just as well, because Harris is great at what he does. Unlike Tyner, Taylor, Bill Evans, Chick Corea, or Andrew Hill, Harris was always a follower rather than a leader. But again, he's great at what he does, and on Bull's Eye, Harris excels whether he is embracing Monk's "Off Minor" or providing original tunes that range from the exhilarating title song to the Latin-tinged "Barengo." By 1968 standards, Bull's Eye is hardly groundbreaking; Harris' solos sound like they could have been recorded ten or 20 years earlier. But in terms of quality and skillful musicianship, he doesn't let his followers down. Nor do Harris' sidemen, who include trumpeter Kenny Dorham, saxman Charles McPherson (who is heard on tenor instead of his usual alto), baritone saxophonist Pepper Adams, bassist Paul Chambers, and drummer Billy Higgins. Die-hard bop enthusiasts can't go wrong with Bull's Eye, which Fantasy reissued on CD in 2002 under its Original Jazz Classics (OJC) imprint.
---Alex Henderson, All Music Guide
Barry Harris
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Dec 15, 1929 in Detroit, MI
Genre: Jazz
Styles: Bop, Hard Bop, Mainstream Jazz, Standards
One of the major bop pianists of the last half of the 20th century, Barry Harris has long had the ability to sound very close to Bud Powell, yet he can also do convincing impressions of Thelonious Monk and has his own style within the bop idiom. He was an important part of the Detroit jazz scene of the 1950s, and has been a jazz educator since that era. Harris recorded his first set as a leader while in 1958, and moved to New York in 1960, where he spent a short period with Cannonball Adderley's Quintet. He also recorded with Dexter Gordon, Illinois Jacquet, Yusef Lateef, and Hank Mobley, and was with Coleman Hawkins off and on throughout the decade (including Hawk's declining years). In the 1970s, Harris was on two of Sonny Stitt's finest records (Tune Up and Constellation), and made many recordings in a variety of settings for Xanadu. Barry Harris has mostly worked with his trio since the mid-'70s, and he has recorded as a leader for Argo (1958), Riverside, Prestige, MPS, Xanadu, and Red.
---Scott Yanow, All Music Guide |
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