Barry HarrisThe method

People Barry talks about

Sonny Criss

alto saxophone

Alto saxophonist of the bebop generation; Barry played piano on a record with him and remembers above all that Criss refused to make more than one take of anything.

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What Barry says

When Aaron Graves brings him up, Barry says he recorded with Criss, who took his own life, and that the odd thing about him was that he would play each tune only once in the studio and would not allow a second take.

Barry Harris, Smithsonian Jazz Oral History Program ¶388Barry Harris, Smithsonian Jazz Oral History Program ¶389

Barry had to finish their album on his own and has never heard the result. It is the one record he would like to hear, and he asks Graves to note it down and tell him if he ever comes across it.

Barry Harris, Smithsonian Jazz Oral History Program ¶389

Asked why Criss refused second takes, Barry says musicians felt exploited by them: once a player died, the companies brought out every take, as they had with Bird and others, and he doubts the families saw the money.

Barry Harris, Smithsonian Jazz Oral History Program ¶390Barry Harris, Smithsonian Jazz Oral History Program ¶391

In his own words

Sonny Criss, I recorded with him. He committed suicide. The funny thing about him was, you know what, he wouldn’t make two takes.

Barry Harris, Smithsonian Jazz Oral History Program. Smithsonian oral history ¶389

He made one take of everything and refused to make any other takes.

Barry Harris, Smithsonian Jazz Oral History Program. Smithsonian oral history ¶389

I’ve never even heard the album. That’s the one I’d like to hear, with Sonny Criss.

Barry Harris, Smithsonian Jazz Oral History Program. Smithsonian oral history, on the album he finished alone ¶389

they thought they were taking advantage of you when you do that and he could see what would happen. After the person died they’d bring out all these takes.

Barry Harris, Smithsonian Jazz Oral History Program. Smithsonian oral history, asked why Criss refused second takes ¶391

Every mention

0 moments in the recordings, 0 of them Barry speaking. Each says who is talking.

In the interviews and notes

  • Barry, Smithsonian oral history 2010 Barry, in his own words

    Barry recalls recording with Criss, who would allow only one take of each tune, and says he finished their album on his own and has never heard it.

    Barry Harris, Smithsonian Jazz Oral History Program ¶389

  • Barry, Smithsonian oral history 2010 Barry, in his own words

    Barry explains the refusal as self-protection: extra takes were what record companies released after a musician died, as with Charlie Parker, with most families, he believes, not seeing the money.

    Barry Harris, Smithsonian Jazz Oral History Program ¶391

  • Ted Panken, DownBeat feature, 2000 A scholar

    Panken lists Criss among the leaders Barry backed on Don Schlitten’s sessions for Prestige, MPS, Muse and Xanadu from the mid-1960s to the early 1980s, alongside Dexter Gordon, Sonny Stitt and Charles McPherson.

    Ted Panken, For Barry Harris’ 82nd Birthday ¶26

  • JazzTimes, ‘Barry Harris: Teacher Man’, 2011 A scholar

    JazzTimes names Criss among the masters Barry supported as a sideman, in a list that runs from Dexter Gordon and Coleman Hawkins to Al Cohn and Sonny Stitt.

    unknown (JazzTimes; the byline is missing on the current site), Barry Harris: Teacher Man ¶4

Recordings that name them

Barry’s performances and records in the archive that credit or name them.