Wayne Shorter
tenor saxophone, composer
Tenor saxophonist and composer (1933–2023); in the sources found, Barry names him only in his Almeria festival speech, as one of the names jam-session players take to be what jazz is.
- mentions
- 4
- recordings
- 4
- Barry speaking
- 3
What Barry says
In a talk addressed to a festival in Almeria, Spain, Barry says that at jam sessions everywhere players play modal music because they think jazz is Miles Davis, John Coltrane, Wayne Shorter and Herbie Hancock. He does not agree and does not consider that jazz; those players, he adds, cannot even play triplets, only eighth notes.
Believe: a talk to musicians1:101:44Jazz schools and the basics0:00Brian Jude de Lima, Reanimating Dissonance: Cultivating the Antecedents of Barry Harris’ Concept of Movement as a Multidimensional Pedagogical Tool for Ontario Post-Secondary Jazz Curricula ¶908
In his own words
They think Miles Davis, John Coltrane, Wayne Shorter and Herbie... Hancock—they think that’s “jazz.” I don’t quite agree with that at all... I don’t consider it jazz
Every mention
4 moments in the recordings, 3 of them Barry speaking. Each says who is talking.
Believe: a talk to musicians
- 1:10
Names Wayne Shorter among what jam-session players take for jazz; caption reads ‘Wayne, short and heavy’.
Jazz schools and the basics
- 0:00
Edited version of the same speech; caption reads ‘Wayne Shaw’.
Barry Harris2 2
- 16:34
The same speech excerpt in a workshop film; caption reads ‘wayne shaw’.
Justin Robinson Interview: Barry Harris Masterclasses, Roy Hargrove, Jiu-Jitsu & Music, & More
- 2:11
Someone else
Justin Robinson recalls his father hearing groups with Hank Mobley and Wayne Shorter in 1960s New York.
In the interviews and notes
De Lima transcribes the Almeria speech with the name spelled out as Wayne Shorter, alongside Miles Davis, Coltrane and Herbie Hancock, and files the remark under Barry’s criticism of the newer generation of players.
Brian Jude de Lima, Reanimating Dissonance: Cultivating the Antecedents of Barry Harris’ Concept of Movement as a Multidimensional Pedagogical Tool for Ontario Post-Secondary Jazz Curricula ¶908Brian Jude de Lima, Reanimating Dissonance: Cultivating the Antecedents of Barry Harris’ Concept of Movement as a Multidimensional Pedagogical Tool for Ontario Post-Secondary Jazz Curricula ¶909Brian Jude de Lima, Reanimating Dissonance: Cultivating the Antecedents of Barry Harris’ Concept of Movement as a Multidimensional Pedagogical Tool for Ontario Post-Secondary Jazz Curricula ¶916
A forum member advises that Barry’s approach is built for blues, rhythm changes and standards rather than modal or non-functional harmony of the Wayne Shorter kind, and that Barry would not want it to be.
Method ideas nearby
Ideas of the method taught in the classes where they come up, with how many mentions fall in each.
- 0.3Rules matter more than scales; everything by logic1
- 1.4Triplets and thinking in six1
- 11.1Two hands together1
- 11.2Keep the left hand low and make it interesting1
- 12.2Know the song; learn many songs; find your key1
- 15.2Bebop, tradition, and what is wrong with jazz education1
- 2.2The two whole-tone scales (‘man and woman’)1
- 2.3The three diminished seventh chords (‘the children’)1