Body and Soul

Both workshop videos use the tune for moving chords. The first, in its chapter on movable chords for piano and guitar, where his approach to voicing and movement is shown on several standards, takes up Body and Soul after Alone Together. The second has a section on sixth diminished movements in Body and Soul in its harmony chapter.

Barry Harris (on video); Howard Rees (producer, The Barry Harris Workshop Video ¶7Barry Harris (on video); Howard Rees (producer, The Barry Harris Workshop Video ¶19Barry Harris (on video); Howard Rees (producer, The Barry Harris Workshop Video Part 2: product page and 156-page workbook table of contents ¶20

Howard Rees, applying Barry’s method to tunes in Keyboard magazine in 1998, used Body and Soul as one example. He harmonises the melody with chords moving in contrary motion along the D major and D minor sixth diminished scales, voices F♯m7 as A6, Em7 as G6 and B7 as C minor 6, gives A7 first its diminished chord and then a related dominant, and puts a dominant root taken from the diminished chord in the bass.

Howard Rees, Evolutionary Voicings ¶3Howard Rees, Evolutionary Voicings ¶4Howard Rees, Evolutionary Voicings ¶21

He dated the golden age of jazz from Coleman Hawkins’s return from Europe and his recording of Body and Soul, which he called the greatest recording ever made. To him Hawkins was a bebop player too.

Interview: Detroit and after6:226:54

He marvelled that such an abstract record became a hit. When it comes on the radio, he said, it is sometimes like the sun coming out, and he said the same of Bird on the radio.

Interview: Detroit and after10:5911:33